The End is an unnatural history museum of apocalyptic peculiarities, a snapshot of the stages on which The End rehearses endless re-reproductions of end times. It presents prophetic archaeology as filtered through speculative histories, fictions prying open twisted temporal structures and building disparate worlds of generative catastrophe. The End is read through the constrictions of storytelling, tales whose entry points slip between artefact, documentation, cinema, prophecy, and memorabilia: sharpened compulsions to domesticate the unknown. It offers the imaginary a system of objects and images to be stitched into seamless delusions of narrative closure. In place of The End is curatorial whiplash: through-lines turned fault lines, stylistic, scenographic, energetic, and spatio-temporal incongruences. The End is intergenerational pathology. It is Edelman’s symbolic Child handed crayons to draw into being a monstrous futurity, family photos rendered radioactive. It destabilizes conservative fixity even as it reinforces the fictions of resemblance and metaphoricity. It is a Procrustean chariot of “brotherly love” lathered in calamari seasoning and deep fried, an absurd banquet of speculative outgrowths sprouting from the detritus of anthropocentrism. The End is a storybook written in pursuit of its two final words, read into being by the child that inherits its inherent impossibility. Text by the curator Evan Karas