Favoring the miracle or misfortune of eternity is a part of a series of works that explore the concept of fate as a musical score, starting from the everyday surface extracted from the functional, symbolic and economic space, from the strictly controlled infrastructure of the ordinary, from its transactional, productive, and reproductive environment.  It is in fact a fragment of a floor from the former printing works of the National Bank of Belgium where the euro was printed until 2020, and before that the Belgian franc.

The floor of the printing works is placed in the gallery alongside a parquet floor removed from the inherited family home, as part of an acoustic spatial installation. The floor is a base or a trigger for the exploration of the influence of material conditions of the production at this moment - a small conflict with something historical, a trace of performance caused by value and its processes of habituation. In this constitution of production, the connection of things, time and meaning is exposed. On the parquet floor, the multiplicity of abstraction is traced, which unconsciously holds us above the earth. The shape of the floor reflects what is cut-off in the processes of abstraction, as well as the connections that are revived through abstraction. Beyond the lack of coherence, habits, and rights of ownership – the methods of the translation of form open up the questions about the succession of time, inheritance and the process of inheriting.

Once abstraction is made linear and predictable, any matter is set to be subsumed into capital. Form, then, becomes synonymous with the commodity form, which will have always been a synonym of a form of domination. Meaning; the predeterminations of capitalism—that something will have been given up, that some loss will have occurred and that the body will have had knowledge of it, is predicated on the systems of subjugation that rely on extracting value not only from matter, but through temporal structures that are parsed in terms of the self and other.

Favoring the miracle or misfortune of eternity reflects on a past that preceded and exceeds the individual and their singular course in history—the intersections of time, matter and value—and to the representational orders they sustain.

Because the subject’s history is never solely their own, but multiplied ad infinitum to mirror time and time again the same mismatched structure, it will have extended itself to that which is missing, namely, all of those incalculable im-possible movements of being and non-being. Those moments that will have never made themselves known to us, that will have gone on formless, less and more than forgotten, rewritten, misremembered, made inconceivable. Those lives we will have failed to recognize as our own, that will have, against odds, given way to unlikelihood, to another paradox called existence.  What we will find imposed there will be the organising principles of desire; if it is agreed that desire itself is an effect of separation, then we will be called to face alterity by forfeiting what we have come to inherit in both the forms of singularity and history. Sensing what has been made impossible to come into being, written out of the archive, unthinkable and inconceivable—reverberates unintelligibly.

The echo’s function in the score is to bring attention to the architecture of the space, to make perceivable the position one holds in relation to the sources of sound. Then, while staying a moment longer with the gravity of the void alongside one’s chosen orientation within the reading of the score, the notes will bend and we drift back to desire where it settles to contradict linear