Les cavalières de l'Apocalypse

The incivility The Apocalypse heralds the end of a cycle. It has had such a profound impact on the Western psyche that the term has become synonymous with cataclysm, with the end of the world. Four great tableaux unfold like a gigantic tapestry woven from blood, fire, humus and swords. There are cries and caresses; there is racing. There are two horses and three figures on the edge of humanity. A Black woman, often on horseback, creates confusion: is she the horsewoman, or is she fleeing? What does the intimacy she shares with the animals mean? Does she know the codes, or is she making them up as she goes along? A slender, blonde, white woman embodies Donna Haraway’s cyborg world; at once perfect and repulsive, smooth, confrontational and aggressive, she seems to be both the cure and the disease. ‘I’d rather be a cyborg than a goddess’, she claims. Off to the side, sunk into a battered armchair, sits a weary, ape-like demiurge. He has the baldness and beer belly of certain ‘outcasts’; he observes, comments, mocks and even throws cans onto the stage. He is their exhausted, withering god. And then it begins.