Toutou, tueur né: Natural Born Killer / Apocalypso Place documents two central bodies of work by Christoph Draeger and Reynold Reynolds from around 2000.

The publication connects Draeger’s engagement with mediated images of catastrophe, fantasies of violence, and disaster culture with Apocalypso Place, an installation developed together with Reynolds. The work reconstructs a destroyed domestic interior and combines it with a synchronized two-channel video installation in which everyday life, television imagery, and apocalyptic expectation intersect.

The catalogue is not conceived as a calm documentation, but follows the visual logic of the works themselves. Colour images, text contributions, and multilingual materials create a dense visual structure in which the boundaries between exhibition document, artist book, and media archive become blurred. The publication shows how Draeger and Reynolds treat catastrophe not as a singular event, but as an image form, as media repetition, and as a condition of social perception.

At the centre is less the depiction of actual destruction than the question of how images of violence, accident, and the end of the world are produced, consumed, and remembered. Apocalypso Place translates this question into an installation: a damaged interior, a sitcom-like video, and the constant presence of televised disaster reports form a scenario in which privacy, entertainment, and threat converge. The catalogue condenses this structure into book form and stands as one of the significant publications on Draeger’s engagement with disaster, media images, and apocalyptic narratives.