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museum of decorative Arts and Design

musée des Arts décoratifs
et du Design de Bordeaux
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39 rue Bouffard,
33000 Bordeaux
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Timetable 11 am - 6 pm
Closed on Tuesdays and holidays
(open on July 14 and August 15)
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Billetterie
 © Max Pugh
©Max Pugh
event

Meeting with director Max Pugh and special screening of "Nothing will ever stop the music"

06.10.2022
at 7:00 PM

In a two-hour epic that combines narrative elements, travel and personal stories, Franco-British artist and filmmaker Max Pugh invites us to reflect on our human condition in this fragile world, which our quest for more is degrading.

This unique two-hour epic combines elements of narrative, personal history and travel with the history of the Earth. The director has been building up unique visual and audio material about his relationship with the planet for many years, which he begins to assemble and articulate a few days after the pandemic begins.

Nothing will ever stop the music invites us to reflect on our human condition in this fragile work that we have almost ruined in our quest of everything.

"I spent the last fourteen years gathering visual material for an experimental documentary film on my relationship with the planet. It was a generally enjoyable and inspiring process, but it wasn't until I woke up a few days later after the pandemic imposed a lockdown for all, that I realised that the moment had come for me to begin to transform my global collection of images and sounds into the work of art I had imagined all these years.

Forbidden to go more than a mile of my house by the French governement, I looked at my immobilized rolling suitcase, and thought about the link between my post-apocalyptic images of the airplanes in the Arizon desert taken in Mars 2017, and the daily news images in March 2020 of 96% of the world's airliners now grounded. So many cut aluminium wings showing me a way to live diferently, to slow down and to reconnect to my immediate environment, rather than constantly chasing time and space.

I remembered that my immediate environment had been chosen by the very first artists; the Paleolithic painter-poets of the Lascaux and Pech Merle caves. The links I was I was beginning to make in this new area represented an opportunity to stop making sense of everything and to abandon the idea of a conventional narrative altogether. I found that my attention to detail had increased and my perception of reality was open to much more than what I had put into my initial "thesis".

I have often reminded myself that the history of our planet, and now of our humanity, will continue to be punctuated by a succession of extinction events. Human annihilation has long been a part of my life: first the threat of "mutually assured destruction" during the Cold War, then climate change, and most recently pandemic. But what if worrying about these hyperobjects was just an excuse? What if the prospect of losing everything actually prompted me to celebrate what was ahead of us to enjoy, rather than explore my existential fears, or examine the causes of our eventual destruction?

From an early age, I was fascinated by maps, and wanted to explore every single corners of them. This drift grew stronger year after year and my tool of choice as a psycho-geographer was always going to be a camera. I was aware of my privilege and constantly amazed by the freedom I had to explore the world. When I began thinking about this film in 2006, I had imagined that our leaders would soon be forced to ground the world's airliners due to the climate emergency. I didn't foresee the virus.

All the more reason to carry out the project I had started fourteen years earlier, not only for my godson Benjamin, but also for my own children who have since been born, and all children for that matter.

I went to the end of the world to better understand the end of the world. I knew that this was a moral journey; an admission of the existence of a collective and individual morality and the urgency of learning from the past.

But even while contemplating the abyss, and wracked with guilt, I felt a kind of ecstasy as I moved through the world. Traveling gave me a powerful sense of anonymity. Disconnection and dislocation led to dreams and a heightened awareness of "things that stir the heart," but I also felt a call to an origin story, a need for connection and a need to come from somewhere. There is something deeply personal and, I hope, very honest that comes from this.

So it's a film about the beginning of time, the end of the world, and the interconnection of all the things in between, but it's also a film about love.

In all these endings, there are new beginnings."

Max Pugh
http://www.maxpugh.com/

Free - Reservation recommended

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