Claude Lévêque makes works that evoke memories and sensations. Sometimes they are imbued with romance and nostalgia, at other times they are tinged with disquietude and a haunting sense of the past. What is common to the 62-year-old French artist's practice is site-specific narrative, animating and gently transforming a space into a place of reverie. There is something undeniably dreamy and sensorial about Lévêque's multimedia work, and his use of sound, light and wind in response to the history of a building. This makes him a fine choice for a two-part exhibition at the Musée du Louvre.

Since April 2014, a red neon flame by Lévêque has crackled inside the middle of Ieoh Ming Pei's glass Pyramid. Lévêque is the fourth artist, after Tony Cragg, Loris Gréaud and Wim Delvoye, to make an artwork that is presented within the Pyramid. But he is the first to make an illuminating intervention within its structure.

The second part of the exhibition is in the medieval moat of the Sully wing, which the museum refers to as “Medieval Louvre”. Inside the moat, upturned white chairs lie topsy-turvy, piled up, on the ground like remnants from a decadent ball, the guests long gone. It's a play on absence and presence, which is a recurring theme in Lévêque's work. The shadows of the chairs are silhouetted on a white curtain, billowing in a breeze. The whole installation is bathed in a soft, pink light and soft musical sounds emanate throughout. A white neon along the ceiling of the moat delineates the border between the installation and the visitors' walkway, which is bathed in blue. The moat's architecture is thus metamorphosed into an atmospheric, multi-textured promenade.

In the keep room directly after the moat is a third piece. A pink neon positioned just above the ground creates a perimeter around the Great Sphinx of Tanis (with the body of a lion and the head of a king), which is one of the masterpieces of the Louvre in Egyptian Antiquities.