We had left God behind.
Our parents, our teachers, our continents and their empires - we had let them all fade away, along with meaning and reason. Order, hierarchies, laws - gone. Decency, politeness and family values too.
The future no longer concerned us.
Our pasts were erased.
Borders and treaties were forgotten.
Even the names of cities were gone.
Oil, gas and running water were forgotten. Where were our homes - their living rooms, kitchens, and bedrooms? Our dogs, cats, horses, birds, even our tortoises were lost.

We no longer thought about property, domestic life, vast fortunes or the quiet dependencies that sustained them.
There were no supermarkets anymore. No brands, no idols, no new releases. No cinemas, no platforms, no texts, no emails.
The internet lay far behind us.
Twitter, Instagram, TikTok, Snapchat, LinkedIn, Google - we couldn’t remember them anymore.

We had given up thinking and hoping. Truth and fiction were lost.
Death no longer existed.
Neither did love.

We had renounced so many things.
Except for some - or not yet.

We lived together, left to ourselves on the island.
We saw it as a reservoir of ready-made things. We gathered rainwater, tended papyrus and duckweed, and lost ourselves in the shimmer of makeshift pools - small fountains that organized our lives. We made wishes, washed our faces, and sculpted wild fruits.
And we began to play.

So we had not renounced our relationships or our energy. We cooperated. But time - no. No clocks, no alarms. There was no work anymore, no profit either. Money - where was it? What was it for? We had no idea.

We hadn’t given up our clothes; they had given up on us, worn down to rags.

It did not matter, since we were having fun. We had, quite simply, replaced everything civilization had taken centuries to build, refine, and bring to maturity (civilization itself now forgotten).
We had reached such a degree of simulacrum and joy that even the idea of ruin had become foreign to us.

Simon de Dreuille

FONTANE by French artist Antoine Espinasseau is an installation of 13 containers/fountains based on his work Pilar, alongside a new series of imaginary bronze fruits dedicated to Sicily. Pilar is a totemic, hybrid object that evokes the radical utopias of the 1970s.