The Story of the Day We Prevented the End of the World

The world was supposed to end that day. It didn’t. What did we do?

todos os públicos

The Story of the Day We Prevented the End of the World is a creation workshop that culminates in the construction of a collective mechanical panel, conceived as a fictional monument to the day humanity managed to prevent the end of the world.
The project is based on an imagined retrospective narrative: the story is told as if the catastrophe had already been avoided. Not as a heroic victory, but as a series of small gestures, repeated actions, and fragile collective efforts — poetic, ironic, and sometimes absurd.
The project is also conceptually inspired by Ideas to Postpone the End of the World, by Ailton Krenak, echoing the idea that imagining other futures — even provisional or fragile ones — is already a political and poetic act.
Eduardo Felix is a theatrical sculptor working across puppetry, directing, scenography, playwriting, acting–manipulation and costume design. He holds a degree in Sculpture from the Escola de Belas Artes at UFMG and has been active in professional theater since 2001. He is the founder and artistic director of Pigmalião Escultura que Mexe, where he develops his artistic research and pedagogical practice. His work has been presented through performances, workshops, and artistic residencies in Brazil and internationally. As an author and director, he has created a body of work spanning from 2007 to the present. Pigmaliao visited FiF in 2023 with their show “Antropophagic fables for fascist days”.

Collective work by leading artists from more than ten different countries. The Artistic direction of the project is by Eduardo Felix.

relationship

collaborators . partners . co-producers

Fossekleiva Kultursenter

agenda

26 SEP 2026 . SATURDAY > 11 OCT 2026 . SUNDAY

Fossekleiva arts centre | Norway

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art installation

The environment that surrounds us is inspiring, a source of dialogue between public space and art. Thus, artistic installations integrate urban and rural spaces, whether through events and initiatives, or informally, presenting themselves to everyone. Art can and should be present outside galleries and exhibition spaces, there too, but not only there. Whether through guest artists or intergenerational community programs, the installation of art in public spaces is a statement. Art is important in our daily lives, whether in harmony or as a confrontation of ideas and concepts that encourage us to reflect. And suddenly, while walking, the individual finds themselves in front of the work, the installation, breaking the routine through art. And so thoughts, reflections, or the simple aesthetic contemplation of something that arises unexpectedly are instigated, placing the individual's mind in a place of artistic reality.

shown at

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