Marcel Dzama and Raymond Pettibon are two artists, from different generations and with their own reference points, who have centred their artistic practice on drawing. Since first converging in the late 1990s, they have drawn together at various encounters, before establishing a collaborative artistic practice that mixes Pettibon’s popular culture-imbued style — most notably influences from television, music and comics — and Dzama’s meticulous, slowly realised illustrations. The large-scale paper displayed in this room is a monumental piece stemming from this collaboration process, in which we observe the co-existence of Dzama’s disguised characters and Pettibon’s flames and giant waves, together with the schizophrenia of mixing superheroes, allusions to police brutality and a reference to the natural imbalance caused by global warming. The piece draws inspiration from the political situation unfolding at the time in the USA, where both artists live: the election campaign, plagued by disinformation and despair and which, months later, would take Donald Trump into the White House, and the Black Lives Matter movement. A natural apocalypse the artists portrayed in the soundtrack featuring tracks such as Leonard Cohen’s The Future (1992), a song with a similar apocalyptic vision.