There are places that immediately impose a way of creating. The Atomium is one of them. <\/p>\n
Its silhouette is known before it is even seen. Its nine spheres, its metal tubes, its reflections and its geometry give the monument an almost futuristic presence, as if the architecture already possessed its own visual language. <\/p>\n
On December 31, 2025, it is precisely this singularity that ARTEVENTIA chooses as the starting point to conceive “Fusion,”<\/strong> a creation designed specifically for the Brussels New Year’s Eve celebration.<\/p>\n The evening begins at 9:00 PM with a DJ set by Brieuc, before the show progressively takes possession of the site. From 11:40 PM, lasers, flame effects and pyrotechnics installed at ground level as well as at height enter the scene. As midnight approaches, a 3D laser mapping redraws the Atomium before the pyrotechnics mark the transition into the new year to an original electro-pop composition. <\/p>\n “The Atomium possesses such a strong architecture that the first mistake would be to want to cover it,” explains \u00c9douard Gr\u00e9goire, artistic director of ARTEVENTIA. “On the contrary, you must start from its lines, its spheres, its perspectives and imagine how the different disciplines can reveal the monument differently.” <\/p>\n The difference is essential.<\/p>\n On a conventional site, the stage can be built. Here, it already exists. And it resembles no other. <\/p>\n The laser makes it possible to follow the monument’s volumes, to extend certain lines into space and sometimes to momentarily erase the boundary between the real architecture and the image. The flames bring a more organic, more immediate substance. The pyrotechnics, for its part, works the verticality, the opening and the instant. <\/p>\n The difficulty lies in bringing these vocabularies together without transforming the creation into a technical demonstration.<\/p>\n “When you use several disciplines around such an identifiable monument, each must find its place. The laser can be very precise, the flame much more instinctive, the pyrotechnics very fleeting. It is precisely their difference that creates the interest, provided they are written as a single sequence.”<\/p>\n This is where the title Fusion<\/strong> takes on its full meaning.<\/p>\n It is not simply about merging technologies. It is about merging a place, a music, a collective expectation and several scenic languages around an extremely precise instant: midnight. <\/p>\n A New Year’s Eve show possesses a particularity that few other creations encounter: its climax is known to all down to the second.<\/p>\n The audience awaits midnight.<\/p>\n Everything that precedes must therefore build this expectation without resolving it too soon.<\/p>\n The buildup must be sufficiently gradual to give the feeling that time is accelerating, but sufficiently controlled so that the transition into the new year remains the true tipping point.<\/p>\n “The countdown already exists in the audience’s mind. We don’t need to invent it,” continues \u00c9douard Gr\u00e9goire. “Our role is rather to build everything that will allow these final seconds to take on another dimension.” <\/p>\n In this logic, the 3D laser becomes particularly interesting. It can establish an image over time, progressively evolve the perception of the monument and create a tension very different from that of pyrotechnics, by nature instantaneous. <\/p>\n When the fire truly enters the scene at midnight, it therefore does not start from zero.<\/p>\n It comes to release an energy prepared for several minutes.<\/p>\n The City of Brussels announced for this edition an unprecedented setup as part of its New Year’s celebrations, with fireworks launched from the ground but also from elevated positions, combined with lasers and flames.<\/p>\n This choice makes it possible to work several layers of the monument and to avoid the entire creation concentrating solely above the Atomium.<\/p>\n Certain images remain close to the ground and anchor the show in the site. Others take height. The laser visually connects these different zones and progressively transforms the space around the monument. <\/p>\n The show then becomes truly three-dimensional.<\/p>\n “What is fascinating about the Atomium is that it already possesses several depths. You can play in front, behind, around, very close to the architecture or much higher. This forces you to think of the composition almost like a sculpture in space.”<\/p>\n This notion of volume makes Fusion<\/strong> a particularly interesting reference in ARTEVENTIA’s monumental creation work.<\/p>\n The show does not simply complement the site.<\/p>\n It exists because of it.<\/p>\n At midnight, the technique disappears almost instantly behind the symbolism of the moment.<\/p>\n The lasers, the flames, the firing systems, the elevated positions or the programming constitute nothing more than the invisible elements of an experience shared by the people gathered around the Atomium.<\/p>\n This is probably what makes large public celebrations so particular.<\/p>\n For a few seconds, thousands of people know exactly why they are there, what they are waiting for and at what moment the event must tip over.<\/p>\n The show does not need to explain this emotion.<\/p>\n It must simply give it a form.<\/p>\n With Fusion<\/strong>, ARTEVENTIA chooses to bring it to life at the very heart of the Atomium: in its lines, its volumes, its reflections and the sky that surrounds it.<\/p>\n A monument as a stage.<\/p>\n Several disciplines as language.<\/p>\n And a unique instant to pass from one year to the next.<\/p>\n","protected":false},"template":"","etiquettes":[67,474,69,468],"moments":[70,72,71],"class_list":["post-4278","nos-grands-moments","type-nos-grands-moments","status-publish","hentry","etiquettes-event","etiquettes-monumental-creation","etiquettes-new-year","etiquettes-pyrotechnics","moments-moments-around-the-world","moments-monumental-creations","moments-pyrotechnic-shows"],"_links":{"self":[{"href":"https:\/\/www.arteventia.fr\/en\/wp-json\/wp\/v2\/nos-grands-moments\/4278","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.arteventia.fr\/en\/wp-json\/wp\/v2\/nos-grands-moments"}],"about":[{"href":"https:\/\/www.arteventia.fr\/en\/wp-json\/wp\/v2\/types\/nos-grands-moments"}],"wp:attachment":[{"href":"https:\/\/www.arteventia.fr\/en\/wp-json\/wp\/v2\/media?parent=4278"}],"wp:term":[{"taxonomy":"etiquettes","embeddable":true,"href":"https:\/\/www.arteventia.fr\/en\/wp-json\/wp\/v2\/etiquettes?post=4278"},{"taxonomy":"moments","embeddable":true,"href":"https:\/\/www.arteventia.fr\/en\/wp-json\/wp\/v2\/moments?post=4278"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Working with an architecture, not in front of it<\/h3>\n
The final minutes of the year as dramaturgy<\/h3>\n
A creation designed for the site<\/h3>\n
From 2025 to 2026, a few seconds to create a collective memory<\/h3>\n