ABSTRACT
This chapter seeks to map the various ‘voids’ in Kris Verdonck’s apocalyptic installation circuit IN VOID and to unfold how the concept of the void tells us something existential about being human, and, following Giorgio Agamben, holds a suggestion for a new politics after the end of history. Placed in a theatre, IN VOID aims at the void left by humans after their end, and how it is filled with machines, images, objects – a transition from theatre to installation in a posthumanist context, which I will call ‘post-theatre’. Evoking the end-times, Verdonck’s voids render apparatuses of power, but also the theatre and subjectivity, inoperative.
