Rebecca Solnit, citing a quote by Vir­ginia Wolf in her essay ” Woolf’s Dark­ness: Embracing the Inexplicable” points out the poten­tial of a dark vision of the future. She sees remaining in uncer­tainty and moving beyond known boun­daries as ways of exploring the uncon­scious. This quote is from 1915 – the begin­ning of the First World War. The resoun­ding sense of sad­ness, anxiety and over­whelm still accom­panies us today. Per­haps it is a human reflex to delude our­selves that everything will somehow work out. However, lack of direc­tion, con­fusion and open­ness to the unk­nown can lead to sur­prising discoveries. If lin­gering in the dark were con­sidered a method, the work on this exhibition would be its realization.

The artist uses familiar aesthetic codes: beige walls, prin­ted car­pets and glass decorations. The dark­ness that shrouds the exhibition is therefore not mon­strous. On the con­trary, it appears tame and invites you to make your­self at home. The title of the exhibition refers to numerous online artic­les appearing over the past few years. Accor­ding to resear­chers, some of the brains of the vic­tims of the catastrophe caused by the erup­tion of Vesuvius have turned into glass. Alder, like flowing lava, trans­forms volatile into solid. Hard-to-grasp sen­sations solidify and become “amazing” objects, more “glass brains.” They will not shine with their own light, but they will probably help focus or reflect the tiniest flares. Per­haps it is thanks to them that we will be able to see new ways in the darkness.