In Avignon, Outremonde emanates the same feeling of solitude: Mercier places his audience as if we’re looking at the last survivors of a cataclysm that swept away the human species.
The performers wander through a succession of galleries as they walk around large sculptures made of sand. One of them, a Gothic window, is collapsing—or rather crumbling—into the heap of sand it is placed on. Its upper part retains its pointed arch and ornaments but, on closer examination, the window has been bricked up. Two troubling matte black spheres are placed nearby. They offer a sharp contrast to the beige sand structures. In a contiguous room, a gigantic foot, 2 meters high and 2.5 long, is a focal point that resembles an archaeological relic with a fragile fate. A dog—also in sand—watches it nearby.