The world, which is facing us and at the same time contains us, is in a state before the environmental catastrophe. The banality of this finding cannot make us ignore it. Now that the constructed world has taken the place of the natural in the geological era of the anthropocene, we are at the same time aware that "(our) house has caught fire", a wording that summarizes, according to Karl Popper, the philosophy of Heraclitus. Denial of this treaty, as if something could be done to prevent catastrophe, does not seem capable of reversing the course of events. The denial of denial, the return to the viability of the planet, is not possible in the dialectic of its destruction by civilization. In the face of this radical inability to confront the real, the denial of denial can become either an irony — an irony of the impossibility of effective opposition  and radical change— or a kind of productive retreat. Lithology explores both approaches to disaster in terms of artistic practice: both with irony and self-sarcasm — you see how stupid I am to deal with the destruction of the planet, as if I could do something about it — and with a productive reflection. What does this reflection produce on the constructed geology of stone and the planet? It produces feelings and weak assumptions, in a kind of guilt-free re-identification of our industrial past and man-made geology: from the scale of the stone in our handful to the geologies of the constellations. You cannot want to know something in depth without loving it, even if it is the ultimate evil.

The story of a small stone sums up the history of the Earth and fifteen billion years of universal genealogy. With its incredible complexity and vast space, every stone is the Earth. In this sense, our responsibility and the care that corresponds to each small part of the nearby geological space of each of us is at the same time care for the whole Earth.

The work of Lithology has produced a series of three-dimensional constructions that we call machines and would like to act as decelerators of a frustration, with whatever emotions this constant deferment can create. On the other hand, in a series of two-dimensional works, which we call events, every time something happens in the work, which redefines our position towards the anthropocene stone (the pebble, the rock, the island, the asteroid, the star). In summary, the works are imaginary visual formulations of an expanded geology that contains history, urban planning, mythology and cosmology, seen through the experience of life among the stones.

Finally, in the form of a book, the exhibition presents a work of poetic narratives entitled “Odes to Twelve Stones_Every Stone Is You” which contains the textual and drawing descriptions of twelve stones, followed by an essay on the love of the inhuman. The book, together with the installation of machines and events entitled “Every Stone Is the Earth” constitute the final assemblage of the “Lithology” project.