… It’s about exiting exiting the past to imagine the future. Art has value if it begins something, if it inaugurates something. And it is this idea of inauguration that seems to me to be as precious in the contest’s project, as it is in Dolomiti Contemporanee’s project in general.
Inauguration isn’t refusal of the past, but the idea of beggining once again, which is essential.
I think that these are spectacular places, marvellous places which mandate respect. And I have the impression of better understanding the will of the DC project after having seen these places. 
In general, I believe that there is, in the other sites, the will to place a bet on time against history.
The site of Borca di Cadore is a place that tries to re-live, after rich but concluded experiences.
This idea of recommencing something is a fundamentally  aesthetic concept, creator and pragmatist at the same time, because this is about making art in a places that changes its function and that, in a way, resembles a ruin. We don’t know what its use was anymore, or rather, we know, but it’s a dead thing at this point. And this way of trying to make a place alive again in its current velleities independently from its past, is something that influences  time and history. It’s saving time, by overcoming history. It’s not denying history but trying to consider the fact that it is gone by, that is has a start, an end and a sequel . And this sequel is a renewal, a fresh start. I believe that the sites not only allow this kind of approach, but impose it, in a way. I believe the endeavour of DC to be open and ambitious. It has its risks and it has its promises. And it’s exactly the balance between risks and promises that’s beautiful. It’s the glorious uncertainty of art…

Marc Augé