The End of the World, the first exhibition by Chilean artist Alfredo Jaar at Le Patinoire Royale Bach, focuses on extractive industries and the global supply chains of critical minerals — the natural resources required for the tools and technologies essential to our daily life, from our phones to computers to electric cars. The exhibition centers on a single work The End of the World (2023-2024) composed of ten of the most precious minerals in the world: cobalt, rare earths, copper, tin, nickel, lithium, manganese, coltan, germanium, and platinum. As resource wars loom throughout the world, from the devastation of lithium mining in the Atacama desert in the artist’s native Chile to the explicit imperialism of US President Trump’s threats to annex Greenland and public negotiations around access to Ukraine’s natural resources, The End of the World brings the artist’s capacity to make us feel the injustice of the world to the capital of Europe.

• Le Patinoire Royale Bach, Brussels
• 4 settembre – 23 dicembre 2025

We are pleased to announce that on September 10, 2025, at the Teatro dal Verme in Milan, will take place a event of MITO SettembreMusica will take place: Dmitrij Shostakovich’s Symphony No. 10 in E minor, Op. 93, accompanied by the screening of the film “Oh to Believe in Another World” by William Kentridge. The performance will be given by the Luzerner Sinfonieorchester conducted by Michael Sanderling. This will be a unique opportunity to experience the dialogue between the power of symphonic music and the evocative imagery of Kentridge.

• Teatro Dal Verme
• 10 settembre 2025

The exhibition "Folding The Sea Into Dresses That Dissolve Like Salt" explores the rhythm of coexistence—of finding freedom while staying connected, of touch that transcends boundaries. Meaning is not anchored in fixed destinations but emerges through relationships, movements, and a shared pulse. Inspired by the compass metaphor in John Donne’s “A Valediction: Forbidding Mourning,” the exhibition describes a movement that expands outward while one foot remains firmly planted. In Donne’s poem, the compass symbolizes two lovers bound together despite physical distance, and here it similarly represents one side rooted while the other explores the world. It speaks of an experience seeking not direction but rhythm; like the invisible yet unbreakable bond between two lovers, the movement in the exhibition stays true to its center even as it stretches outward. This approach mirrors the island itself. Leros is at once solid ground and shifting rhythm. The island’s edges stretch with the sea, the wind, and memory, forming a fragmented yet interconnected narrative.

• Leros