collaborating media: Beijing. Paris. Montreal. Bangkok.
collaborating media: Beijing. Paris. Montreal. Bangkok.
UE NEWSWIRE
The fall of the Berlin Wall in 1989 was followed by decades of inattention and "collective amnesia." The nuclear threat, however, has never really disappeared, and with the Russian invasion of Ukraine, it has returned to the center of global concern.
Reyes' project is linked, even iconographically, to the images and symbols used in the twentieth century by groups of activists and organizations advocating for disarmament, such as the Bulletin and the International Campaign for the Abolition of Nuclear Weapons (ICAN).
Reyes focuses on the "Zero" as a graphic, visual and conceptual element common to all languages, used as a symbol of global unity for the only universally acceptable cause: avoiding the destruction of life on earth. He was also inspired by the iconic Doomsday Clock of the Bulletin of the Atomic Scientists, created in 1947 by landscape artist Martyl Langsdorf (1917 - 2013), wife of the physicist and founding member of Bulletin Alexander Langsdorf. The clock has become a universally recognized indicator of the world's vulnerability to the catastrophe caused by nuclear weapons, climate change, and disruptive technologies. In the exhibition, it is displayed in the form of a luminous sign set at 100 seconds at midnight, according to scientists' calculations. It is the closest point to the apocalypse since its creation at the end of World War II. It is also referenced by 100 seconds to Midnight, a screening of 8 nuclear holocaust films reduced to 100 seconds.
The slogan "Zero Nukes," translated into many languages, is presented in hand-painted protest signs, blurring the line between art and activism. The reference is to the global protest against the arms race that began in 1958 which, during thirty years of mass resistance, from the 1960s to the 1980s, pushed governments to reduce nuclear arsenals drastically.
shopnow_information and delivery "SYNTHESIS ARCHITECTURE"