Page 24 - FANTASTIC COSMOS SHOW CATALOGUE

Io parlo ai muri, is the title of the text crete contradiction” , presuming the
2
born from the cycle of conferences that “concentration of all that there is in
Lacan held between 1971 and 1972 for the world, in nature, in the cosmos”.
the residents of the Saint-Anne Hospital.
The same hospital in which, many years The contradiction, the accumulation
earlier, a young Lacan had begun to work. are also at the base of Stefano Non’s
work, who proposes here an energy
The occasion could be that of self-cele- generator, a power plug that doesn’t
bration, of a career balance. Instead, La- take but gives, as the video suggests
can renounces reinforcing theorizations that we visualize approaching the cell
and moves to combat the great enemy of phone to the power plugs “Watch out
the time: the fascination for not knowing. where power really comes”. The power
So, he unfolds the substantial distance of the Black Church is absolute, like
between knowledge and truth. He reite- the cult of Dea Atalanta told in the po-
rates once again that the unconscious is dcast that accompanies the exhibition
for us a knowledge-unknown, skilled with and that reads: “Take or leave, we have
its own language, distant from truth. The taken and sometimes we take a hit”. A
symptom is fundamental: it is by putting story which describes a day of violen-
the symptom into words that we establi- ce, outside the stereotypes associated
sh the borders of the truth value of our with the place-stadium. Heterotropy is
discourse, that is, how much of our di- revealed in the street fight, where the
scourse is true and how much false. The rhetoric of utopian rebellion is wiped
symptom is not the truth, but it is an in- out, “rebellion is the only dignity of the
strument. slave” sings Lord Bean in Quale ordine.

A lot has been written in recent months
about how the pandemic has highlighted
the symptoms of a system that had alre-
ady been showing its flaws, exacerbating
social inequalities and highlighting the
cost of progressive and wild privatiza-
tion. The great European urban centers,
abandoned by tourists, have shown the
limits of a cultural policy reduced to a
“showcase” for quick and fast looks, dan-
gerously associating production and cul- 1 Henry Lefebvre, La rivoluzione urbana,
tural use. A process already reported by Pag. 45, Rome, Armando, 1973
Lefebvre that defining the possibilities of
the urban came to define the three cate- 2 Henry Lefebvre, Work Cited, Pag. 47
gories of: isotopia, an urban environment
and its constituting itself as the same re-
cognizable place; heterotopia, the con-
trast marked between more inhabitants
of the places, through a continuity space
given by sutures; utopia, a space no lon-
ger linked to any “imagined abstract” ,
1
but real, linked to a verticality that pu-
shes towards the divine, the cosmos, but
also - by opposite - to the abyss, the un-
derground. A physical space that is “con-

19 i b