As part of the Illuminate Adelaide festival in Australia, it is no longer a king of France but Sir Thomas Elder, a prominent figure in 19th century Adelaide history, who finds himself locked in a monumental snow globe and propelled into the 21st century. 

Each adaptation requires us to claim a unique heritage, demonstrating that, city by city, the gesture remains potent in juxtaposition with another narrative.

In Durham, in 2011, Jacques Rival again applied the principle of the monumental snow globe, but in a very different context from Klaipėda: the statue of the 3rd Marquess of Londonderry, on horseback, is not a consensual symbol of the city. Controversial character, associated with a brutal management of the miners employed in its mines, the monument is then the subject of local debate on its maintenance or even its relocation. By enclosing it in his snow dome, Jacques Rival does not try to settle this debate, but to defuse its gravity with humor: the statue becomes a playful and family object, propelled despite itself into the 21st century.

In Klaipėda, Jacques Rival takes up his principle of the monumental snow globe by applying it to Ann de Tharau, an emblematic statue of the city, a tourist symbol that has already been photographed extensively. Encased in its snow dome, the austere statue of the early 20th century becomes caricatural and magical, while remaining immediately recognizable. The installation thus reactivates its local memory while itself becoming a new point of centrality and attraction in the city. 

It was in 2006 in Lyon that Jacques Rival invented this principle: enclosing a heritage monument in a monumental snow globe. Here, the equestrian statue of Louis XIV, Place Bellecour, a tourist symbol photographed every year by millions of visitors. Having established itself at the square's center, the work has gained notoriety transcending Lyon: Claude Chabrol immortalized it in 2007 with La Fille coupée en deux.