Giorgio Passerone

In darkness, we hear a recording of the scandalous 1954 debut performance of Edgar Varèse’s revolutionary Déserts at the Théâtre des Champs-Élysées. Then, in a different sort of Elysian Field, we hear a recitation of Canto XXXIII from The Inferno, a final vision of the Divine Light, in which Dante apprehends the will and desire of man in perfect harmony with the love of God.

More than a land, it is from the lake that this son comes. Raised by a father fisherman, he learned his noises and currents, maybe also its hardness at the same time as that of adults. Lake is also a border, but in the water his drawing is lost: in the fishery, "profession of free men", Savoyards and Vaudois find themselves in confreres, and if out loud we only talk about nets and fish, in silence we sometimes enter the Resistance. During the war, Switzerland was sent to refugees, without always understanding what is happening, or why they have this look. After the war, the son will contribute to another history: elected municipal, he participates in the emergence, in Lausanne or to Thonon, of a new left. According to the novel Gens du Lac de Janine Massard, published by Bernard Campiche

A Kafka dialogue is read by actors in Straub's own apartment in Paris.