Il y aura toujours ce moment singulier, cette chose unique, ce sentiment limpide qui nous font comprendre qu’ “une présence lumineuse" perdurera au long des siècles de notre existence. C’est la présence suprême : toutes les images se rejoignent et se déploient à leur manière, à leur rythme… La présence possède son propre temps.
There will always be that one moment that one thing and clear feeling where you know this will be a presence shining through the centuries of your life. This is the supreme presence, all pictures combine and unfold in there own way, in their own time, the presence has its own time. Cutting the Clock and the Calender in Half just by the pure existence.
Un chemin laborieux mais néanmoins décisif est parcouru par une tortue sur le sol d’une forêt exotique. Une impression de voyage depuis un train nocturne. L’animal arrive enfin à destination : un majestueux cactus en fleur pousse entre deux murs.
BOOM begins with the at times somewhat laborious but nevertheless decisive path of a tortoise along an exotic forest floor. The impression of a journey with a specific destination at its end is enhanced by briefly inserted sequences of a nighttime view out of a moving train. The animal finally reaches its destination within the story: a tall, lavishly flowering cactus growing in a corner between two multifaceted walls. The plant nestles into its backdrop in a picturesque manner, just as the background appears to reference the plant. In this regard BOOM feels like a kind of epilogue to Rodriguez’s earlier films (Optimistic Cover, 2015, Supreme Presence, 2016, Interior Season, 2017, Homeless, 2017) in which a collaboration of nature, culture and identity is negotiated as an overriding question. In this context nature could be a romantic, misty-eyed place of longing or a placeholder for culture and identity – just as architecture, technology and urban landscapes are depicted as something organic, something that changes and is animated. By using an academic classification of the current relation between humans and nature in the age of the Anthropocene, theoreticians such as Bruno Latour endeavour – in a comparable manner – to abolish the binary approach to nature and culture at the theoretical level and to make space for fluctuations in the two poles. In this sense nature is no longer seen as a divinely omnipotent entity that humans must submit to or whose destruction they penitently observe; rather, parameters supposedly set by nature, such as gender and role images, are deconstructed.