In The End of the World, the artist criticizes the current economic
policies over the “critical raw materials” that are required for a transition
to newer sustainable goals, pointing at how the depleting resources
continue to trigger and fuel political crises. The artist presents the
minimalist materiality of ten minerals—including Copper, Lithium, and
Rare Earths—in stacks, layered to form a 4-cm cube that sits on a
pedestal. The audience is asked to rethink their positionality and to
ponder on the current situation of the biosphere. This linear, almost
essential form of the minerals procures a metanarrative about how
these materials have come to the end of their productive life in the
industrial cycle by becoming an artwork.