A fata mor­gana is an opti­cal phe­nom­e­non, which results from a temperature inver­sion. It is hap­pen­ing always in the land­scape, out­side of the city: in the desert, on the see, on the high­way. Kurant will present a possible loca­tion for Tbil­isi fata mor­gana in one of the best and still vivid exam­ples of Social real­ist archi­tec­ture, Laguna Vere swim­ming pool, where one comes as to the city oasis, to an almost sym­bolic purifi­ca­tion place. A week before the pre­sen­ta­tion the let­ters of the omnipresent adver­tise­ment over­look­ing the pool, the boule­vards in the vicin­ity and the Kura river will dis­ap­pear. A white sur­face with a potential no-​meaning will serve as a hypothetic announce­ment either of the return of the past or the fore­cast for the future cre­at­ing an uncer­tain present.

The pre­sen­ta­tion will happen during the work­ing hours of the pool, and could be lis­tened both by the audi­ence on the tri­bunes, as well as reg­u­lar goers in the water. Kurant believes alien intel­li­gence comes from Earth. Knowl­edge is often domes­ti­cated whereas nei­ther knowl­edge nor mean­ing should be taken for granted. New mean­ing can be pro­duced only when one takes the risk of pro­duc­ing com­plete non­sense, since the dis­tinc­tion between sense and non­sense can never be made with cer­tainty. Con­tent and mean­ing of work are con­struc­tions, they are never a given. The action and the pre­sen­ta­tion will act as a changing, unsta­ble, dis­ap­pear­ing form so in the end there is no truth. Just like works which cease to be art when the con­text changes and the author looses con­trol over the mean­ing.  Mis­un­der­stand­ing and the irres­o­lu­tion of forms are often more impor­tant than what the project starts off with.