For Station 17, the Laboratoire has chosen to place the notion of interdependence, the principal basis of its cosmomorphical cycle, to the forefront. The aim here is to consider the decorrelation between the subject and the world that it finds itself in. How can one de-determine the laws that constrain us – death, nature, capitalism – and roll the dice for potential futures? Une très longue Éclipse – a thought experiment around economy, the game and the limits of both is a continuation of the exhibition Infantia (1894-7231) by Fabien Giraud and Raphaël Siboni. Conceived of by the artists along with economist and poet Anne-Sarah Huet and philosopher Anna Longo, this station proposes to play the game of the Unconditioned. Its thought process is structured around that of the next film by Fabien Giraud and Raphaël Siboni wherein a solar eclipse is interpreted as a signal of the complete exhaustion of our source of astral energy, driving the Lydian king, Alyattes, to plunge into the earth along with his court in search of an alternative. Unable to depend on the solar gift that George Bataille spoke of, the Lydians – the inventors of money – are forced to dream up a new economy, the conditions of which are explored in a game that structures the film. Extending the season of The Everted Capital, with its exhibition presenting the first two episodes, the exchanges that will take place during these study days will serve as content for some of the dialogues in this third and final film. In this way the station will feed offthe film as much as the film will feed off the station, drawing up an alternative fiction to that of capital. Structured in two stages, the first day of the station will be used to present the project, its theoretical framework and also to launch hypotheses that will then be tested experimentally on the second day, during a thought experiment based around game-theory.

Views of the exhibition INFANTIA (1894-7231), Fabien Giraud & Raphaël Siboni, at Institut d'art contemporain, Villeurbanne / Rhône-Alpes © Thomas Lannes