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The End of the World

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HD video │ 15ʼ23” │ sound │ color │ 2007

I tried to encompass this notion of a place that is changing so I introduced the most obvious motives and these were the colors and the drastic conversion of space like the pyramid that transformed itself from a symbol of power and the mausoleum of eccentric dictator to an international center for culture. Hoxa kept Albania in utter isolation and introduced a system of bizarre regulations like the banning the citizens to change their place of residence, listening to music etc. The pyramid represents the example of transformation from one extreme to another. Simultaneously I tried to establish a relationship between the place of taboo and the real place. The ʻtaboo placeʼ derives from a ʻrealʼ fairytale, the Earth-centered universe and geopolitical power relations. On the other side there is Tirana, a place of changes. That hybrid place stems from a constellation outside the realm of local political context, in which there is an urge for selfaccomplishment but also the suspension of possibilities. That provoked me to depict this place where the colors are some kind of signs of life, suspended in the dark.

The creatures behind colored masks are wanderers who by chance find themselves at the End of the World. Since the End of the World is the final point, the wanderers can no longer move, so they start a game by projecting the potential inhabitants of the End of the World. Their projection is actually a reflection of the site and that is why other team wares the masks of suspense. Their eyes and ears are covered, so the course of the game is ruled by accident. They are playing football with somewhat modified rules. There are six wanderers and twelve end of the world players. Since they are motionless, the wanderers become obstacles in the field, while for the other team the ball always seems to be somewhere else. Such a game can have no result and no final point. It is something that is played forever.