Pangea Ultima II, La Disloquée, 2018

With this new opus, the Collectif de la Dernière Tangente continues its unbounded and poetical reflection on the place occupied by humanity in the centre of the great tumults. This second part of “Pangea Ultima” gives us an insight into the multiple temporality of possible destructions: those engendered by natural, ineluctable and colossal forces, compared with those of human origin, which turn out to be, on our scale, sometimes even more radical! Our faculty of forever reconstructing only engenders future ruins on the traces of the previous ones.

The Collectif de la Dernière Tangente, having always included pictorial allusions in its creations, (Bacon in “9 pictures”, Breughel in “Pangea Ultima I”, etc.) found its nourishment for “La Disloquée” in works of the Spanish painters who have witnessed with such force to man set against man: Picasso (“Guernica”), Goya (“Tres de Mayo”) and this time, rather than their being mere allusions, it is these works which have configured its course. This re-reading is perfectly recognizable during the development of the performance.

What these works recount are too, alas, a precise witness to the furies of our century: Syria and Iraq, North Korea, Mali, Myanmar (Burma), etc. They hurtle along faster and faster, but advance within the framework of climatic warming, earthquakes, hurricanes and typhoons that are ever more powerful. Do we consistently question the imaginary so as not to disappear or to exorcise the ineluctable?
For nearly twenty years now the collective has been perfecting its interdisciplinary fusion, refusing a simple juxtaposition of the media, but refining its osmotic territories in which image is transformed into resonance, choreographic gesture into painting, where every action regains the pluralistic rituals.