An accumulation of disrupted temporalities creates the setting for an essentially performative project. Invited artists, actors, poets, musicians and performers create an utmost decadent representation of a hopelessness to be most hunted, and never possessed. An exhibition should be an organism–in essence - unnameable, like a feeling that should never cease to constitute or to escape itself: an exhibition should be a desire. In this sense, the proposed exhibition is an experience more of loss than of accumulation, facing immateriality more than gathering objects: a constant loss of its own sense, at least. Whatever its protocols, its procedures, its strategies, I understand this exhibition to be a system of desires and, in fact, a pluralist history with multiple temporalities. As curator, my role is to be its narrator, to understand its failures and tell its story. What we will create is an impossible museum, a museum not of objects but of stories. “The work [in this museum] draw whoever devotes himself to [them] towards the point where [they] undergo the ordeal of impossibility: an experience which is precisely nocturnal, which is that of the night” (Maurice Blanchot). What we will create is a fiction: we will tell the story of a feeling to come.