Eschatocene 
First scene of the last act
Pliocene is an added element to what is already new.
Eschatos describes an end beyond which point no return is possible.
Eschatocene is therefore the age of the new ending, yet the composition of the word Eschatocene suggests the beginning comes after the end where the world is ending one last time. This ambiguity reflects thus the paradox of the infinity loop:The meaning of time disintegrates in this loop. The aspect of drama and the persona are inherent to time and therefore fall apart at this point where thought no longer finds an objectifier, i.e. the reflector that will mirror the subject.
This moment of oscillation into non-directional being is comparable to the singularity where matter loses its equilibrium and changes state irreversibly, a change that is not recordable, therefore leaving no memory. This also means any notion of territoriality vanishes, in fact becomes a vanishing point, elusive…eschatological, immaterial, in a way, pointless. This pointless intervention is pivotal.
In response to the theme of the city and the approach to its centre, the market place, the initial idea of the dissolution of temporal traces in the revolving cycle of exchange between metaphysical spaces has grown into a more physically orientated interpretation, where hands and textures take form in the ritual of nomadic communication; because the market is not really constant but a discontinuous flux. I attempt to enter into the flux that contains, in a condensed almost meaningless shape, the journey of all living beings intertwined in a dance macabre. Have we as a species been lured into the great attractor of mercantile dominion, an arena governed by signs devoid of personal meaning but full of universal promise?…
The market, perhaps is a black hole of illusory fulfilment, and more importantly, the cradle of false self-hood where what is favoured and in a sense worshipped as it was in ancient times through central sacrificial rituals, is status, corporeal fulfilment, and adoration of appearance . I began in this work to explore this question. During this research, the contradiction and unhappy association between play and work also arose. This is symbolised by the interlacing of traders and buyers with artists experimenting with the same concept, exchange of values perpetuating on one hand a cycle of artificial survival based on the notion of a social contract and on the other, a receptive interplay of thoughts and action beyond the morale imposition of usefulness. Hands became the central actors of this dichotomy. This became the theatrical play ground and the journey of human hands from trivial exchange to the act of creation.

Copyright © Pascal Ancel Bartholdi 2013
MAGMA Mnemonic City, Moving Streets

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