Konstfacks bibliotek

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*020  $a9781846382130$q(pbk.)
*020  $a1846382130
*035  $a(OCoLC)on1242798344
*035  $a(SE-LIBR)xc0lrd52vktrxx19
*041  $aeng
*08204$a700.92$223
*084  $aIbz$2kssb/8 (machine generated)
*1001 $aLewis, Mark,$d1958-$4aut
*24510$aPierre Huyghe :$buntitled (human mask) /$cMark Lewis.
*264 1$aLondon :$bAfterall Books,$c2021
*300  $a125 pages$c22 cm.
*336  $atext$btxt$2rdacontent
*337  $aunmediated$bn$2rdamedia
*338  $avolume$bnc$2rdacarrier
*4900 $aAfterall
*520  $a"An examination of Pierre Huyghe's post-apocalyptic Untitled (Human Mask), which asks whether our human future may be one of remnants and mimicry. Pierre Huyghe's 2014 film Untitled (Human Mask) combines images of a post-apocalyptic world (actual footage of deserted streets close to the Fukushima Daiichi nuclear disaster of March 2011) with a haunting scene of a monkey working in an empty restaurant wearing a human mask and a wig. She's a girl! The flat, emotionless almost automaton state of the mask and the artificial glossy hair topped even with a child's bow, suggests that she, the monkey, might be a character from Japanese Noh theatre. But there's no music. Instead Huyghe's film evinces the terrifying possibility that our own, human, future might just be one of remnants and mimicry; that the deserted streets of Fukushima and the monkey's recognizable, alienating chimeric performance is all that might survive us. Untitled (Human Mask) presents a pluperfect world with extinction the endgame for a civilization that cared little for the present, dreaming only of a future that inevitably and necessarily could not include it."
*60010$aHuyghe, Pierre,$d1962-$tUntitled (human mask)
*60014$aHuyghe, Pierre,$d1962-
*830 0$aOne work
*852  $5Ko$bKo$cKONST -$hIbz Huyghe, Pierre
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^

An examination of Pierre Huyghe's post-apocalyptic Untitled (Human Mask) , which asks whether our human future may be one of remnants and mimicry.

Pierre Huyghe's 2014 film Untitled (Human Mask) combines images of a post-apocalyptic world (actual footage of deserted streets close to the Fukushima Daiichi nuclear disaster of March 2011) with a haunting scene of a monkey working in an empty restaurant wearing a human mask and a wig. She's a girl! The flat, emotionless almost automaton state of the mask and the artificial glossy hair topped even with a child's bow, suggests that she, the monkey, might be a character from Japanese Noh theatre. But there's no music. Instead Huyghe's film evinces the terrifying possibility that our own, human, future might just be one of remnants and mimicry; that the deserted streets of Fukushima and the monkey's recognizable, alienating chimeric performance is all that might survive us. Untitled (Human Mask) presents a pluperfect world with extinction the endgame for a civilization that cared little for the present, dreaming only of a future that inevitably and necessarily could not include it.

• What's it Like to be Almost Like Something Else?p. 9
• Untitledp. 10
• Disposing of Leftoversp. 14
• Prologue and Disaster Mise en Scènep. 25
• The Abduction of Gesturep. 28
• Insidep. 29
• Singeriep. 40
• Back to the Restaurantp. 44
• Film Consciousnessp. 52
• We are the Invention of Animalsp. 56
• Conclusionp. 59
• Notesp. 122