Pierre Huyghe av Mark Lewis

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<b>An examination of Pierre Huyghe''s post-apocalyptic <i>Untitled (Human Mask)</i>, which asks whether our human future may be one of remnants and mimicry.</b><br><br>Pierre Huyghe''s 2014 film <i>Untitled (Human Mask)</i> 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 plu