Un ipotetico corso

Exhibition at Spazio in Situ, Roma
Opening: Saturday 11 December 2021, 18.30
with performances and readings by de Dianita, Claire Frachebourg, Alex Ghandour and Lucia Masu.
From 11 December 2021 to 22 January 2022
Hours: Tuesday-Saturday 10 a.m.-6 p.m.

Artists: Dianita, Claire Frachebourg, Alex Ghandour, Petra Köhle & Nicolas Vermot-Petit-Outhenin, Lucia Masu, Michèle Rochat
Curated by: Federica Martini
A proposal by EDHEA
in collaboration with Istituto Svizzero di Roma



Un ipotetico corso starts with a free collective reading of the short story Another Story, or a Fisherman of the Inland Sea (1994) by US writer Ursula K. Le Guin. Having abandoned scientific research, the narrator sends a report to themselves in which the story of a vanished world is juxtaposed with the protagonist’s experiments on transilience, a process that indicates radical and sudden historical changes, geological mutations and impermanence.
In Le Guin’s story, the search for a suspended time without intervals is linked to the legend of the fisherman Urashima, who crosses waters and epochs. On their return to the nation Earth, Urashima discovers that their journey has not lasted a few hours but centuries; the landscape that awaits them is desolate, the fields are infested with weeds. Urashima’s journey is a prelude to the story of a community in the process of reconstruction after the forced abandonment of the Earth nation. It traces back their search for new forms of sociality and the difficulty of resolving collectively and univocally the tensions between science and belief, formal and informal knowledge.

Un ipotetico corso fits into the narrative breach opened by Le Guin and adheres to the hypothesis of a journey with a circular temporality where past, present and potential event are intertwined in an organic and horizontal way. “Where words lack precision,” writes Le Guin, “syntax could transport us to another planet and then bring us home in an instant”. The word models, investigates the ambiguous proximity between belief and empirical knowledge, aligns with the methods of thought-experiment that speculative narratives share with the works in the exhibition. Like participating observers of community resilience dynamics, the works seize sharp historical breakthroughs and deviations from main narrative courses. They engage with active listening of voices in their raw and unexpected state; they refer plausible but unverifiable, referring to truths and narratives necessarily conjugated in the plural.

Works