This work came about as a result of my research grant, for my Bachelor’s thesis, in Theological Aesthetics. Starting with the technical issues and locations, I created a digital pinhole camera from scratch, filming several cemeteries that were once mass graves. Coming to the research work, it is intended to be an investigation on two intertwining strands: A first, of theological and therefore transcendental investigation is to be found in the eschatological question of death Is it in death that that annihilation of the will with respect to the One takes place? Is it in the event of death that we are definitively reunited with the One, becoming a uniform mass with one another, thus ceasing to be a numerable unity and changing into a space in which everything is reunited? An answer that passes through and starts from the studies of Giacomo da Fiore, the first to have questioned the possibility of a representation, of an image that goes beyond historical time and has an understanding at the end of time, in his eschatology A second strand, continuing Heinrich Wölfflin’s research illustrated in his book “Research on the Essence and Origin of the Baroque Style in Italy”, relates the question of the mass illustrated in the Baroque to contemporary video art as a continuation, a story that leads from the essence of the Baroque to the essence of contemporary video, but not only. Investigating style in relation to theological issues also allowed me to search for a thread between contemporary art and theological aesthetics. If the biggest problem, for theology, is the lack of beauty in the actuality of art, an art that through beauty no longer searches for truth and thus for Revelation, what can be the integration between Revelation and Contemporary Video? The answer can only come from the titanism of the Baroque and thus a continuation of it by investigating questions of mass, verticality, etc
