end – and?
The Dutch artist Koen Taselaar presents his latest work, End And, in Tours—a 19-meter-long and 3.5-meter-high tapestry that explores humanity’s enduring fascination with apocalyptic narratives. Inspired by the Apocalypse Tapestry in Angers, which visualizes scenes from the Book of Revelation, Taselaar offers a contemporary response that examines the multiplicity of world-ending scenarios across history. By weaving together historical, scientific, and cultural representations of catastrophe—from the extinction of the dinosaurs to the existential risks posed by artificial intelligence—End And invites viewers to reflect on the interconnectedness of past and present anxieties. In this interview, Taselaar discusses how his work engages with eschatological themes, technological developments, and the use of irony and humor in confronting apocalyptic fears.
Interview with Artist Koen Taselaar on the Exhibition “end and” in Tours
As a recurring theme throughout history, apocalypses were shaping cultures, literature, and artistic expressions across centuries. In his latest exhibition in Tours, the Rotterdam-based artist Koen Taselaar delves into this enduring motif, exploring how different eras have envisioned the end times. His work, inspired by the monumental 14th-century Apocalypse Tapestry in Angers, translates historical and contemporary fears into a visually compelling narrative.
As part of our engagement with contemporary reflections on apocalyptic and post-apocalyptic themes, the Käte Hamburger Center for Apocalyptic and Post-Apocalyptic Studies at Heidelberg University has had the privilege of collaborating with Koen Taselaar.
Our discussions provided a scholarly foundation for his artistic process, allowing him to integrate academic perspectives into his exploration of the apocalypse. In turn, his artistic interpretation offers us new ways to visualize and understand the cultural significance of apocalyptic thought. By bridging academic research with artistic exploration, this collaboration enriches our understanding of how societies have historically grappled with visions of the end—and how these narratives continue to shape our present and future.
CAPAS: What inspired you to create this exhibition?
Koen Taselaar: When Isabelle Reiher, the director of the centre de création contemporaine Olivier Debré (CCCOD), invited me to Tours and the surrounding region to prepare for this exhibition, she strongly advised me to visit the Apocalypse Tapestry in Angers. This impressive 14th-century tapestry deeply moved me—it is an over 700-year-old depiction of the apocalypse. I started reflecting on the apocalyptic imagery as a recurring theme across generations. Given the increasingly apocalyptic tone in contemporary media since the last 5 to 10 years, I found this an intriguing subject to explore artistically.
CAPAS: Could you describe the exhibition’s concept and structure?
Koen Taselaar: The exhibition is located in a large, high-ceilinged space in the CCCOD, which posed an interesting spatial challenge. I used Jacquard Woven tapestries, allowing them to hang loosely in the space, by making ornamental stainless steel frames in collaboration with designer Phil Procter creating a sculptural environment. The exhibition is designed as a kind of living room filled with 2,000 years of apocalyptic narratives. The juxtaposition of tapestries, furniture, and sculptures invites the viewer to engage with the theme in an immersive way.
CAPAS: What is your connection to apocalyptic themes?
Koen Taselaar: Apocalyptic imagery and narratives are prevalent in contemporary popular media and culture. I wanted to explore why this theme resonates so strongly in our time and whether it has always been a part of human history. As a visual artist, I do not approach the topic academically but rather through artistic exploration—through drawings, paintings, and sculptures that visually interrogate this phenomenon.
CAPAS: How did you become involved with the Käte Hamburger Center for Apocalyptic and Post-Apocalyptic Studies?
Koen Taselaar: While conducting research for the exhibition, I came across the Center online. I was looking for deeper insights beyond mainstream narratives and wanted to explore historical and philosophical perspectives on apocalyptic fiction. The scholars at CAPAS were incredibly helpful, offering insights that led me to even more questions—a truly rewarding academic exchange that enriched my artistic process.
CAPAS: How did this collaboration influence your work?
Koen Taselaar: We had a lot of exchanges with the scholars at CAPAS that provided an intellectual foundation for the exhibition. Their expertise helped me refine the conceptual aspects of the project and understand contemporary definitions of the apocalypse. Having access to academic perspectives allowed me to approach the theme with greater depth and nuance.
CAPAS: What message or experience do you hope to convey to the audience?
Koen Taselaar: I want the audience to engage with the artwork visually before diving into its deeper layers. This is not a didactic exhibition but rather an invitation to reflect. If there is a message, it is that the idea of the ‘end times’ has always been with us. Every era has had its own vision of the apocalypse, and I hope to capture that historical continuity.
CAPAS: Your works often feature vibrant colors and intricate patterns. How do these elements contribute to the exhibition’s themes?
Koen Taselaar: As a visual artist, I focus on aesthetics as a means of engagement. The use of color and pattern makes the artworks visually striking, encouraging viewers to approach them. Once they enjoy the exhibition visually, they can then explore the deeper thematic layers of the exhibition. But first you need a visual entrance, so I use attractive visual markers to start a conversation between my art piece and the viewer.
CAPAS: How does this exhibition differ from your previous work?
Koen Taselaar: This is the most spatially ambitious exhibition I have undertaken so far. The large scale allowed me to create freestanding structures that emphasize the sculptural aspects of my work. Conceptually, this project was almost like composing a book—I gathered historical information, structured it, and then translated it into a visual narrative. The work is a continuation of earlier tapestries, as one depicting the history of the Bauhaus but on a more ambitious scale.
CAPAS: Can you elaborate on the structure of the tapestry?
Koen Taselaar: The tapestry is divided into chapters, each representing a different period in apocalyptic thought. The first section covers early religious apocalypses, followed by the medieval Christian vision of the end times. The 19th century introduced a more secular, literary perspective, influenced by figures like Mary Shelley and Lord Byron. The 20th century brought new fears with the advent of nuclear weapons, especially in 1954, culminating in contemporary dystopian imaginaries. This chronological structure offers viewers a visual history of apocalyptic narratives.
CAPAS: What role do materials and techniques play in this exhibition?
Koen Taselaar: The use of tapestry was a deliberate choice, as it has a long tradition in storytelling. Historically, tapestries were portable and used to narrate epic tales—almost like medieval cinema. I wanted to continue this tradition by weaving 2,000 years of apocalyptic history into a single visual composition. The softness of textiles also provides an interesting contrast to the dark themes explored in the exhibition, adding another layer of complexity to the work.
CAPAS: Any final thoughts on the exhibition and its impact?
Koen Taselaar: This project has been an incredibly enriching experience, both artistically and intellectually. The collaboration with the Käte Hamburger Center allowed me to contextualize my work within a broader historical and academic discourse. I hope visitors leave with a greater awareness of how apocalyptic narratives shape our understanding of the past, present, and future.
About Koen Taselaar
Koen Taselaar lives and works in Rotterdam (Netherlands).
He has had solo exhibitions in the Netherlands, notably at the Museum Boijmans in
Rotterdam and the Groninger Museum, and the MMCA Changdong Seoul.
