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Jan van IJken is a filmmaker and photographer in Leiden, the Netherlands, working on the interface of art and science.
In his latest works, he reveals secrets in nature like the murmurations of starlings, the genesis of life and the unseen world of microscopic plankton. He is interested in microscopy, nature, biology, evolution, and embryology.

Jan van Ijken

Planktonium is a short film about the unseen world of living microscopic plankton. It is a voyage into a secret universe, inhabited by alien-like creatures. These stunningly beautiful, very diverse and numerous organisms are unknown to most of us because they are invisible to the naked eye. However, they are wandering beneath the surface of all waters around us and they are of vital importance for all life on earth.
Jan van Ijken filmed the plankton through his microscopes, revealing the beauty and delicate structures of the minute organisms in the finest detail. The film is without any voice-over or explanation.
Renowned Norwegian artist Jana Winderen made a sound composition for the film. She is recording audio environments and creatures which are hard for humans to access, both physically and aurally – deep under water, inside ice or in frequency ranges inaudible to the human ear.

Planktonium

Delta

The immaterial and intangible character of light, colour and motion forms the starting point of Nicky Assmann&#8217;s spatial installations, in which she endeavours to heighten our perception. With a background in Film and ArtScience, she combines artistic, scientific and cinematographic knowledge in experiments that use physical and chemical processes, such as turbulence and fluid dynamics. Topics that serve as a metaphor for the turbulent and fluid times in which we live.
By implementing natural and optical phenomena she creates visual compositions for a sensorial experience and often ephemeral macro universes.
Her work takes shape in the form of kinetic light installations, video-installations and performances and is embedded in a context of expanded cinema, visual music and the concept of synaesthesia.

Nicky Assmann

Solaris is an apparatus consisting of several soap films that can be lifted manually. It is a machine that explores the mental process and physical activity of seeing and creates soap films as a spatial intervention. Solaris shows 6 screens placed behind each other to fully experience the play with light and reflections that occur between the different frames of the soap films. Through precise lighting the inner movement of the soap film is revealed, showing a turbulent choreography of iridescent colors and fluid motion. As gravity slowly takes hold of the membrane, the viewer can be mesmerized by the phenomenon, until inevitably the fragile film bursts.
Solaris is embedded in a context of visual music, extended cinema, synesthesia and what Nicky Assmann calls hypercolours, which characterize her work and are brought out in this work through the use of light. In creating her own screens made of thin soap films and the specific use of light, she plays with the different elements of the cinematic apparatus in the lineage of expanded cinema. The analog visual language that arises in Solaris refers to abstract and experimental film.

Solaris

Carlos Sfeir’s practice is inspired by his interests in magic, science, territory, and cultures. He strives to create new bridges between human perception and natural phenomena. He believes art is a tool for questioning our certainties, discovering new meanings of nature and decolonising ourselves from ageing preconceptions.
Sfeir’s work ranges from sculpture, painting and installations, and is marked by a continuous dialogue between memory and experimentation. The data, objects and phenomena observed in the field research, which forms the basis of all his work, are constantly being recreated, intertwined and challenged in the subsequent studio manipulation.
Not constrained by the urge for completeness that often drives the artist&#8217;s act, Carlos Sfeir’s works are rather interactive prototypes. Without finiteness, but alive and imperfect, they invite people to be accomplices in processes of uncertain outcomes, embracing the unexpected instead of fearing it.

Carlos Sfeir Vottero

&#8220;Steel Life&#8221; aims to explore how the challenges of the steel industry can be transformed into a new narrative that addresses the current planetary crisis. The convergence of iron and carbon, which propelled human industrialisation, has also accelerated our detachment from the natural world, resulting in our subjugation of the environment and its resources. Too often, we have viewed ‘nature’ as a commodity to be exploited, with steel serving as a powerful tool in this process.
The installation wants to uncover the imaginative possibilities at the intersection of science and art, demonstrating how minerals can be coaxed into flourishing. By replicating the electrochemical methods employed in the refining of stones, the project gives rise to a fresh form of iron that blooms into dazzling crystalline structures. This metamorphosis symbolizes our ability to generate unpredicted growth and aesthetics, inspiring us to reimagine our relationship with the world we inhabit.
The project is part of research conducted in Wallonia, the French-speaking region in southern Belgium. During the Industrial Revolution, these territories were second only to the United Kingdom in Europe&#8217;s drive towards modernisation. Vast deposits of coal and iron brought wealth to the region and made the culture and economy of the entire country flourish. In recent decades, following the nation&#8217;s transition to a service economy, Wallonia&#8217;s industry has decayed into a rusty wasteland of flourishing remains.

Steel Life

Diane Mahín is a Dutch-Iranian performance maker and sociologist. She makes performative worlds in which sound and image are the driving forces. Working with sound reflects her desire to be faced with highly subjective, confrontational and immersive forms of reality. Diane scrutinizes the human body as a material object in order to dissect social constructions, as she wishes to grasp their absurdity and humor. Death and nothingness form the underlying motives of her work.
After her studies at Goldsmiths, University of London and Maastricht Institute of Performative Arts, Diane is currently exploring operatic principles within her practice at Sandberg Institute.

Diane Mahín

GUT imagines how humans behave when their bodies are turned inside out.
You will meet a human whose gut-sounds are amplified. The gut-human’s thoughts, actions, communications, movements, and feelings, are all determined by his gut sounds.
This performative world draws attention to the thin boundary between life and death, conscious reasoning and the subconscious gut, resulting in a visceral and absurd experience. Visitors are invited to walk in and out of this durational performance.

Theatre

Joanie Lemercier (b. 1982) is a French visual artist and environmental activist whose work explores human perception through the manipulation of light in space.  Working primarily with light projection and computer programming, Lemercier transforms the appearance of everyday objects and forms, bending reality to his imagination.
In recent years, Lemercier has become increasingly concerned with climate change and environmental degradation, lending his projection skills and artistry to activist causes and groups such as Extinction Rebellion, Les Soulèvements de la Terre, Ende Gelände, as well as developing a new body of work, Slow Violence which looks at the devastating effects of coal mining on one of Europe’s oldest forests.
He has been working with projected light since 2006 and co-founded the acclaimed visual label AntiVJ in 2008. Represented by a New York based gallery since 2010, Joanie founded his creative studio in Brussels in 2013, under the co-direction of Juliette Bibasse.

Joanie Lemercier

(Mist)
Brume is a contemplative installation by Joanie Lemercier, using an atomized water custom device.
With space and immateriality as a canvas, creating a mid-air floating projection, Joanie frees his work from the physicality of usual devices. Thanks to this volumetric tool, he modifies our frontal relationship with screen and allows new interactions between the viewer and the projected image.
He explores the possibilities of this new medium with a series of tableaux questioning our view of reality.
In his work, Joanie is researching timeless subjects like light, matter, geometry. With Brume, he is also interested in the link between water, light.
Like a transition or passage, the visitor discovers an intangible image, suspended in the void. For Joanie, it is a form of achievement to “escape from the screen”.
The image is moving in space and the viewer’s movements bring depth. This time of contemplation and calm invites to a sensory experience : enjoying the sound of the water, feeling the freshness of the mist.
Studio Joanie Lemercier : 
Co-direction : Juliette Bibasse 
Technical development : Martin Pirson 
Production : Nicolas Roziecki.
This project is supported by Wallonia-Brussels Federation.

Brume

Grand Manège

Gabey Tjon a Tham researches the complex systems that occur both in nature and in our digital world and how they affect each other through ever evolving processes. These principles are explored through audiovisual installations that are balancing between virtual and analog realities.
By acquiring cross-disciplinary knowledge in the natural sciences and computer science she finds connections between the natural and artificial in our anthropocentric environment. Her artistic practice revolves around the question: How natural is nature in our current time ?

Gabey Tjon a Tham

Every day we are surrounded by machines and technological systems that have their own internal clocks. If/Then seeks to make sense of these mathematical time systems contained in the technological systems we daily interact with. As humans we perceive time in a subjective and fluid way, while computer time and rules are measurable in strict miniaturised sequences and programmed units.
If/Then proposes a fluid interpretation of algorithmic software architecture speculating on the wave and particle duality, one of the fundamentals of quantum mechanics that states that at a fundamental level reality consists of two essences instead of one (1) or the other (0), as in our current digital binary system. The installation invites the viewer to observe the mixed substance as a particle or wave. Two wave machines are interconnected by means of a sensor that reads the movement of the wave on the other side of each machine. Water is used as a chaos element to generate random data. A self-directing dialogue is created of hydrogen bubbles, waves in water, sound recordings from rain and individual water droplets.
Credits
Commissioned by : FIBER
Supported by : Crossing Parallels (TodaysArt &amp; TU Delft), Stroom and the Creative Industries Fund NL
Software design &amp; development : Marcus Graf, Pandelis Diamantides, Amr Ranneh
Special thanks : Tatiana Kolganova, Evelina Domnitch, Dmitry Gelfand, Bram Vreven, Erwin van Asbeck, Aurele Adam, Thim Zuidwijk, Nabi Kambiz, Aidan Wyber, Wim Uijttewaal, Luuk Meints

If/Then

VOID is a collective of visual artists comprising Arnaud Eeckhout (BE 1987) and Mauro Vitturini (IT 1985). They have lived and worked in Brussels since 2013. Active both in Belgium and abroad, they were notably winners of the Salomon Residency Award in New York (2019) and the Prix Médiatine (2015).
VOID is developing an artistic approach that questions sound as a vector of representation, using the medium of sound in the same way that a painter uses his brush to trace the contours of the visible. 
For the duo, the invisibility and immateriality of sound become the starting point for an exploration that questions the phenomena of language and memory. Their multi-disciplinary work takes a wide variety of forms, including video, installation, book, performance, sound pieces and public interventions.

Collectif VOID

Night Shift is a random Opera for a choir of articulated robots.
This project was produced through the collaboration of Colletif VOID with researchers from the University of Namur (UNamur).
Night Shift is based on the research of Elio Tuci and Timoteo Carletti (UNamur) in the domain of bio-inspired robotics and computational intelligence.The installation features a troop of robots designed to operate autonomously, following a restricted set of actions. Just like individuals in a swarm (bees, ants, etc.), each robot in Night Shift follows its own path.
Rules are :
Walk straight 
IF crossing the road of a peer 
THEN stop walking and start singing 
THEN repeat
The robots interact with one another randomly, each one with its own set of generated lyrics, creating a never-ending, always different composition.
Seemingly engaged in their duty, the anthropomorphized bots are called the Watchmen, guardians of an empty space. Their words reveal the Sisyphean aspect of any act of surveillance, as well as the condition of human beings involved in it :
We&#8217;ve watched and walked, 
We&#8217;ve searched and scanned, 
But still we wonder, what is our plan, 
Is there a purpose in this place, 
Or are we just filling an empty space?
The installation is produced in collaboration with the KIKK, TRAKK, UNamur, la Fédération Wallonie Bruxelles.
Singers: Philippe Favette &#8211; Kenny Ferreira &#8211; Julie Calbete &#8211; Julie Vercauteren 
Engineering supervisor: Elio Tuci &#8211; Timoteo Carletti 
Engineering: Muhanad Hayder

Night Shift

Coworking Namur

VOID Collective

Maarten Vanden Eynde (Belgium, 1977) is a visual artist who graduated in 2000 from the free media department at the Gerrit Rietveld Academy in Amsterdam (NL), participated in 2006 in the experimental MSA (Mountain School of Arts) in Los Angeles (US) and finished a post graduate course in 2009 at HISK Higher Institute for Fine Arts in Ghent (BE) where he is a regular guest tutor. Since 2020 he has been a PhD candidate at the University of Bergen in Norway, focusing on the history and evolution of external memory devices. In 2017 he was nominated for the first Belgian Art Prize and won the Public Prize.
In 2005, together with Marjolijn Dijkman, he founded Enough Room for Space, an interdependent art initiative that develops and coordinates events, residencies, research projects and exhibitions worldwide. Recent solo exhibitions include: Exhumer le futur at La Kunsthalle Mulhouse, FR (2022) ; Tracing Memories at NOME gallery, Berlin, DE (2022) ; Digging up the Future at Mu.ZEE, Ostend, BE (2021).
Recent group exhibitions include : Beaufort 21 Triennial, BE (2021) ; Z33 House for Contemporary Art, Design &amp; Architecture, Hasselt, BE (2020) ; Museum Morsbroich, Leverkusen, DE (2020) ; Tallinn Photomonth &#8211; Contemporary Art Biennial, EE (2019) ; 6th Lubumbashi Biennale, DRC (2019) ; RIBOCA/Riga International Biennial of Contemporary Art, Riga, LV (2018) ; Belgian Art Prize 2017, Bozar, Brussels, BE (2017) ; 2050. A Brief History of the Future at National Museum of Fine Arts, Taichung, TW (2018), Palazzo Reale, Milan, IT (2016) and The Royal Museums of Fine Art, Brussels, BE (2015) ; Réalités Filantes, 4th Biennale de Lubumbashi, CD (2015) ; Beyond Earth Art at Johnson Museum of Art, Ithaca, US (2014) ; Ja Natuurlijk, Gemeentemuseum Den Haag, NL (2013) ; The Deep of the Modern, Manifesta9, Genk, BE (2012) ; The Museum of Forgotten History, M HKA, Antwerp, BE (2012) and Dublin Contemporary in Dublin, IR (2011).
Vanden Eynde is represented by Meessen De Clercq gallery in Brussels, Belgium, and NOME gallery in Berlin, Germany.

Maarten Vanden Eyde

The five major oceanic gyres – the North and South Pacific Gyres, the North and South Atlantic Gyres and the Indian Ocean Gyre – collect and contain plastic from around the world. It was in the North Pacific Gyre in 1997 that Captain Charles Moore discovered a vast accumulation of plastic debris which came to be called the Great Pacific Garbage Patch. It led him to set up the Algalita Marine Research and Education Foundation in Long Beach, California.
It was from Captain Moore that Vanden Eynde acquired his first samples of plastic. Back in his studio he found that when it was melted the plastic took on a seemingly more natural form, resembling a colourful coral reef. The plastic rubbish gained a strange beauty whilst at the same time generating a double reference to both the worrying abundance of plastic in the ocean and the accelerating loss of coral reefs worldwide. Thus began the construction of Plastic Reef, a growing sculpture which over the next five years gained weight and size every time it was exhibited, helping to raise awareness of plastic pollution as well as alluding to its escalation. In total over 1000 kilograms of plastic debris from all five gyres was extracted from the oceans. By 2012, when it was exhibited in the Manifesta9 Biennial in Genk, Belgium, Plastic Reef had attained its maximum size of 450 × 500 centimetres. Subsequently, several smaller plastic reefs were created.
Ironically and tragically, in 2015 scientists discovered that natural coral was ingesting micro-plastics, poisoning itself in the process. Next to acidification and the rise in ocean temperatures, this is one of the main reasons why the Great Barrier Reef is disappearing.

Plastic Reef

Halle Al'Chair

Momoko Seto was born in Tokyo in 1980. She studied Art 
at the École Supérieure des Beaux-Arts in Marseille, then at 
the Le Fresnoy National Studio of Contemporary Art.
She’s currently working as a film director at the CNRS 
(National Centre of Scientific Research) in Paris where she 
makes documentaries with researchers.
She has made several short films and documentaries that 
have been selected and acclaimed in various international 
festivals (Cannes, Locarno, Rotterdam…). Her short film 
PLANET Σ received the Audi Short Film Award at the 
Berlinale (2015), a prize for “avant-garde and artistically 
strong” films.

Momoko Seto

The world has become a vast dried out planet, where the growing of cotton, over exploited for economical reasons is the main cause of desertification. A saline desert covers acres of dried out land where strange salt trees appear.
This phenomenon echoes an even greater ecological disaster, the desertification of the Aral Sea. And man is always responsible&#8230;

PLANET A

Espace Saintraint

Heuninck uses self-built sensors and machines to explore contemporary landscape registrations. He keeps the processes simple and transparent, using computers and machines for their precision and repetitive nature. The results can be intricate and surprising, as the transitions between space and data evoke a sense of wonder.
Heuninck draws on the aesthetics of scientific images and integrates the technical aspects of digital image creation in his practice. Using a variety of media, his works consistently touch on the material of film and the notion of cinema. He gently disorients the observer by changing perspective in space, on paper, or in a digital data file.

Elias Heuninck

The objects presented in this video installation were found as stowaways in a 3D printer. Excess wax and resin are deposited in a drawer at the bottom of the printer. Molten waste material, solidified and clumped together when cooled, are ancient stalagmites in a high-tech machine. Because they were objects without intent nor a digital source file, they were given both. The surfaces were 3D-scanned and scaled to become immaterial islands in the video.
The image of the island was created for the white surfaces of the objects through the story, and viewers can project their imagination onto it. This work transforms objects into a cinematic experience and tests the various states in which an object can reside. From the physical, across the mental, to the digital. Wax, bytes, a script, and light. And so the objects, in view of each other yet separate, long to travel through appearances and states of matter.
Credits :
Writing and narration : Emi Kodama 
Video : Elias Heuninck 
Music : 1-100 by Michael Nyman, performed by a computer
Thanks to : 
&#8211; Simon Baetens 
&#8211; Anouk De Clercq 
&#8211; Jerry Galle 
&#8211; Stefaan Quix 
&#8211; Pieter Vereertbruggen 
&#8211; Lisa Wilkens
Produced by : 
&#8211; Werktank 
&#8211; Flemish Community
The Archipelago is part of Tools For Things And Ideas, a research project at KASK &amp; Conservatorium which is financed by the HOGENT Arts Research Fund.

The Archipelago

Elias Heuninck & Emi Kodama

Dineo Seshee Bopape was born in the year of the golden rooster, 1981 on a Sunday. If she were Ghanaian, her name would be akosua/akos for short. Bopape lives in Southern Africa.
She has shown her work internationally in numerous solo exhibitions, most recently in 2022 at Ocean Space, Venice ; and Pirelli HangarBicocca, Milan ; Secession, Vienna, and in 2021 at Institute for Contemporary Art at Virginia Commonwealth University, Richmond. She co-represented South Africa at the Venice Biennial in 2019.

Dineo Seshee Bopape

( My love is alive, is alive, is alive)
Dineo Seshee Bopape&#8217;s artwork, Lerato Laka Le A Phela Le A Phela Le A Phela / My Love is Alive, is Alive, is Alive (2022) takes viewers on a captivating journey that begins in the Solomon Islands and extends to plantations along the Mississippi, the vibrant landscapes of Jamaica, and ultimately, her South African homeland. Her exploration of these diverse locations serves as a unique language, enabling the convergence and intersection of timelines within the vast expanse of water. It&#8217;s a revisit to the notion of &#8220;dogs that are not asleep&#8221;.
Bopape&#8217;s artistic approach blends elements of magical inquiry, historical intrigue, ancestral wisdom, a penchant for illusions, boundless imagination, and a profound sense of hope. This harmonious fusion enables her to operate within the realm of post-post-colonial agency, engaging in a profound dialogue with the expansive Ocean.
Commissioned by TBA21–Academy and co-produced with Pirelli HangarBicocca. 
TBA21 Thyssen-Bornemisza Art Contemporary Collection.

lerato laka le a phela le a phela le a phela

Ecole Sainte-Marie

Maurice Mikkers, born in Apeldoorn, The Netherlands in 1986, pursued a career in laboratory research. After internships at the National Institute for Public Health and the Environment (RIVM) departments of Toxicology and Parasitology, he graduated in 2007 and became a licensed Medical Laboratory Analyst.
In 2007 Mikkers started to study Interactive Media Design at the Royal Art Academy in The Hague, graduating best in class with a Bachelor of Arts in 2011. The product and service he developed at that time was called Photodispatch. A service that provides an interactive streamlined workflow for visual storytelling on any (online) medium. With three simple steps, high-quality photos are live within 60 seconds. A Social Media Asset Manager connecting photographers, clients and consumers.
Mikkers is working as a professional photographer and built a portfolio specialized in unique : portraits, advertising, architecture, reportage, events, conference &amp; festival photography.
Besides his commercial work, he began working on Micrograph Stories, a project that aims to create awareness of daily consumed products by enlarging them under a microscope. This project also led to the creation of the project Imaginarium of Tears.

Maurice Mikkers

Every tear has a hidden story. They are small droplets of fluid, but at the same time complex vials of human emotion produced by one of the most basic and primal expressions of our feelings and thoughts : crying. In 2015, Maurice Mikkers started on a quest to turn tears into works of art, which resulted in the Imaginarium of Tears.
Imaginarium of Tears is an ongoing photography project. Mikkers captures the beauty of tears by crystalizing and subsequently photographing them underneath a microscope. The results are stunning works of art that have been featured by Wired.com, Business Insider, National Geographic, Gizmodo, Al Jazeera and many more.
These micrographs of crystallized tears function as story starters. Mikkers : “Since every tear has a hidden story, the ultimate goal is to create more awareness around the stories and challenges faced in life that caused these tears, therefore hopefully bringing people closer together.” Mikkers believes we should embrace our tears. “They are one of the true expressions of yourself and your connection to the world.”
Full story : <a href="https://medium.com/micrograph-stories/the-stories-within-our-tears-fc64257e2acd">https://medium.com/micrograph-stories/the-stories-within-our-tears-fc64257e2acd</a>

Imaginarium of Tears

Wim Janssen (BE, 1984) lives and works in Antwerp. He works with technologies and functions of audio-visual media. This takes form in media installations, videos and films. Often, his works are translations of one medium into another. His work has been shown on important Festivals as, Ars Electronica in Linz, IFFR in Rotterdam and venues as the Museum of Contemporary art Belgrade and the MUHKA in Antwerp.

Wim Janssen

A young boy is taught how to make a wineglass whistle by rubbing ones finger around the edge of the glass. A recording of this action was made on 16mm film, without sound. In the installation, the film runs out of the projector, through the space, over two wine glasses. The film strip is guided over two actual wineglasses. Just like in the image, they start to whistle, creating the sound of which we see the source in the projection.
With the support of KulturKontakt Austria

Touchtone

For more than 15 years, the artist Martin Messier has created artworks in which sound art meets light, robotic and video. In the form of performances and installations, these works place the body front and center.
After studying composition at l’Université de Montréal, Martin began an experimental sound practice that integrated video images. He quickly developed performative audiovisual apparatuses that brought everyday objects and the sound potential of their various materials to the stage.
A number of collaborative projects were carried out over the years, notably with artists Nicolas Bernier, Caroline Laurin-Beaucage, Anne Thériault, and Jacques Poulin-Denis.
Martin Messier’s latest works include Innervision (2019), a monumental outdoor project performed by 60 dancers, the audiovisual performance Echo Chamber, the choreographic performance Con Sordina, and the light and sound performance Elusive Matter.
Presented in some 50 countries, Martin Messier’s productions have received several prizes and nominations : a special mention at Prix Ars Electronica in 2010 ; listed for a Prix Opus in 2012 ; Best Experimental Short Film at the Lausanne Underground Film Festival in 2013 ; the Canada Council’s Victor Martyn Lynch-Staunton Award in 2014 ; a special mention by the jury at the 2015 Japan Media Awards ; the World OMOSIROI Award in Japan in 2018 ; and in 2021, the 2nd Prize at Athens Digital Arts Festival.
In 2010, he established 14 lieux, a company dedicated to producing performative and installative artworks, and has been its general and artistic director since then.
He lives and works in Montreal.

Martin Messier

Cycles is an installation where everyone is invited to become aware of the relationships linking cyclical and unpredictable phenomena. Harmony and chaos call out to each other in this space where the eight strings of light dance and unfold.
Despite the vivacity of its propulsion, the wire leaves an impression of floating. By marking the nuance between the purity of this suspended movement and the violence of the mechanism that fecundates it, the work proposes an experience where infinity cohabits with the restarts that are part of it.
These dialogues are also found in the sound space : the tuned engines envelop the music diffused with their elusive timbres and draw this landscape in which the harmony is built as much by its power as by its vulnerability.
Concept, audiovisual composition, programming : Martin Messier
Design, hardware : David Gardener
First phase of research : Maxime Damecour, Robocut
Technicians 
Lilian Guiran, Francis Vaillancourt-Martin
Production : 14 lieux

Cycles

David Shongo is a composer and visual artist from the Democratic Republic of the Congo. He studied Telecommunication and Networks at the Protestant University of Lubumbashi. He is the co-founder of Studio 1960 and artistic director of the Pianos Festival in Kinshasa. His work also explores the symmetrical possibilities that sound and image can have as movements and the poetic charge that each of these movements can carry towards the other. The question of decoloniality is highly present in his works, manifested through the integration of archives from the pre-colonial, post-colonial, and contemporary periods. Thus, Shongo treats colonial archives not merely as chronological elements of colonial history, but rather as constants of colonial heritage in the present.

David Shongo

The installation Those Without Whom the Earth Would Not Be the Earth draws inspiration from the reflections of the ecologist Malcolm Ferdinand, who offers a critique of our current approach to the global ecological collapse. Ferdinand highlights a fragmentation between concerns for a better future for our planet on one hand, and an unanswered societal urgency on the other.
The title of the artwork references an excerpt from Notebook of a Return to the Native Land by poet Aimé Césaire. In ironic manner, the poet reminds us that those who suffer from systems of injustice and exploitative practices are precisely the ones who have taken care of the earth by living in harmony with nature, thus not contributing to its destruction.
The work is set in the context of the Democratic Republic of Congo, which has been a coveted and exploited space since Belgian colonization due to its rich biodiversity and mineral resources. This historical and international covetousness has turned the DR Congo into a site of permanent conflict, social injustice and ecological threats, with its ecological footprint ranking highest globally. The artist establishes an analogy between ecological toxicity (resulting from abusive exploitation of the land and subsoil) and social toxicity in his country characterized by economic inequality and an unjust system.

Those Without Whom the Earth Would Not Be the Earth

Between artistic projects and awareness campaigns, Laura Krsmanovic is also a member of the creative collective 254Forest. In September 2020, she created the activist and poetic multidisciplinary project ISOLA exploring the invisible threads that connect us. Have you ever felt like an isolated fragment ? What if our questions actually had a common root ? Separation. Whether from nature, from our relationship to femininity, from our elders, from our dead, etc.
Through these sensitive experiences, her intention is to change the way we look at the living and to arouse emotions that will lead to a more respectful relationship with others, with ourselves and with nature.

Laura Krsmanovic

&#8220;We take our dead with us everywhere, and if they stayed in the cemetery, we&#8217;d know. Life and death are not hermetically separated, and flowing water does not make our lives impervious to mourning.&#8221; (Living with our dead, Delphine Horvilleur)
A universal pillar of the human experience is meditating upon the boundary between life and death : whether a process of reincarnation of the soul, or the mystical portal embodied by the dark yet crossable waters of the Styx river, there are countless myths and philosophies reminding us that those “passed” may still be closer than we think. 
Yet today we seem disconnected from such worldviews in the West. Just as water transforms into air and back, isn&#8217;t it time to rethink the porosity between life and death, and the place of the dead in the world of the living ?
ORA combines pensive electronic compositions interspersed with narrative accounts of how those we have lost continue to inhabit our emotional worlds. A direct line to the great unknown, a telephone booth is situated in the middle of a room awash in spellbinding light, echoing the Wind Phone, installed in Ōtsuchi, Japan after the deadly earthquake in 2011. Like succumbing to a river current, subtle shifts in illumination detach visitors from external reference points, gently plunging them into an atmosphere of calm introspection. Discreetly and privately, visitors are invited to delve into their most intimate emotions inside the booth – some may choose to speak, others may listen in silence, enveloped in the stories and soundscapes. A moment suspended in time and space where the realms of life and death are reconnected using the power of imagination and enactment. ORA invites us to immerse ourselves in the world of the invisible to reshape our perception of death and grief, while holding space for sadness and remembrance.
ISOLA is a multidisciplinary series of works by Laura Krsmanovic that explores the invisible threads that connect us. Preceded by Confinés Dehors, SOMOS, and MAGMA, ORA is the fourth installment in the series. Music is composed by musician Le Motel, mix is done by Christophe Loerke and scenography is designed by the studio Erased.
Creation &amp; artistic direction: Laura Krsmanovic 
Music and sound design: Le Motel 
Set design: Erased Studio 
Lighting programming: Ofer Smilansky 
Mix and editing support: Christophe Loerke 
Photo: Gretar Gunnlaugsson 
Copy and translation: Blurbs

ORA : Listening to our Dead

Amos Peled is a Dutch multidisciplinary artist who focuses on performance art, experimental music and technologies. He holds an MA from ArtScience (2022), KABK, and a diploma in film and new media studies.
Peled introduces medical technologies into creative environments in order to raise doubt, challenge conventions and provoke reflections on what is considered normal or ordinary especially in medical terms.

Amos Peled

Phantom Limb (2023) is a project exploring the enigmatic and poetic relationship between a human being and the black box that is their interior through the use of a medical ultrasound machine. Amos Peled has been developing methods to perform audio-visual manipulations which transform the ultrasound machine into an instrument that illuminates the inside of the body and expands the space of the artistic act into the organs, under the skin. The work investigates conceptions such as the distance of the human body from the idea of oneself, the hierarchical relationship between the inside and the outside, pain as a poetic message, and the lack of internal symmetry.
In Phantom Limb the ultrasound medical technology is revisited in an art context, where the machine becomes a source for inductive, creative, and speculative investigation. By discovering the variety of possible sounds and images that the machine can produce and the use of a special made audio visual system, a playful framework for constructing imagination-evoking sequences and visual storytelling tools are established, this creates the conditions to reimagine medical technology.
Peleds interest in the theme of medical technology comes from the experience of growing up in a hospital environment, where he observed firsthand the working processes of the medical system.
Phantom Limb is commissioned by iii in collaboration with Rewire, Amare, and Tetem.
Artistic and production assistant : Andrejs Poikans
Software development and Artistic assistant : Daniel Treystman
Sound : Liza Kuzyakova, Amos Peled, and Andrejs Poikans

Phantom Limb

Nyasha Kadandara is a Zimbabwean-born visual storyteller based in East Africa. She focuses on a 
broad spectrum of subjects including breaking news, climate change, education, migration, health, and conflict in various parts of Africa. Nyasha holds a master&#8217;s degree in journalism and documentary filmmaking from Columbia Journalism School. In 2015, she directed the award-winning documentary Through the Fire and her short documentary Queens &amp; Knights won first prize at the 2016 NBC Sports film contest. Recent works include Sex and the Sugar Daddy an extensive multimedia piece on transactional sex relationships in Kenya which was shortlisted for the One World Media Awards in the Popular Feature and Digital Media categories. And, her virtual reality documentary, Le Lac, which looks at 
the effects of climate change and the Boko Haram insurgency around Lake Chad and premiered at the 2019 Sheffield Doc/Fest receiving the Best Digital Narrative Award.

Nyasha Kadandara

(The Lake)
Le Lac is a dreamscape where liquid gives way to dust. The oasis of the Sahel, Lake Chad, is not who she used to be. Ninety percent of her water is gone, leaving her feeling depleted, wary, scared and insecure. Climate change has made the millions of people who depend on her vulnerable, and induced the threat of Boko Haram insurgency.
In this immersive documentary, step into the lives of Mahamat, a once-wealthy pastoralist, and Nassuri, a refugee-turnedfisherman, as the lake herself hopes for their survival amidst her scattered ponds.
Winner : Best Digital Narrative at Sheffield Doc/Fest 2019.

Le Lac

Navid Navab, born and raised in Tehran (IR), is a Montreal-based media alchemist, tabletop cosmologist, antidisciplinary composer, and audiovisual sculptor, who investigates the forming-giving potential of chaotic material processes, in search of collaborative ethos for playful sense-making with ecological indeterminacies. Interested in the poetics of schizo-phonia, gesture, and materiality, for over a decade, Navab has been composing multi-sensory experiences, entangling humans, machines, and materialities both in-situ and in concert, in ways that enable critical engagement with excitable matters-of-process.
Navab’s artworks, which take on the form of gestural sound compositions, responsive architecture, site-specific interventions, participatory environments, and kinetic sculptures, have been presented internationally at festivals such as Ars Electronica (AT), Kapelica Gallery (SL), device_art triennial (HR), NEMO Biennale (FR), Sonica Biennale (BG), Eufònic (ES), Canadian Center for Architecture (CA), Japan Society (US), Contemporary Arts Museum Houston (US), ISEA (SP, CA), milanOltre (IT), HKW (DE), Kiblix (SL), Guelph Jazz (CA), and FIMAV (CA).
Michael Montanaro is a trans-disciplinary artist who is best known for his work in the field of contemporary dance and mixed media. A graduate of the Hartford Conservatory, he has performed with the Boston Ballet, Les Grands Ballet Canadiens and Le Groupe de la Place Royale where he also served for 5 years as co-artistic director. In 1985 he founded Montanaro Dance, developing a reputation for using cutting-edge technology to create theatrical environments for his choreography. Since 1996 Michael has worked as a choreographer, director and collaborator on numerous projects. A Professor Emeritus at Concordia University, Michael was Chair of the Department of Contemporary Dance from 1999 through 2014. As the co-director of the Topological Media Lab, since 2015, Montanaro is dedicated to the envisioning, design and creation of projects focused on evolving innovative ways in which new technologies are used to enhance the interactive experience.

Navid Navab & Michael Montanaro

Aquaphoneia is an alchemical installation centred around the poiesis of time and the transmutation of voice into matter.
A large horn floating mid space echoes the ghosts of Edison, Bell and Berliner’s machines. But unlike early recording, herding sound energy to etch pressure patterns in solid matter, this odd assemblage transmutes voice into water and water into air. Disembodied voices abandon their sources to cross the event horizon of the horn. Estranged, the schizo-phone falls into the narrow depths of the bell, squeezed into spatiotemporal infinity, calcinated, liquefied and released : the aqueous voice then flows into three alchemical chambers where inner time is surrendered to the tempi of matter : unbound, yet lucid and sound.
In one corner, voices bubbling inside a sphere of fire are brought to entropy and transmuted into a timeless concentration of spectral mist and phonetic vapor. An Ouroboros chamber twists fermented vowels into distilled consonants to release a thin blade of prosody. This viscous alchemical matter lowers itself to the terra beneath where matter dances to its own affective tonality. Another apparatus separates speech into vital elements a drop at a time: words into phonemes, into phono particles, and the invisible quanta of silence.

Aquaphoneia

In her practice, Shivay La Multiple teaches reason the language of dreams. Using multiple mediums, she/they creates escape routes into new worlds, multiverses and pluriverses. Like Moebius&#8217; ribbon, her research moves from the global to the visceral, from the macro to the micro, from dream to reality, from the physical to the digital. She/they is inspired by the concept of the poetics of relationship, while remaining influenced by the many places she/they has crossed.
Her research focuses on the form and volume of a tale of initiation that begins in the Maroni River, then glides along the Congo River, sinks into the waters of the Senegal River, Casamance and is carried away by the waves of the Nile. So these multiple crossings that wind through space and time, dream and reality, the physical and the digital, all lead to the woody fruit : the calabash.

Shivay La Multiple

Windows on sacred Liba 
A political, economic, spiritual and poetic entity 
Bridge between the immensity of the ocean and the interior 
A place of oppression and revolt 
A space for all currents, for multi-faceted beings 
In one and the same movement, never mixing with the salt water

Liba Sacré

Since 2016 Julia Borderie &amp; Eloïse Le Gallo follow an exploratory mode to analyse water as a substance influencing territories and bodies. At the crossroad of viewpoints and disciplines, and melting sculpture and cinema, they question human gestures that shape materials and landscapes. Recently, they collaborate with scientists and their cutting edge technologies.

Eloïse Le Gallo & Julia Borderie

Researchers are trying to inject DNA from photosensitive algae to heal our retinas. 
From ocean blue to the computers blue screen, the vision is hybridized. 
Bleu Silico is a poetic-scientific meander guided through glass sculptures, recounting ancestral relationships between algae and human retinal cells.

Bleu silico

Barthélemy Antoine-Lœff
Barthélemy Antoine-Lœff is a french visual artist and an &#8220;iceberg breeder&#8221; whose creations of optical and digital artworks, sometimes interactive, often immersive, express worlds crossed by a contemplative and ecological relationship of nature and elements. Deeply affected by the disapearance of the cryosphere, his current research leads him to question the irony behind the profitability of repairing the climate and its impact on our lifestyles, as well as the energy cost of the exhibited works.
Antoine Meissonnier
Devoted to numeric experimentations, Antoine Meissonnier develops and experiments around tangible and visual interactions mixing theater, performance and technologies. Giving life to scenographies, prototyping video-games, creating monumental installations, designing electronic, Antoine is mixing medium to give reality to ideas.
Antoine&#8217;s work is technical but he takes care of letting enter part of mystery and poetry in his work.

Barthélemy Antoine-Lœff & Antoine Meissonnier

(What disappears is immediately transformed into eternity)
Ce qui disparaît se transforme immédiatement en éternité explores the multiple questions of climate repair and technosolutionism using artificial intelligence.
The installation stages a fictional laboratory for measuring the melting of symbolic mini icebergs which are generated in ice before being placed in an analysis cell with the aim of finding the ultimate iceberg : the one which, by its shape, will make a consensus, which one will take the longest to melt, based on the analyzes of the icebergs previously generated.
The installation uses a genetic algorithm specially developed to try to solve this problem of climatic optimization&#8230;
Obviously, the starting postulate is absurd, and ironic. Just like the idea of ​​imagining being able to &#8220;repair&#8221; the climate by artificially prolonging the life of icebergs with the help of a genetic algorithm.

Ce qui disparaît se transforme immédiatement en éternité

Xandra van der Eijk is a Dutch artist, researcher and educator. Her practice is situated in the field of ecological art and ecocriticism, with a specific interest in the influence of the technosphere on evolutionary processes and methods of attunement, particularly to matter and their situated and networked lives.
The artistic practice is research-driven and finds its voice in developing and exhibiting artwork, writing, curating, and developing education. For the past 4.5 years, Xandra has pioneered ecological art in the field of education, by founding and developing a new master’s program “Ecology Futures” at the Master Institute of Visual Cultures of Avans University of Applied Sciences, that puts the exploration and invention of artistic-scientific methods at the forefront of practicing ecocritical theory in the field, aiming to find new ways of (co)generating practice-led knowledge in the process. Ecology Futures is the first MA program on ecological art in the Netherlands, as well as the first MA art program in the Netherlands to center, facilitate and teach biotechnological methodologies. The latter was developed from their position as a researcher in the affiliated Biobased Art&amp;Design Research group (CARADT) and in the newly installed Material Incubator Lab &amp; Project Space.
Over the years Xandra has been involved with numerous institutions and initiatives, often leading to longstanding collaborations and multiple roles, such as with MU Hybrid Art House and the Bio Art &amp; Design Award, Embassy of the North Sea, FIBER, and ZKM/Driving the Human and is co-leading the discussion group &#8220;Planetary Ecologies&#8221; as an associated researcher at Critical Media Lab (FHNW University of Applied Sciences and Arts Northwestern Switzerland, CH). Their work is exhibited worldwide, most recently at the Biennale of Sydney, ZKM Centre for Art and Media Karlsruhe, and MUDAC Lausanne.

Xandra van der Eijk

The many artificial substrates in the North Sea are biodiversity hotspots ; cold water coral reefs that surely play an immense role in the bigger ecosystem of the European continental shelf — however, they are barely researched nor protected. The many patches of reef are temporal, ephemeral, and alien, and demonstrate an unexpected emergence of life in an environment under immense anthropogenic pressure.
With thousands of ship- and plane wrecks covering the North Sea floor, and a growing amount of structures such as fossil fuel rigs and windmills serving as substrates, new underwater communities are continuously forming. Each artificial reef can exist due to its particular geographical location, and so forms an ecosystem unique in its composition and identity. The reefs themselves can be considered time capsules, showing how the process of anthropogenic colonization of the sea enters into the natural archive, as they are overgrown shipwrecks, abandoned wells, and drilling platforms entangled with ghosts of past and present activities in the form of old ammunition, fishing gear and lost cargo.
With Ghost Reef, Van der Eijk speculates the fantasy of a North Sea filled with patchy reefs in the spectators&#8217; imagination. Animated video collages with 3D models based on the scarce footage taken by divers are juxtaposed with field recording soundscapes taken at two locations : an oyster bank near the Brouwersdam in Zeeland located in the south of the Netherlands, and the wreck of the Ara, a steamship that was sunk by a mine in 1942, located north of Schiermonnikoog in the northern part of Dutch waters.
Embassy of the North Sea
Ghost Reef is the result of a research period with the Embassy of the North Sea, as part of the case study on underwater noise. It builds further on the BioArt &amp; Design Award project Seasynthesis, a sound installation about noise pollution in the North Sea. Both projects were realized with help of Wageningen Marine Research and NIOZ. The Embassy of the North Sea was founded on the basis of the principle that The North Sea (and life in) it owns itself. Here the things, plants, animals and people in and around the North Sea are given a voice.
3D modeling : 
Sacha van den Haak
Sound design : 
Sébastien Robert
Project partners : 
WMR, NIOZ, Dutch Maritime Productions 
&amp; Stichting Duik de Noordzee Schoon
Commissioners : 
Ghost Reef was commissioned by Embassy of the North Sea, MU Hybrid Art House and Re-Nature Festival

Ghost Reef

By linking several disciplines around digital communication, ECAL&#8217;s Bachelor Media &amp; Interaction Design is aimed at students with a solid visual culture who are keen to learn more about advanced technologies. Forward-looking, pragmatic and experimental, this programme is delivered as part of the Visual Communication Department, which also offers cross-disciplinary courses and projects that enable students to acquire multidisciplinary skills.

ECAL/University of art and design, Lausanne - Bachelor Media & Interaction Design

Students in the Bachelor Media &amp; Interaction Design programme at the ECAL/Ecole cantonale d&#8217;art de Lausanne are inviting viewers to immerse themselves in the ECAL Virtual Reality Lab, a space where they can view a series of Virtual Reality projects that question the representation and place of the viewer in a selection of 360° sequences. Focusing on a short format on a single broadcast medium, this range of projects presents the research and results of courses during which the students concentrated on the link that can exist between moving images, visual effects, sound, rhythm and immersion. Using computer-generated 3D imagery, these projects subtly revisit the form of the linear sequence and the video clip in innovative ways, giving them different possible readings thanks to the interactivity of the medium.

ECAL Virtual Reality Lab

ECAL

Jan van IJken is a filmmaker and photographer in Leiden, the Netherlands, working on the interface of art and science. In his latest works, he reveals secrets in nature like the murmurations of starlings, the genesis of life and the unseen world of microscopic plankton. He is interested in microscopy, nature, biology, evolution, and embryology.
In earlier years he published three photobooks on social-documentary subjects like Divinity in Eastern Europe and the relationship of man and animal.
He developed a keen eye for light and composition and specializes on autonomous long-term projects. His work has been published and awarded internationally.

Becoming is a short film about the miraculous genesis of animal life. In great microscopic detail, we see the ‘making of’ a salamander in its transparent egg from fertilization to hatching.

Becoming

HEAJ is the school for tomorrow&#8217;s professions in economics, computer graphics, education and paramedicine.
The Real Image option is HEAJ&#8217;s video, photo and immersive techniques option.

HEAJ - Real Image option

Water. Without water, there can be no life. Not on Earth, nor on any other planet. For thousands of years, mankind has been scanning space in search of a planet rich in blue gold.
Now the incredible news has come to light : a group of Belgian researchers have just discovered the existence of a viable planet, rich in vast deposits of water.
Called BIONEXIA, it could be nothing less than humanity&#8217;s salvation ! The long-awaited Planet B&#8230; But it&#8217;s not all that simple. Migrating to this star is a risky business. And ferocious appetites are already setting their sights on its abundant resources.
As part of KIKK in Town, the team behind this discovery has decided to open the doors of its laboratory to the general public&#8230;

BIONEXIA

Haute Ecole Albert Jacquard

Haute École Albert Jacquard

Marco Barotti is a media artist. After music studies at the Siena Jazz Academy, he began merging sound with visual art. His work is driven by a desire to invent an artistic language in which a fictional post-futurist era is expressed through kinetic sound interventions in natural and urban environments. His installations merge audio technology, consumer objects, and waste into moving sculptures triggered entirely by sound. The primary focus of his work is to create a “tech ecosystem” that plays with resemblances to animals and plants. These artworks serve as a metaphor for the anthropogenic impact on the planet and aim to make people aware of environmental and social issues.
His work has been exhibited internationally at Ars Electronica (Linz), Saatchi Gallery (London), Science Gallery (Melbourne), Tokyo Biennale (Tokyo), Gwangju Biennale (Gwangju), Zer01ne, (Seoul), Fact (Liverpool), Wro Art Center (Wroclaw), Picknick (Seoul), Isea (Montreal), ARCAM Architecture Center (Amsterdam), silent green (Berlin), Dutch Design Week (Eindhoven), Stuck (Leuven), Sevcableport (St Petersburg).

Marco Barotti

Barotti welcomes the visitors into a poetic and immersive sonic experience. A metaphorical reinterpretation of the water quality from the Sambre River.
In nature, clams are detectors of pollutants : they serve as tiny filtration systems.
CLAMS is a collection of kinetic sound sculptures which convert data from water quality sensors into sounds and movement. Each ‘clam’ is constructed from recycled waste plastic and contains a loudspeaker. The continuously evolving microtonal soundscape gives each shell a subtle, life-like opening and closing motion.
Recorded data from a water purity sensor placed in the Sambre River form the basis for the music. This generated composition constantly evolves with the water quality levels over time.
Clams invites the audience to engage with the water and its surrounding environment, bridging the gap between media art, data sonification and the imperative of ecological preservation.
Credits: 
Clams is a project created and produced by Marco Barotti 
Software development Marco Accardi, Pim Boreel
Special thanks to Anders Ehlin, Marco Canevacci, Yena Young, Stefan Dietzelt, Carsten Reith, Daniel Brunet &amp; Markus Wüste for advises and support
Clams was developed at WRO Art Center within the framework of EMAP / EMARE
Co-funded by: 
Creative Europe, C-Takt, Oerol Festival, and Transnatural
Supported by: 
Ambient and “In-Situ” water quality measurements
Clams is awarded from the NTU Global Digital Art Award Singapore 2019

Clams

Born in 1986 in Casablanca (Morocco), Hicham Berrada studied at the Ecole des Beaux-Arts in Paris and at Le Fresnoy (Tourcoing).
His work has been shown in numerous group exhibitions : Centre Pompidou, Paris ; Palais de Tokyo, Paris ; Gardens of the Château de Versailles ; Mac Val, Vitry-sur-Seine ; macLyon ; ICAS-, Singapore ; Moderna Museet, Stockholm and Banco de la República, Bogota ; Taipei Biennial ; Yokohama Triennale ; Punta della Dogana, Museum of the Pinault Collection, Venice and Paris ; and Martin-Gropius-Bau, Berlin.
Solo exhibitions have been held at the Louvre-Lens, the Abbaye de Maubuisson, the Hayward Gallery in London and the Zuckerman Museum of Art in Kennesaw (United States).

Hicham Berrada

This video belongs to the Présages series, initiated in 2007 and still in progress. It brings together water landscapes created in glass basins through chemical processes, displayed through different medium : video, performance or in situ. They are hermetic little worlds cut off from our own, made out of minerals immersed in an aqueous solution. To made them, a whole range of components is deployed to produce a wide variety of colours and shapes.
It summon us to see inorganic matter in a different light. We habitually think of the mineral world as static, as opposed to the animate living world. We are unable to perceive the movement of the mineral but by subjecting purified minerals to particular pH and viscosity conditions, we discover the metamorphoses of substances we normally consider inert and immutable. In this video, the mineral even turns out to have a gestural dimension, to be capable of movements we thought the prerogative of living systems.
Out of this chemically activated matter emerge multiple worlds simultaneously suggestive of forms of animal life, buildings and surreal or familiar landscapes. In motion, they challenge the viewer’s imagination and capacity for interpretation, like psychedelic Rorschach tests or those ornate clouds supposedly open to predictive explication. The Présages take their title from this evocative power.

Présage

Ecole St-Louis

<a href="https://www.instagram.com/melodiemousset/?hl=en">Mélodie Mousset</a> is a contemporary artist and pioneer in the world of mixed media art. Her extensive body of work encompasses film, performance, sculpture, photography, and cutting-edge virtual reality experiences. Mousset’s transformative work challenges all the senses with extraordinary experiences in which the body becomes a site for physical and spiritual exchanges with technology. As the co-founder of PatchXR, a creative studio developing XR tools and experiences, Mousset bridges art and technology to empower other creators to express themself in these new media.
<a href="https://www.instagram.com/ed0ooo/">Eduardo Fouilloux</a> turns sounds, pictures, and technology into fun and magic, spending most of his time exploring ways to spark emotions through real-time simulations, and interactive media. His main focus is around collaborative play across disciplines and senses. As director and co-founder of Patch XR, he has led the development of a next-generation interactive playground for immersive media called Patchworld and a new engine for creators ranging from world-builder, casual gamers to hardcore music producer, empowering the next generation with immersive,fun and powerful tools to express themself.

Mélodie Mousset & Eduardo Fouilloux

Dive into the enchanting depths of The Jellyfish (L’echo des méduses), a synesthetic virtual reality experience beckoning participants into a unique cross-species connection with glowing jellyfishes. Submerged in a dream-like underwater soundscape, participants find themselves surrounded by a ethereal ballet of ghostly marine creatures. By simply using their voice, participants will be able to interact with the jellyfish and engage in a mesmerizing call-and-answer musical interaction. The submarine inhabitants respond to the nuances of the human voice, synchronizing their movements with the pitch, tempo, and intensity of the participant’s vocal expressions. This harmonious interaction fosters a profound sense of connection, offering a poetic and playful exploration of interspecies communication through technology and art.

The Jellyfish

Founded in 2011, the studio&#8217;s main concern from the outset was to create concepts that put the user&#8217;s sensations at the heart of the interactive experience.
The project is led by Gaël Bertrand and Gaëtan Libertiaux, who came straight out of a music group in 2008. Although the first interactive devices they came up with were musical, they quickly moved on to experiment with other areas of the game, interactive art becoming their favourite sport.
Instigating experiments, whether collective or intimate, the studio focuses on creating sensitive experiences, halfway between art and live performance. Central, universal as much as particular in its emotional resonance, intuition is part of an approach that drifts along philosophical, technological and artistic lines, always at the service of sensation.

Superbe - Gaëtan Libertiaux & Gaël Bertrand

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024
The From0 installation highlights the versatile nature of living things.
The installation postulates and underlines the instability of any equilibrium, destined to escape control. With From0, harmony slides from order to chaos, and conversely, chaos returns to its original form. From0 progressively deconstructs every signifier to offer it an escape from meaning, highlighting the distance between the concept and the material, musical nature of language. It&#8217;s the perfect opportunity to hear certain words in a new light, and to plunge ipso facto into a kind of original emotional bath. Hearing the words repeated, gently shifting to let the musicality take hold, and letting yourself sink into it.
From0 is a word composed of the English word &#8216;From&#8217; and the letter &#8216;O&#8217;. It evokes the starting point, the zero, and at the same time the circle evokes the perfection of the unity of the form and the repeating loop. This unity is deconstructed before our eyes and ears, only to re-emerge a few minutes later when the cycle of phase shifting is complete. The word then becomes intelligible again. From repetition can emerge knowledge, an order. Understanding this order is made accessible through this repetition, this repeated deconstruction.

From0

Le Pavillon

Superbe

After a bachelor&#8217;s degree in photo-video at the Institut Supérieur des Arts de St Luc in Tournai (2010) and a master&#8217;s degree in visual art at the Luca School of Arts in Brussels (2012), Marc Buchy (1988) completed his course with a postgraduate diploma from the IHEAP in New York (2015).
His protean work, a mix of performative actions, protocols and constructed situations, is a reflection on the cognitive capitalism that characterises our times. He has taken part in group exhibitions in Belgium (Société, Centrale for Contemporary Art, Centre de la Gravure de la Louvière, ISELP&#8230; ) and internationally (Friche Belle de Mai (Marseille), In Extenso (Clermont-Ferrand), CAN (Neuchâtel) Material (Zürich), The Others Art Fair (Turin), Galeriji SC (Zagreb), Antena (Chicago), etc.), and has also been the subject of solo exhibitions (BPS22 (Charleroi), Nei Liicht (Luxembourg), among others).
Marc lives and works in Brussels.

Marc Buchy

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024
Long metallic tables (12 m in total, divided in 4rows of 3 m each &#8211; approx) display 140 paper sheets of dimension 18,7&#215;8,7 cm. On each paper sheet mulptiples holes represent diagram made by Charles Darwins in his book Power of movements.

Point de fuite (Leak point)

Els Viaene (1979, Belgium) started her work as a sound artist / field recordist in 2001. With a set-up of two small microphones she listens, zooms into and enlarges the aural landscapes surrounding us. The natural rhythms and textures of the sounds hidden in those landscapes form the basis of her work.
Working on these sound materials for performances, sound compositions or installations she makes the listeners travel in imaginary and organic environments. Through the specific use and set-up of sound within a space her installations create new spaces within existing ones, either emphasizing or making dissapear the physical borders of that space.
In doing so she often plays with the notions of seeing and hearing, the perception of what we see and hear and how both interfere.

Els Viaene

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024
A wooden installation replicates the path that artist Els Viaene followed during an expedition through the Brazilian Amazon Forest in 2009. The three wooden arms of the sculpture are a scale model of the Amazon River and are filled with water. A headset and a hammer-like stick, the ‘hydrophone’, allow you to “hear” the water. Once you insert the stick into the water and you move along the twists and turns of the sculpture, the sounds Els recorded during the expedition are reproduced.
The Mamori Expedition catapults the viewer into the middle of the Amazon forest and invites the viewer to explore the river and its sounds in a very tactile way.
Concept, audio registration, microphones, technical realisation : Els Viaene 
Wooden model : Jeroen Verschuren
This artwork is a coproduction by Netwerk Aalst and Q-O2. 
With the support of the Flemish authorities.

The Mamori Expedition

Born in Toulouse in 1982, Caroline Le Méhauté lives and works in Brussels.
Her work has been shown in solo and group exhibitions including : Whitehouse Gallery (Lovenjoel), La Médiatine (Brussels), The Elemental (Palm Springs, California), Block T (Dublin), Postfuhramt Ouest (Berlin), Marseille-Provence 2013 European Capital of Culture, Spazio Testoni (Bologna), Musée National du Burkina Faso (Ouagadougou).
She was awarded the Marie-Louise-Jacques Foundation Prize 2022, the Carré sur Seine Prize 2021 and the Art [ ] Collector Prize 2020.

Caroline Le Méhauté

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024
&#8220;Caroline Le Méhauté works in a variety of media, including drawing, video, sculpture and installation. In particular, she has created a series of sculptures and installations using earth, more specifically a variety of peat that has never been cultivated by man. For the artist, earth is a living, evolving, changing material with its own dynamic. The title Négociation is given to each of her sculptures as a metaphor for a relationship with the world that must be constantly questioned and renewed. Each of his works can be seen as part of a poetic of the earth through which we amplify our sensitivity to the earth element as one of the sources of life.
Negotiation 109 &#8211; Growing in Silence takes the form of an obelisk with a wooden core and a peat body.
What does this negotiation tell us ? It is perhaps worth remembering that in ancient Egypt the obelisk represented a ray of sunlight. Peat, on the other hand, is pure carbon created over a long period of time, geologically speaking, through photosynthesis. I like to see this work as a metaphor for the force of elan contained in the earth, which is the alliance of life between minerals, plants and animals. The force of slenderness could be considered the alpha of life. But why in silence ? Absolute silence, i.e. the absence of any audible sound, is pure fantasy. Relative silence, the absence of undesirable sounds, is mostly inaccessible to us in the urbanised, mechanised landscape of the earth. The human experience of the desert is the closest we can come to the music of the origins of life. Silence here is perhaps the call to be silent so that we can once again hear the symphony of life.&#8221;
Christopher Yggdre 
Exhibition curator Fondation Laccolade

Négociation 109 - Croître en Silence (Negotiation 109 - Growing in Silence)

Laura Colmenares Guerra is a Colombian artist based in Brussels.
She has a transversal research-based practice that implies long-term processes of creation. Her work explores the impairment between contemporary western societies and the living ecosystems, the environment and the inhabitants of the planet.
This questioning drives her to conceive settings that relate to the politics of landscape and the notions of territory. She explores the constructions of the concepts of nature and natural and language as a foundation medium for reality.

Laura Colmenares Guerra

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024
The Ríos Trilogy results from a 5-year-long artistic research project focused on the territory of the Amazon basin, a vast territory covering 44% of South America, spanning over 7.8 million km2. The region is not only home to millions of people and a wide variety of species but also plays a vital role in mitigating climate change. It helps maintain climate balance, facilitates rainfall distribution, and is a significant carbon dioxide (CO2) sink. However, there exists an unfortunate and persistent view of Amazonia as a remote land full of infinite natural resources, open to new forms of agriculture and extractive colonisation, which has only become more complicated over the last 50 years with the integration of the region into national and international economies.
The three chapters that complete The Ríos Trilogy offer distinct approaches to understanding the meanings and definitions attributed to this territory. The trilogy sheds light on the history of colonisation and how it has impacted Amazonia, providing insights into the region&#8217;s current environmental and social threats.
Chapter N.1 &#8211; Rivers // Amazonia Geo-linguistics
Rivers // Amazonia Geo-linguistics is an experimental research tool that utilises Twitter to map information related to the Amazon Rainforest. Through this online application, the project explores the semantics of social media and its potential in identifying socioeconomic, political, and environmental issues. The tool has been designed to analyse and visualise Twitter data, including hashtags and co-occurrences. The data is continuously archived in a database, and statistical data is generated using algorithms.
By examining the semantics used in tweets, insights can be obtained regarding how Western societies perceive and engage with the complex situation in the Amazon basin. The results of this analysis are applied to the geo-referenced marks where socio-environmental threads have been identified, performing experimental interventions on the actual topographic data of the Amazonian territory. These interventions result in the sculptures proposed in Chapter II.
Chapter N.2 &#8211; Speculative Cartographies
The second chapter of The Ríos Trilogy consists of twenty-one sculptures delineated by the hydrological sub-basins established by the primary tributaries of the Amazon Basin. The sculptures are hybrids that combine real topographic data, semantic analysis and geo-referenced information on socio-environmental threats.
This speculative cartographic work acts as an archaeological artefact that catalogues the socio-environmental issues confronting the Amazon region while capturing the semantic relationships generated around these problems on social media. The sculptures are 3D printed using clay (porcelain).
Chapter N.3 &#8211; R€¥€R$€ (REVERSE)
REVERSE is a 30&#8242; VR piece that deepens into the complex situation of Amazonia. More than half of the Amazon region, 66 per cent of it, is subject to permanent pressure due to human extractive practices such as oil and mineral exploitation, road infrastructure development, ranching, agricultural activity and hydroelectric plants. Deforestation, burning, and loss of carbon stocks are proof of the large-scale transformations taking place in Amazonia.
REVERSE underlines the tensions present in the territory, where human, cultural and environmental aspects rub with power, economics and multinational interests in a context of climate stress in which the importance of preserving this unique ecosystem is vital for the survival of the current life on Earth.
Ecdysis
Ecdysis is an 8min. One-channel animation/sound piece created along the process of The Ríos Trilogy.
The title Ecdysis (from Ancient Greek ékdysis) refers to casting off the old skin or exoskeleton that reptiles and insects sometimes undergo multiple times in their lives. Scanning over the surface of the 3D model of the Amazon basin, the artists thought of an animal&#8217;s skin that we are looking at up close. And indeed, the whole of the Amazon, with its multiple ecosystems of rivers and Rainforest, is also one large being that is alive.
The sound composition is based entirely on field recordings that Jana Irmert made in the Amazon. She captured sounds normally hidden from human perception using hydrophones and ultrasound recording. Through different processing methods, sonic elements are carved out from the dense ambiences of the Rainforest and transformed into melodic formations and rhythmic patterns.

The Ríos Trilogy

Born in 1986, Vivien Roubaud lives and works in Brussels.
He graduated from the Villa d&#8217;Arson art school in 2011 and was awarded the Prix Emerige Revelations Prize in 2014. That same year, he exhibited at the Palais de Tokyo as part of the Modules programme &#8211; Fondation Pierre Bergé &#8211; Yves Saint Laurent. Until 2015, he is artist in residence at La Station in Nice. In 2016, he moved to Brussels and helped to create an artist-run studio space.
Vivien Roubaud is represented by the In Situ-Fabienne Leclerc gallery in Paris.

Vivien Roubaud

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024
In botany, a samara is a dried fruit with a wing-shaped membrane.
With Samare stationnaire, the idea is to build bases capable of producing a vertical laminar airflow that allows a samare to levitate on itself. This flow is accompanied by an all-round &#8220;wall of air&#8221; to keep the rotating samara suspended above its base, without it ever being able to break its fall, return to a stable state, or become immobilised.

Samare stationnaire (Stationary samara)

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024
This interactive work invites visitors to take a still-closed flower bud and place it on a small cap on one of the &#8220;flowering bases&#8221;.
When the user presses the switch on the top of the base, the egret or pappus of the salsify (according to botany) opens to form a ball of silk. The opening sequence takes just a few minutes (between one and a half and two minutes). First, the bud begins to open, followed by the unfolding of each achene (dried fruit) and pappus (bundle of silk), one after the other, with astonishing geometry, speed and fluidity.
Finally, the system comes to a halt and the closed bud has just flowered.

Salsifis douteux (Yellow Salsify)

Michaël Verlinden is a digital artist specialising in the creation of interactive installations and video mapping. His areas of expertise include events, audiovisuals and museum scenography, where he creates a range of interactive installations.
Passionate about digital and generative art, Michaël Verlinden&#8217;s light interventions come to life in various museums and international festivals. His work explores the relationship between image and architecture, combining vectorial abstraction with warm nuances and colours. When Vision Nocturne takes on a visual performance at an event (nights, installations, festivals, museums), a world of creative paradoxes unfolds on screen.

Michael Verlinden

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024
Digital Wool is like an interactive light carpet with psychedelic, poetic power.
Interactive and playful, the carpet plays with imaginary wave-like perspectives. The public is invited to play with its lines and gravitational forces. A physical reaction of mutual attraction is created, allowing the public to interact virtually with the animation.
The aim of the project is to bring the public together and offer a fun, relaxing space for groups or families to enjoy.

Digital Wool

Stéphanie Roland is a belgian / micronesian visual artist and filmmaker. Working between documentary and the imaginary, Stéphanie makes films and installations exploring invisible structures, hyperobjects and deep time ; from the ecological and political to the geologic and cosmic.
After graduating from La Cambre and following Hito Steyerl’s class in UDK Berlin, she completed post-graduates studies at Fresnoy &#8211; Studio National. Her work is regularly shown at international level, her projects have been included in exhibitions from major institutions among these Louvre Museum, Benaki Museum, Botanique, Kampala International Art Biennale, Bozar and Wiels. Breda Photo, Belfast Photo festival, Encontros da Imagem, BIP Liège, MOPLA Los Angeles and Unseen are amongst the festivals dedicated to photography in which she took part. In 2017, she was selected in the group exhibition of the Antarctica Pavilion for the 57th Venice Biennale.
Her films have been screened in international festivals such as FID Marseille, Visions du Réel, ZINEBI, FEST New Directors / New Films and Rencontres Internationales Paris / Berlin, among others. 
Her second short film, Podesta Island, wons the Alice Guy Prize, at FID Marseille.

Stéphanie Roland

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024
At first sight, these postcards seem black and opaque. Yet, when touched or if they are placed near a heat source, an image appears. These are satellite views of islands that, according to scientific forecast, are bound to disappear over the next centuries as a result of rising water levels. Subsequently, in the absence of heat, the postcards return to their initial black state. On the reverse side, one finds the name of the islands, their geographical coordinates and the century in which they are bound to disappear. Their postmark situates their mailing date in a distant future.
Technical expertise : Nicolas Belayew, Cambyse Naddaf. 
With the support of Frans Masereel Centrum.

Science-Fiction Postcards

Belgian artist, Eva L&#8217;Hoest (b. 1991) has been creating a delicate dystopian universe for several years. Between fictional and real ruins, the moving images of her films and installations explore the meanders of memory &#8211; human and non-human &#8211; reminiscent of larger economic and environmental issues.
For the realization of her fictional landscapes inspired by natural or domestic contexts, she mingles different technical image processes with research on subjects as vast and precise as the study of vanities, systems of measurement or ancestral beliefs.
Along the slow tracking shots of her films, water, nature, bodies, and architectural motifs often merge into a whole that decompartmentalizes the scales and makes the viewer fall into the heart of a fragmented matter in resonance with the complexity of the living. The plasticity of the images sewn from metadata and from technological and scientific vocabularies also defies the power of the algorithms from which she draws inspiration and which she dissects.
In the interstices of indeterminate, fragile and shimmering spaces, the artist questions transparency, the transfer of data and surveillance systems. Eva L&#8217;Hoest never gives up on reality, as evidenced by her practice of 3D sculpture and virtual reality that sometimes complements her films and installations. Her approach to the photographic image, whether sculptural, digital or conceptual, reveals and deconstructs ecosystems that alert us to our relationship to space and the digital era. Poetically, she explores the state of the world, our capacity to inhabit time and the power of contemplation.

Eva L'Hoest

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024

Eva L’Hoest

The work of Lawrence Malstaf (1972, Bruges, Belgium) is situated on the borderline between the visual and the theatrical. He develops installation and performance art with a strong focus on movement, coincidence, order and chaos, and immersive sensorial rooms for individual visitors. He also creates larger mobile environments dealing with space and orientation, often using the visitor as a co-actor. His projects involve physics and technology as a point of departure or inspiration and as a means for activating installations.
Lawrence Malstaf has received several international awards in the field of art and new technology. He is also well known as an innovative scenographer in the dance and theatre world.
He currently lives and works in Tromsø (Norway) &amp; Oudenaarde (Belgium) and exhibits internationally.

Lawrence Malstaf

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024
Styrofoam particles are blown around in a big transparent PVC cylinder by 5 strong fans. Visitors can take place one by one on the armchair in the middle of the whirlpool or observe from the outside.
On the chair, in the eye of the storm it is calm and safe.
Spectacular at first sight, this installation turns out to mesmerise as a kind of meditation machine. One can follow the seemingly cyclic patterns, focus on the different layers of 3D pixels or listen to its waterfall sound. One could call it a training device, challenging the visitor to stay centred and find peace in a fast changing environment.
After a while the space seems to expand and one&#8217;s sense of time deludes.

Nemo Observatorium 02002

Pierre Coric’s body of work is a weaving of different technical and technological practices. Navigation, computer programming and the making of textile objects are the components of ephemeral installations and performances which, by revealing an offbeat kind of normal, make us rethink our perceptions of the world.

Pierre Coric

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024
As We Continue is a passively interactive installation. A machine coldly performing what it has been programmed for knowing and remembering through time human presence or abscence according to its computer brain.
Concretely, it is a really simple device. The piece is made out of two mechanical time counters mounted on top of each other, one of which is running as soon as the machine detects one’s presence while the other is triggered by the absence of the observer.
As We Continue is a waiting piece, a running step among the exploration of technology and time.
As we continue shaping them, as they continue changing us.
Coproduction Werktank (Leuven) and Recto-Verso (Quebec).

As We Continue

Having lived successively in Brussels and Nice, where he obtained a degree in Communications, Maxime Van Roy returned to Belgium to study Visual and Graphic Communications, before moving on to more artistic studies. After obtaining a Master&#8217;s degree in &#8216;Image in the Environment&#8217; in Mons, he moved to Brussels, where he shares a studio with other sculptors and stone-cutters. As well as being a visual artist, he teaches sculpture at ARTS2, the Mons School of Fine Arts.

Maxime Van Roy

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024
In this single-use installation, each drop becomes a container, the packaging of a resource that becomes a product. This semblance of rain, which may evoke the abundance, profusion and opulence of a resource that is becoming increasingly scarce, raises questions about our use of water and our use of plastic.

Nuées (Cloud)

The works of Claire Williams are at the crossroads of craft, sound and electronics. Her artworks try to sense the multiple variations in our electromagnetic spectrum taking the form of art installations, making tangible the electromagnetic movements of our magnetosphere. Claire Williams is currently working on the exploration of ether, exploring 
our relationship to the world of the invisible by reviving abandoned 
leads of certain scientific and researches of the mid 19th century.

Claire Williams

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024
The Telepathes is an installation that explores sleepy, hypnotic or comatose states. It questions the materiality of our consciousness in what it has in common with that of the machines we fashion in the image of our neural activity. The Telepathes proposes to explore these spectral states through the recorded neuronal activity of people in a deep coma by imagining a &#8216;telepathic device&#8217; in which their electrical activity radiates and navigates in the form of waves and sounds. In this way, Claire Williams imagines a kind of parallel collective consciousness, a spectral world made up of our electromagnetic and psychic activities.

The Telepathes

WIP collective is a pair of artists made up of Jérôme Boulanger and Thibaut Drouillon. Using digital technologies to make visual choices, the collective analyses reality as fiction, questioning the status of vectors for constructing collective identity.
Together, they question the impact of the injunctive nature of language and cartographic representation on their relationship with the territory. In so doing, they are attempting to deconstruct the representations and symbols of collective identity and offer them a new perspective.
Using digital technologies to make visual choices, the collective analyses reality as fiction, questioning the status of vectors for constructing collective identity. Digital programming allows them to move away from a total control over the finality of the forms they propose. The pair use algorithms and code to leave the creative process open to chance. In this sense, the images, devices and installations they create highlight a generative and physical process that is constantly evolving.
Their work tries not to be fixed in a stable, permanent form. It is often the consequence of a change of state.

WIP collective - Jérôme Boulanger & Thibaut Drouillon

As part of the Capture #2 exhibition to be held at <a href="https://www.le-pavillon.be/en/">Le Pavillon</a> from 23 September 2023 to 14 January 2024
Cascade is an installation that questions the notion of capturing reality. From the mechanical era to the digital era, the granularity of the modes of capture and display still offers us a limited vision of our reality. By cascading several devices together, imperfections are amplified with each iteration and become the vector of a moiré effect that gives rise to coloured abstractions.

Cascade

WIP collective – Jérôme Boulanger & Thibaut Drouillon

Robertina Šebjanič is an artist/researcher whose work explores the biological, geopolitical and cultural realities of aquatic environments and the impact of humanity on other organisms. In her analysis of the Anthropocene and its theoretical framework, the artist uses the terms &#8220;aquatocene&#8221; and &#8220;aquaforming&#8221; to refer to the human impact on aquatic environments.
Her works received awards and nominations at Prix Ars Electronica, Starts Prize, Falling Walls, Re:Humanism and others.

Robertina Sebjanic

Atlantic Tales &#8211; Selachophilia: Cetorhinus Maximus – Limaria Hians weaves together mythologies and sciences, humans and non-humans, to speak of our ability to address challenges in the age of the Anthropocene. The story protagonists are the migratory basking shark (Cetorhinus maximus) and the flame shell (Limaria hians), a small species, endemic to the North Atlantic waters. The author had the opportunity to encounter both during her residency on the RV Celtic Explorer scientific research vessel in Ireland. The immersive installation intertwines the story, sung in the traditional Irish sean-nós style, with the narration of a storyteller and field recordings from above and below the surface of the Atlantic Ocean.
Sean-nós vocals : Caitríona Ní Cheannabháin, Róisín Seoighe 
Narration : Polona Torkar 
Recording of narration : Rok Kovač 
Sound mastering : Aleš Hieng Zergon 
Production 2019–2020 : Aerial/Sparks, Galway 2020 European Capital of Culture 
Production 2021 : Kino Šiška and Zavod Sektor

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