Participating Artists: 

Irene Abello
Alessandra Allioli
Renaud Artaban
Yoann Bac
Raphaël Bastide
Rosalie Becher
Olivier Bémer
Correntin Darre
Juliette Delecour
Elisa Florimond
Dora Frey
L. Camus Govoroff
Clément Justin Hanin
Nicolas Lallemand
Sacha Lefevre 
Mathias Leonard 
Baptiste Leroux 
Antoine Liebaert  
Luca Nuel  
Marine Prunier  
Harold Roger  
Lili Signorini 
ST4  
Joséphine Topolanski 
Hugo Vessiller-Fonfreide 
Hadrien Zwape Moret

90 seconds to midnight
Ana Bujošević



This is the way the world ends.
Not with a bang but a whimper.*




Founded in 1945 by Albert Einstein and University of Chicago scientists who helped develop the first atomic weapons in the Manhattan Project, the Bulletin of the Atomic Scientists created the Doomsday Clock two years later, using the imagery of apocalypse (midnight) and the contemporary idiom of nuclear explosion (countdown to zero) to convey threats to humanity and the planet. The Doomsday Clock is set every year by the Bulletin’s Science and Security Board in consultation with its Board of Sponsors, which includes 10 Nobel laureates. The Clock has become a universally recognized indicator of the world’s vulnerability to global catastrophe caused by manmade technologies.

A time of unprecedented danger: It is 90 seconds to midnight


This year, the Science and Security Board of the Bulletin of the Atomic Scientists moves the hands of the Doomsday Clock forward. The Clock now stands at 90 seconds to midnight—the closest to global catastrophe it has ever been. Nuclear weapons, climate change, biological events, and the misuse of other disruptive technologies, and a general notion of self-destruction is upon us, and instigated the dramatic time jump in 2023.


Introduction

We call upon an artistic re-envisioning of what the world around us will look like at doomsday. With 90 seconds to spare, what does a post-apocalyptic existence look like? Apocalypse from Ancient Greek is a close translation to revelation, hence what will the end of the world reveal to the audience? Whether these visions may be of cosmological or pessimistic nature, much like religion and thoughts of an afterlife, are open to interpretation.


Exhibition Concept

"90 seconds to midnight" invites artists from diverse backgrounds to explore the theme of the end of the world. This project seeks to delve into the myriad emotions, concepts, and perspectives surrounding the idea of apocalypse. It challenges artists to envision what remains when the familiar crumbles, what revelations arise from chaos, and what beauty or more importantly humor can be found amidst destruction.


*
T.S. Eliot; ‘The Hollow Men’


Bare concrete of the Tour Orion; illuminating windows allowing daylight to seep through and over the artworks; and even a leak trail - the perfect setting. Upon entering the vast space, we first come across light seeping through a triptych of photographs on sheer fabric. These black-and-white images by Dora Frey encapsulate memories, helping her imagine a world after, or one in the throes of, catastrophe. Reflected in a puddle, devoid of human figures, the images present a portrait of emptiness. Nearby are the remains of broken ceramics left behind, and beside them hangs a portal. This metallic composition, created by Antoine Lieabert, once served as the entrance to a post-apocalyptic temple dedicated to contemporary beliefs in technology, reflecting on a modern definition of "pittoresque" in the actual French countryside. The artwork mocks our faith and infatuation with the digital world, offering a mythical glimpse into a future world.

On the other side of the triptych is another entrance, paradoxically a roof. Representing a home, yet adorned with "feisty teeth," it symbolizes protection but lacks conviction. As artist Rosalie Becher explains, “Under it: to rest, to observe what will be forgotten and mimic life, finding self and meeting it. Elongation, deconstruction, fragmentation and shedding something that has seen it all. Around: Erosion like traces in a candy stuck to the roof of a mouth. Seeing a familiar shell passing by. The tender whirlwind of disturbed radio waves that brush up against the shelter. Engraving its wishes onto the glass roof. That’s the flood and the tide coming in. Which gives us perhaps: hope for the husks of seeds that grow in sand like a grain in the heap of truth.” Rosalie’s roof, followed by the gates, provides a place of rest and solitude, yet remains transparent, forbidding the viewer to hide while embracing the unknown.

Seen through the light-cascading windows, we encounter two engravings on glass, based on Juliana Spahr's poem "The Connection of Everyone with Lungs" (2005). The poem visualizes and explores the notion that all living beings are connected through the air we inhale and exhale. This delicate text, illuminated by sunlight, contrasts with the enduring nature of glass, which decomposes over 5,000 years, perfectly marking our short-lived existence. L. Camus-Govoroff’s piece, fragile yet enduring, immortalizes fleeting emotions in a crystalline embrace. Moreover, with this surge of hopefulness, we are led through a landscape crafted from natural wood, presenting an expansive panorama that invites viewers to breathe in a sense of longing for a post-apocalyptic dawn. Hadrien Zwape Moret's work, rendered in vibrant, luminous color, paints a picture of optimism, illustrating scenes of a life yet to come. His artistry captures the delicate balance between desolation and rebirth, offering a vision of the future that is both contemplative and inspiring.

As we follow the path of this optimistic future, we are faced with a flying “Reaper.” Embellished in a colorful jousting motif, soaring through the concrete space, the piece is born out of fascination with the strange shapes of stealth and aerospace designs by Mathias Léonard. Suspended in a moment of silence, the hybridization and encounter of temporalities set far apart in history create an alternate timeline where myths of yesterday populate the present. Hovering beside it is a black hole, an electroacoustic experiment playing with the viewers and the input of vibration and feedback. Visually, this “undesirable looping phenomenon” is crafted out of steel, creating an almost black geographical landscape with certain zones amplifying the looping feedback sounds. The work of Baptiste Leroux speaks volumes of cataclysm, combining technology with nature, the tension of the piece midair beating to the same clock ticking away through a quiet hum.

Past the suspended pieces, we come across a series of artifacts. Like debris, we see the remains of a leg, balanced upon raw stone, on a mirrored base. This sculptural piece by Elisa Florimond mirrors the archaeological residue of past civilizations, almost as a premonition, warning us of what is to come. The base is embellished with a tiny bas-relief of the complete leg, like a small trinket and reminder of its own terminated existence. Paired alongside it are bas-relief pieces by Harold Roger. An aluminum triptych presenting the Genesis scripts, inspired by 'directed panspermia'—the hypothesis that Earth may have been deliberately seeded by another (unknown) civilization, initiating the development of life. The light bouncing off the artworks guides our vision to a water source in the background. A 3D-printed fountain, created as a mobile mechanism that detects, extracts, purifies, and stores water, brings a sense of purity amidst the darkness of the apocalypse. Standing between the two artworks is the smallest piece with an immortal impact: encased in a small glass pill are the tears of artist Juliette Delcour. The artwork, entitled "You Stay in Wonderland," is part of a series that offers viewers the chance to imagine choosing between the blue pill, which sustains an illusionary, decaying world, and the red pill, which reveals the grim truths of scarcity. These rare moments of decision, although infrequent, are intensely amplified, stirring negative emotions and physical discomfort encapsulated in a clear, tear-filled and tender pill. This experience heightens our dread of an unavoidable end to our world.

At the far end of the space, a scene unravels. Mounted on an in-situ wall, illuminated by the emptiness of corporate office neon light, is a triptych depicting a nightmarish event. On the backside of the wall, we see the “behind the scenes” of the nightmare. These opposing artworks play push and pull between the intensity of a hallucination and the mundane images surrounding Yoann Bac. Constructed as a stage in wood and concrete, the paintings are actors in this apocalyptic spectacle. Continuing through the space, we encounter an intriguing lilac ingress, meticulously carved with a concrete texture and standing tall like a pair of totemic diptychs. These sculptural pieces, crafted by ST4, serve as a majestic gateway, their surfaces reflecting violet light in a mesmerizing dance. The interplay of light and material creates an ethereal atmosphere, inviting viewers to step into a realm where art and architecture converge in a harmonious blend of form and color. Standing firm, the piece paradoxically symbolizes strength while appearing soft and elegant.

Passing through the diptych, we are transported to an esoteric scene masterfully created by Alessandra Allioli. The backdrop is a reflected fabric, softly illuminated by the flickering glimmer of candles, casting a warm and mysterious glow. This setting frames an explorative encasement, beckoning the viewer to delve into the enigma of the "Bridge." Allioli's work weaves a narrative of intrigue and contemplation, guiding us through a journey that blends the mystical with the tangible, inviting a deep exploration of the unknown.

Set against the wall is a captivating piece by Corentin Darré. This artwork explores a dynamic scene featuring a trio of figures, seemingly suspended mid-air as they reshuffle a cloth, imbuing the composition with an almost sacred aura. Darre's smooth contemporary style evokes the symbolism of the Holy Trinity, bridging the gap between the pre-apocalyptic and post-apocalyptic worlds. The piece delicately balances modernity with reverence, inviting viewers to reflect on themes of transformation and continuity amidst the cyclical nature of existence. Moving past this space, we arrive at an installation by Sacha Lefevre, entitled “Le Monde est un jardin, tenons-nous par la main.” The piece evokes a feeling of escape, as organisms made of glazed ceramic crawl against the surface, fleeing from a screen-printed self-portrait in search of protection or a more successful attempt at shelter.


Facing the other end of the room, a bright light cascades through fluorescent neon, crawling out of the walls like a malignant fiend. Constructed in steel and lacquered wood, and housed in seeping electricity, this installation by Hugo Vessiller-Fonfreide is a monstrous oddity, paradoxically shedding light while preserving a painting in the distance which reads, “as long as nobody worries, there will be no apocalypse.” This light bleeds throughout the space, passing through the gentle flames of a grand textile installation by Irene Abello. Depicting a fire, a silent moment of destruction, the piece guides viewers through and around it, encouraging thoughts of new beginnings arising from the ashes. Encased on each side are paintings: on one end, a series of panels by Lili Signorini captures moments of uncertainty, passion, apprehension, and anxiety, indirectly depicting the subconscious realization of what will come. On the other side of the fire, a triptych by Luca Nuel differentiates in size and composition, showcasing an internal struggle of the central portrait. The figure, consumed by worry, is flanked by The Juggler and The Devil—two powerful influences over humanity. In his 1949 poem "The Juggler," Richard Wilbur captures the magic of the juggler as a metaphor for life, with themes of change and passion. The juggler has the power to end it all, while the devil symbolizes our own destruction.

In contrast, Joséphine Topolanski presents a divinatory portal expanding beyond this realm. Pinned against coarse steel are screen grabs of infamous whistleblowers exposing the existence of UFOs, like Doctor George King and David Grusch. The otherworldly body evokes the enigmatic presence of extraterrestrial life, blending with the mystery of the cosmos. Gleaming against the neon light, it stands as a testament to humanity's fascination with the unknown and the possibility of life beyond our planet. Nearby we have Olivier Bémer's artwork that delves into a haunting exploration of the apocalypse's emptiness and sorrow through a unique lens. Using a computer code that gathers undesirable words, Bémer creates haikus printed at intervals. This process mirrors the relentless repetition and bleakness characteristic of a post-apocalyptic world. Each haiku, meticulously formed from collected fragments, echoes the desolation and cyclical nature of existence, inviting reflection on the profound emptiness left in the wake of catastrophe.

As we approach the triptych, the sounds of an installation piece by Nicolas Lallemand are heard in the distance. A mismatch of musical harmony resembling a prophetic post-human melody plays as a backdrop to a treadmill, adorned to reflect plastic natural materials. The sad constant movement of the piece has an air of futuristic futility, enticing viewers to imagine the hopelessness of what is yet to come. In a living room-like setting in front of the piece, a digital drawing pad features a still life, suggesting that domesticating fake nature might be our only solution. Past the turn, we reach a collection of pieces by Renaud Artaban. His painterly pieces hold feelings of nostalgia, depicting scenes from childhood distorted through rough brushstrokes, paired with children’s toys. A hidden tiny plastic horse and a ghoulish swing set adorn the space, emitting a certain level of discomfort.

The night paired with performances set the magic in motion. In a dark isolated space, Marine Prunier offered a form of seance, showcasing an installation questioning how society deals with death, violence, and mourning in a mechanical or ritualized way. As she poetically puts it, “a funeral ritual is essentially a matter of gestures and words placed around it, anchored in a logic of management, channeling of affects, and reduction of emotions. We could also say the threat posed by this management of life and death. But we are far away.”

Following, Raphaël  Bastide live-coded a performance piece, giving energy to the space in a digitized manner. Using a self-coded program called Éte, which combines musical and visual algorithmic compositions and treats keystrokes as percussive events, the sound piece provides an essence of a dehumanized and artificial future. The night closed with a glimmer of hope through the last dance by Clément Justin Hannin. The artist invites us to celebrate the remaining moments of humanity with joy and benevolence. Like a festive gathering or a harmonious dance, this event embodies unity, communion, and community. This multifaceted encounter focuses on listening, understanding, and coming together, aiming to reconcile those willing to join in a "general rave," journeying both nowhere and everywhere at once.

90 seconds to midnight presented a profound journey of reflection, emotion, and hope, encapsulating the essence of humanity's resilience and creativity in the face of uncertainty.