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Still image from That the Earth is the Middle of the World, 2-channel HD video & sound, 11-minute seamless loop, 2019-20.

Still image from That the Earth is the Middle of the World, 2-channel HD video & sound, 11-minute seamless loop, 2019-20.

Still image from That the Earth is the Middle of the World, 2-channel HD video & sound, 11-minute seamless loop, 2019-20.

Still image from That the Earth is the Middle of the World, 2-channel HD video & sound, 11-minute seamless loop, 2019-20.

Still image from That the Earth is the Middle of the World, 2-channel HD video & sound, 11-minute seamless loop, 2019-20.

Still image from That the Earth is the Middle of the World, 2-channel HD video & sound, 11-minute seamless loop, 2019-20.


Simulated installation view ofThat the Earth is the Mid dle of the World, 2-channel HD video & sound, 11-minute seamless loop, 2019-20.


That the Earth is the Middle of the World (2020) is a two-channel video that incorporates excerpts from the table of contents of Naturalis Historia written by Pliny the Elder (23–79 CE). Naturalis Historia is a scientific encyclopedia cataloging all the earth’s elements, systems and creatures known at the time in the early Roman Empire. It is one of the first of its kind in its formulation of an encyclopedic approach towards epistemology, and has since become a fundamental text organizing the study, documentation and knowledge of natural phenomena in the West.

The 11-minute video uses 2D and 3D animation techniques to create a collage composed of over 500 different images, videos and sounds mainly sourced from the internet. The voice is performed by Ayam Yaldo, who also narrates the part of the protagonist in the prequel to this piece, Théâtre de l’inconnu (2019).

In the left channel of the video, a submerged humanoid narrator recites chapter headings from Pliny’s table of contents, while in the other we bear witness to a baroque and hallucinatory ecosystem seething with residual and conglomerate life-forms. The endless list of natural phenomena recited by the narrator conjures both creation à la Noah’s arc and extinction— an endless womb-grave in which the human is imagined as a vestigial structure of the landscape. As the two scenes are intermittently drenched by rainfall and fogged by morning mist, foley tropes borrowed from horror and sci-fi cinema create a narrative that vacillates between the Romantic, the tragic and the absurd.


Please contact hambonbonehoney@gmail.com to access the full preview version.