For most people, Antarctica, the earth’s sixth continent, is so far away that it can be perceived as common heritage, as an agile archive and laboratory, in which a new era of ecological consciousness is being fostered. Antarctica is a geographic end of the world yet central to global debates about climate change. But what are the intellectual and practical coordinates of commissioning art in such a location? Can we even talk about an ‘antarctic imaginary’ beyond scientific discourse? Starting with a screening of Pierre Huyghes’ film A Journey That Wasn’t, the event “Expeditions / Exhibitions” investigates the topic of travels and their presentation. What follows is a discussion between Antarctic Biennale participant Gustav Düsing, author and expert in Huyghe’s work Marie-France Rafael, and co-curator of the Antarctic Biennale Nadim Samman addressing the larger questions at hand. As part of the event, Düsing will reveal his architectural contribution to the biennial: a tent made of frozen fabric as a reference to the most prominent typology that has been used for Arctic expeditions since the 19th century. This event is part of Stop making sense, it’s as good as it gets., an ongoing program developed by Ludwig Engel and Joanna Kamm, derived from a close reading of Tom McCarthy’s novel Satin Island. Artists, writers, architects, theorists and scientists are invited to discuss their interpretations of time through different formats.