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From Namur to Le Pavillon :
9h30 &#8211; 10h30 &#8211; 11h30 &#8211; 12h30 &#8211; 13h30 &#8211; 14h30 &#8211; 15h30 &#8211; 16h30 &#8211; 17h30
From Le Pavillon to Namur :
10h &#8211; 11h &#8211; 12h &#8211; 13h &#8211; 14h &#8211; 15h &#8211; 16h &#8211; 17h &#8211; 18h

Schedule

shuttle

Shuttle Namur – Le Pavillon

The HEAJ&#8217;s Real Image option offers its students the opportunity to become real knives in the techniques of shooting, processing and broadcasting photos, videos and sounds; whatever the formats and supports. 
That is to say, from wall and museum exhibitions to total immersive experiences; according to all types of scenic devices including video mapping.

OPTION IR – HEAJ

In a world totally devastated by chemical warfare, a group of survivors called the KALANDOR have hope of returning to a normal world. 
Share an adventure with one of their members to have an impact on the remaking of a new world.
Join Arnaud on his adventures through the abandoned streets and help him escape from the men who are chasing him.
Experience an exciting story in an interactive room and immerse yourself in an apocalyptic setting; creating a total immersion for the audience as they go through different emotions during physical and mental tests.

KALANDOR

Image Réelle

Haute Ecole Albert Jacquard

Haute Ecole Albert Jacquard – HEAJ – Image Réelle

Beatrice Gorelli
Beatrice Gorelli is a creative director from Switzerland. Her past research focused on the impact of electronic devices such as smartphones, and computers, on people&#8217;s everyday lives. She has a background in graphic design and copywriting for the German and Japanese markets.
Kerem Türkyilmaz
Kerem Türkyilmaz is a Graphic Designer and Coder from Switzerland. His work is manly focused on the roots of graphic design and it seeks to blend the past with the present through a continuous exploration covering various mediums and technologies.

Beatrice Gorelli & Kerem Türkyilmaz

The first pandemic disrupted the physical; we witnessed the most massive internet training in history. People of all ages had to deal with digital devices or apps, even going grocery. Not to mention interpersonal relationships, which have moved to digital devices in a few days. As a result, the usage of WhatsApp has increased to almost 80% in Europe. Data shows that video porn platforms have also taken a significant part in our lives. PornHub reported over 39 billion searches during 2019, suggesting 18,073 terabytes of data transferred per day, circa 40% traffic increase among male and female users. 
In general, the idea of autoerotism was considered a natural act among Greeks and Egyptians in the past. But in mid-1700, it was sentenced by the highest figure of that time, for example, the Swiss medician S. A. Tissot or the philosophers I. Kant and J.J. Rousseau, who called it a &#8220;desecration of humanity,&#8221; pseudoscientific superstitions persisted until recent times, linked masturbation to blindness and the curvature of the spine. 
The interactive piece wants to raise the thematic of masturbation in virtual media. Imagine our computer or smartphone as a mirror, returning to the viewer the unconditional actions each performs during masturbation; after the user has become familiar with the interaction by identifying his hands, the input changes to a masturbation video — giving the viewer an unexpected feeling. The result can be considered a collection of biological activities linked to the most personal pleasure movements that unite us in a profound, private, collective moment.

Virtual Onanism

Delta

Beatrice Gorelli & Kerem Türkyilmaz – Virtual Onanism

On 19 October 2017, the U Arena in Paris-La Défense was inaugurated and announced a possible capacity of 40,000 people. On 23 May 2019 in Annemasse, the singer Xavier Machault opened the door of his new concert hall with a capacity of 2 square metres and a capacity of up to one 
spectator. 
Only You is a certain idea of excess. It is an absolute counterpoint to gigantism in order to offer the public a suspended time, a a singular moment. 
Only You is a kind of jukebox where you choose from an exhaustive list of 16 love songs from the 
list of 16 love songs from the popular repertoire of the 20th century, the song that will be sung to us. To us. Only You.

Only You

Xavier Machault – Only You

Hybrid artist based in Brussels, Laurie-Anne graduated from ESA Aix-en-Provence after studying 
Anthropology. In January 2021 in Marseille she is accompanied by Dos Mares and Aplombs for a first 
personal exhibition at the Ateliers Vian. On the strength of these experiences and funded by the South 
Region, she started a residency at the Werktank Factory in September 2021 which gave birth to the 
Lumitérale. 
In her career she has participated in numerous collective exhibitions such as &#8220;GHOST DANCE&#8221;, at 
Château La Coste 2021 or more recently,&#8221;Out Of Orbit&#8221; (&#8220;Bang! Fringe&#8221;) as well as at &#8220;(UN) Common 
Ground&#8221; at iMAL in May 2022.

Laurie-Anne Jaubert

This experiential installation explores different states of sound and visual materialities. Hybridizing 
light animation, sound mutation and textile construction, La Lumitérale offers the experience of a fine breach, of a frontier space between real and virtual, between abstraction and figuration.
La Lumitérale revolves around a symbiosis of image and sound. By playing with the idea of ever- 
complicating sound loops allied to luminous creatures that emerge and unfold, the experience becomes hypnotic and sensitive. The notion of time evaporates. 
Through the combination of the movement of animations integrated into the atmosphere, this work 
explores the experience of trouble, of doubt by immersing us inside an experimental fable.

La Lumitérale

Ecole Sainte-Marie

Laurie-Anne Jaubert – La Lumitérale

Born in La Louvière, Maxime Van Roy moved at a very young age to the Nice region in the south-east of France. After obtaining a degree in Communication, he decided to go back to art school in his home region at Arts2 in Mons. After graduating with a Master&#8217;s degree in &#8220;Image in the Environment&#8221;, he is now an assistant in his former school and provides individual technical support to students. 
During his last year of study, the installation Sibilation won the &#8220;Prix Tremplin du Ministre/Président de la Fédération Wallonie-Bruxelles&#8221; in 2020.

Maxime Van Roy

Caption: Belgian limestone, corrugated PVC tubes, DC 12v motors. 
Intention: A regular flow of air &#8211; produced by the rotation of PVC tubes &#8211; over the asperities of the opening of small cavities, generates turbulences that the resonance transforms into harmonic standing waves. Melodious whistles &#8211; caused by the wavelength allowed by each tube &#8211; implement this sound principle which can be generated both naturally and artificially.

Sibilation

Musée Arts Décoratifs

Maxime Van Roy – Sibilation

Maria Komarova is an interdisciplinary artist whose practice can be situated on the borders of new theatre, scenography, sound art and installation. She is interested in creating spatial settings that call the spectator to be more attentive and playful toward everydayness. Her works give new frames to objects by technically repurposing them and emphasizing their sonic and visual potential. Maria is one of founders of art collective PYL, Festival Performensk. She is currently based between Belgium and Prague.

Maria Komarova

555 bugs is a site-specific installation that transforms the stairs of Cinex into a habitat of fragile sonic creatures. In it, found objects and custom electronic devices are assembled into a landscape where elementary materials find new meanings in spontaneous connections. They interact, move, resonate, talk to each other and to their listeners, bringing them into a world of menthol buzzers, one-eye sirens, lemon tadpoles, ginger tigers, plastic bugs and other insects.

555 bugs

Cinex

Maria Komarova – 555 bugs

Lukas De Clerck lives and works in Brussels.
His artistic practice is currently centered around the Aulos, an ancient-Greek double reeded double pipe that got extinct more than a millennium ago. Inevitably auto-didact, he tries to imagine different improvised sound worlds.
Furthermore, he likes to work with recognizable,  everyday sound production. By putting actions like gargling, whistling and sneezing in an artistic context, a connection is made between the audience and its environment.
Throughout De Clerck&#8217;s work, a tension between the extra- and the ordinary prevails.

Lukas De Clerck

AirBag/14Holes consists of a large central air cushion with 14 bulging cones.
By improperly using this attraction, the air cushion becomes part of an instrument, which looks like a gigantic children&#8217;s bagpipe. The huge flow of air makes it possible to activate a collection of wind instruments. 
A mass of abandoned, unused flutes and organ pipes donated for the project.
The sound it produces tends more towards that of an inert, dysfunctional organ. Omnipresent but ephemeral overtone structures are revealed over time. 
Moving through the installation, it is you who manipulates the balance between the notes.
As a spectator and listener, you are invited to actively intervene in your own listening experience, playing and composing the space by walking through space, moving your head or gradually covering your ears.

Airbag/14Holes

Lukas De Clerck – Airbag/14Holes

Play with me is a place to meet and share that draws on our natural tendency to experiment and be caught up in play. It takes the form of a set of devices activated by the users&#8217; swaying, walking or bouncing. Each of these devices produces a different rhythm, melodic sequence or harmonies, parts of a musical composition that can be modulated by the amplitude of movement and hand pressure. The arrival of a second user makes it clear that it is possible to develop a close complementarity, encouraging people to play with it and to experiment more through the body and the music. 
The intuitiveness of the device is thus one of the keys to the project, as is the musical logic. The latter is based on sequences that can be easily combined with each other so that a non-musician can easily appropriate the object. The possibility of modulating these sequences and the rhythm offers an important variety of compositions in order to give the sensation of composing a piece, a bit like one could do in a small orchestra. The overall logic is to offer a simplified version of this orchestra so that anyone can be part of it and feel connected to the other participants, encouraging listening and sharing. 
By creating a collective and spontaneous experience and playing on the excitement produced by the game, Play with me gives the possibility to free oneself from the social barrier linked to the interaction with strangers and creates the conditions for a possible exchange, whether it is with friends, with people one has sometimes met for years without really knowing them or with complete strangers. The project thus lies somewhere between playground, art installation and performance, returning to the original etymology of the term concert, a &#8216;group of musical instruments playing together&#8217; which are here activated by the whole body and bodies of the participants.

Play With Me

Grand Manège

Eric Arnal Burtschy & Laura Muyldermans – Play With Me

Founded in Montreal in 2010, digital art studio Iregular creates audiovisual installations, large-scale sculptures, architectural projections and scenographies, with a focus on interactive and immersive experiences. At the crossroads between art and technology, these artworks experiment with geometry, light, sound, typography, mathematics, algorithms, communication protocols, AI, and machine learning. Iregular also develops its own proprietary technologies.
The studio works with the infinite and random combinations produced by interactive systems that the audience ultimately influences and transforms. The interaction is at the core of it all. It is only the relationship between the people and the piece that finalizes the artwork and gives it meaning.
Iregular’s work has been shown in 25 countries, notably including a solo exhibition in the Van Abbemuseum in the Netherlands, 5 solo exhibitions in Montreal, as well as other important presentations at Mutek (Montreal and Mexico), BIAN (Montreal), Mapping Festival (Switzerland), Chroniques Biennale (France), LEV Festival (Spain), Draaimolen (The Netherlands), Elektra (Montreal), Glow (The Netherlands), Lumiere (United Kingdom), Dubai Design Week (UAE), B39 (South Korea), Arttech (Colombia), Festival du Nouveau Cinéma (Montreal), and Aurora Festival (USA). Their creations are also in the collections of the WNDR museum in Chicago (USA), the Museo de Antioquia in Medellín (Colombia) and the Collection du Mouvement Desjardins in Montreal.

Iregular

This first version that uses the facial tracking feature depicts the universality of humankind. Using artificial intelligence, the system accurately tracks the faces of participants standing in front of the screen. It then unifies and aligns the features of the different faces, creating an ever-changing blended portrait of a single digital human.
Today more than ever, we must remember that we are all united across borders, that we are the same despite our diverse physical appearances. We are all in the same boat, and need to stick together and look beyond facial features. Technology can demonstrate this to us very easily in an engaging and entertaining way, but it is up to us to remember to apply this concept in our daily lives.
Work available on : 
Thursday &amp; Friday for Professionals 
Saturday &amp; Sunday for All

Faces

KIKK Market

Iregular – Faces

Anouk Kruithof (b. 1981, Dordrecht, The Netherlands) is a visual artist with a trans-disciplinary approach, which encompasses photography, sculpture, collage, video, websites and (social) interventions in the public domain. Kruithof depicts the transience and the chaos of this world, which the artist skillfully addresses by mixing urgent societal issues with personal experiences. She graduated from the art academy in 2003 and currently lives and works alternately in Brussels, Belgium and Boto-Pasi, Suriname. Kruithof has had solo exhibitions in Foam Fotografiemuseum Amsterdam, Centro de la Imagen Mexico City and Stedelijk Museum Amsterdam. Her work has also been included in the collections of MoMA San Francisco, Museum Folkwang in Essen and Museum Voorlinden in Wassenaar. 
Universal Tongue is still intensively shown all over the world and has been exhibited in Museum Tinguely in Basel, Viernulvier (formerly known as Vooruit) in Ghent and at WHOLE | United Queer Festival, Ferropolis, Gräfenhainichen, Germany.

Anouk Kruithof

Twerking, vogue, Fortnite, flash mobs, a Sufi or musical chairs. Visual artist Anouk Kruithof is fascinated by dance as a form of self-expression and empowerment, which has led her to research dance styles from all over the world. The dance-conclave and video installation Universal Tongue leads us through the jungle of the internet. It explores how dance has developed throughout history as part of our global media culture, and how it manifests online today. 
The immersive installation is based on 32 hours of found video material presenting thousands of different dance styles, selected by a team of 52 researchers from all over the world from YouTube, Facebook and Instagram. 
Collectively, they collected 8800 videos; 250 hours of video material, 1000 dance styles, from all 196 countries of the world. This four-hour rousing dance video installation is spread over eight screens, with no less than 32 hours of found footage bundled into Universal Tongue, arranged by rhythm and the number of dancers. 
The ongoing loop of moving image erases typical categories of the world order, such as country, continent or culture. 
Instead, it looks at our era of fluidity, hybridity and non-stop connectedness with respect for and in celebration of our diverse historical backgrounds, cultural differences and unique individuality. 
&#8220;Dance—the moving body—more than anything in our diverse and complex world unites us in the recognition of our shared fragility and our common human condition. It also points us towards a possibility of a more inclusive world with limitless exchange and understanding of new identities, a world where simply everyone is a dancer.&#8221; — Anouk Kruithof

Universal Tongue

Etablissement des Soeurs Notre-Dame

Anouk Kruithof – Universal Tongue

Justine Emard, a French artist, explores the new relationship between our lives and technology. 
By combining different image media &#8211; from photography to video and virtual reality &#8211; she situates her work at the crossroads between neuroscience, objects, organic life and artificial intelligence. Her devices take as their starting point experiments in deep learning and dialogue between human and machine. Since 2016, she has been collaborating with scientific laboratories in Japan. She is a laureate of the French Institute&#8217;s 2017 Hors-les-murs residency in Tokyo. 
Her work has been exhibited at the Moscow International Biennial of Contemporary Art and in museums such as NRW Forum (Düsseldorf), National Museum of Singapore, Moscow Museum of Modern Art, Itaú Cultural Institute (São Paulo), Cinémathèque Québécoise (Montreal), Irish Museum of Modern Art (Dublin), Mori Art Museum (Tokyo), MOT Museum of Contemporary Art Tokyo, Barbican Center (London) and the World Museum (Liverpool). 
In 2020, she is in residence at the ZKM, Centre for Art and Media Karlsruhe, and is the winner of the national photographic commission &#8220;IMAGE 3.0&#8221; of the Centre national des arts plastiques (CNAP) in partnership with the Jeu de Paume in Paris. In 2021-22, she is a guest artist-professor at Le Fresnoy, Studio national des arts contemporains.

Justine Emard

Supraorganism is a reactive installation composed of robotic glass sculptures, animated by a machine learning system (artificial intelligence), and developed from data collected in a community of bees. 
As guardians of the balance between earth and sky, bees have always been a source of inspiration for thinkers. The observation of their intelligence is an indicator of the state of our ecosystem and they are often called upon to think about the present. 
Today, machine deduction techniques allow us to interpret a large amount of data and to observe the world differently. Supraorganism is a work about the memory of bees and their collective intelligence. The creation process is calculated from observed behaviour patterns and analysed by computer. An artificial neural network has been trained on the data captured by the artist. This machine learning system, developed specifically for the project, generates predictions: a glimpse of possible futures. 
These predictive interstices are embodied in a visual and sound installation. Some twenty robotic glass sculptures, suspended on a stainless steel structure, are deployed in the space. The modules come to life through their connected systems, lights and motors, animated by live artificial intelligence. The generated light and sound immerse us in this predictive atmosphere. Thanks to its ambient sensors, the installation reacts in a subtle way to the detection of visitors and adapts to their presence, like an artificial life organism. 
The non-predictable nature of the system leads us to a singular experience. The light and sound of this new organised being react in symbiosis while surprising each other, colliding in a structured, organic and floating constellation. From this ensemble emanates a form of collective intelligence: a supra-organism comes to life, itself generating new images from the shadows and reflections projected in the space-time of the installation.

Supraorganism

Justine Emard – Supraorganism

Matteo Marangoni
Matteo Holyoke Marangoni was born in Florence in 1982 in a mixed Italian and American family of artists. He studied music performance, sound engineering and cultural management, before receiving a masters diploma from the ArtScience Interfaculty in The Hague in 2011.
In his art practice he focuses on creating sensory experiences that connect sound, space, image and the body. His performances and installations present physical processes, sensory phenomena and machines in ways that are both musical and theatrical. He makes use of DIY electronics, digital systems, architectural spaces, media archives, automation, robotics, explosives, humans and storytelling. With these elements he composes poetic rituals addressing the space between subject and object, materiality and transcendence, the absurd, curiosity, invention, contemplation, identity, fear and ridicule.
Dieter Vandoren
Dieter Vandoren (°1981, Belgium) is an artist, performer and creative tech developer. His work draws from diverse backgrounds in music, IT and experimental architecture and revolves around the creation and play of spatial audiovisual instruments and environments with a focus on embodiment, immersion and primary sensory experiences. 
Dieter has a masters degree from the ArtScience Interfaculty (Royal Academy of Art &amp; Royal Conservatoire The Hague) and a bachelor in Digital Communication (University of Applied Sciences Utrecht). His works have been featured at Ars Electronica (AT), Club Transmediale, Akademie der Künste Berlin (DE), NIME/Goldsmiths (UK), Artefact/STUK (BE), Medialab Prado (ES), Electrochoc (FR), Sound Around Kaliningrad (RU), Sin Pin Pier Gallery (TWN), Gaudeamus Muziekweek, November Music, Rewire, TodaysArt, STEIM, STRP, Glow, FIBER (NL) and more. 
He is co-founder of and technical coordinator at collective artist platform iii in The Hague. He is the technical producer of the Klankvorm and Conflux media arts events in Rotterdam. In academics he is a guest lecturer at ID-StudioLab (industrial design engineering dept.) and was a researcher at Hyperbody (architecture and built environment dept.) of the Delft University of Technology. 
Currently resides in Rotterdam, NL.

Matteo Marangoni & Dieter Vandoren

Komorebi is a swarm of artificial creatures that make music in response to the sun, the clouds and the shadows of trees moving in the wind. Komorebi is a Japanese word meaning “sunlight shining through trees”. We are invited to experience the shadow play produced by the tree canopy on the forest floor as music. The work suggests that “life” is not an exceptional property of organic life forms, but also a property of complex systems reaching beyond biological life as we understand it.

Komorebi

Matteo Marangoni & Dieter Vandoren – Komorebi

Caroline Robert is a Canadian and French multidisciplinary artist known for her sensitive and timeless style that combines hand-made and new technologies. She wears many hats on a variety of projects: animation, editing, set design, interactivity and more. As an all time collaborator at Studio AATOAA, she has seen her work presented at Sundance, IDFA, Gaîté lyrique, Museum of the Moving Image, Japan Media Arts Festival, Ottawa International Animation Festival and also won a Grammy for her visual work with Arcade Fire. Brainstream is the first film she has written and directed.

Caroline Robert

Brainstream is an interactive animated film that explores, with sensitivity and humor the workings of our brain. You’re inside the head of D., a young girl who’s livestreaming her brain activity during a new kind of treatment session. Online, along with other participants, you massage her brain, experiencing the free flow of her thoughts. Now, she’s telling you about her weekend. Earlier, her anxiety played some catchy beats. Keep massaging. It’s doing her some good. In exchange, she’s giving you a guided tour of what’s going on inside her head, empowered by your gestures and stimulating presence. D. opens up as her mind wanders—perhaps a little bit like your own mind. Created by Studio AATOAA and produced by the National Film Board of Canada.

Brainstream

Galerie du Beffroi

Caroline Robert – Brainstream

Regularly ranked among the top 10 art and design schools in the world, the ECAL/Ecole cantonale d&#8217;art de Lausanne is constantly setting itself new challenges to offer its students solutions to contemporary problems while remaining forward-looking. The Bachelor Media &amp; Interaction Design programme is part of this philosophy through its approach to new technologies and its interest in artificial intelligence in the world of design. For the KIKK, the Bachelor Media &amp; Interaction Design students invite the public to the heart of interactive and playful experiences, through immersive installations.

ECAL 

From tangible interface design to instrument creation, immersive sound experiences and video clips, the students of the Bachelor Media &amp; Interaction Design at ECAL/Ecole cantonale d&#8217;art de Lausanne invite you to discover the ECAL Playful lab 
Whether through an interactive orchestra or a wider selection of projects combining new technologies, algorithms and scales, the ECAL students wish to redefine music above all through its experimental and playful properties.

Bachelor Media & Interaction Design

ECAL – Bachelor Media & Interaction Design

Since 2013, Maxime Houot has created numerous sound and visual pieces presented on the international scene. Exploring the limits of his own perception, he deploys a practice that is both artisanal and conceptual. His questioning begins in the studio, by making the device that will support his next creation. Even if the term &#8220;Digital Artist&#8221; can be used, the contact with the material, the machine, the object, is fundamental in his work. This artisanal gesture is nourished by his more conceptual approach. With a degree in applied physics, the world around him, even when put into equations, has always been a source of fascination and wonder. Time that does not pass, Relative Reality, the Digitalisation of the Void, and Man as a digital machine are concepts that accompany him and feed his imagination. Most of his creations are produced by the company Collectif Coin. He also likes to experiment with the company by crossing his work with that of other artists from other disciplines, such as dance, music and live performance.

Maxime Houot

Ataraxie means ‘peace of mind’, and in this new installation from Maxime Houot the artist asks us to question what this might mean in a changed and still changing post-pandemic world. A row of lasers fills the space with beams of red light that first form simple crosses, before building up complex, tesseract-like structures. Ataraxie investigates the void of the unknown and asks us whether we might fill it with the comforting and familiar, or find fresh ways to live.
&#8220;in the framework of EXTRA 2022, a programme to support French contemporary creation&#8221;

Ataraxie

Ecole St-Louis

Maxime Houot – Collectif Coin

Shivay La Multiple was born in 1993 in the body of Justine Pannoux and works between France, New Caledonia/Kanaky and the digital sphere. Iel studied at the Haute École des Arts du Rhin and then at the art school la Esmeralda in Mexico City. In 2016, Iel joined the Offshore postgraduate program at the Nancy School of Art in Shanghai.  In 2021-2022 iel is part of the international post diploma of the ENSBA Lyon.
Her work has been presented at the Museum of Women in Mexico City, in a solo show at the Bazaar Compatible in Shanghai, during the group exhibition La Sagesse des lianes at the CIPAC Vassivière and during the off of the Lyon Biennale at the exhibition Bientôt, làbas: sublimer les flux constant et disséminés at the ENSBA Lyon. At the same time, he went on a research residency in Guyana, the Democratic Republic of Congo (DRC) and Senegal. Currently exhibited at the Maëlle Galerie for the group show Jai si longtemps rêvé de ce pays lointain, que j&#8217;ai réinventé ses bruits et ses odeurs.

Shivay La Multiple

Shivay La multiple was born in the body of Justine Pannoux in New Caledonia and this non-binary meta-being mutates and transmutes as it moves through the spaces it crosses. Based on research, her work has also metamorphosed into a hybrid practice that consists of installations, sculptures, performances, drawings and digital realizations where nothing is ever fixed but remains in perpetual change. Each of her works is thought in an archipelagic way. Through her research, she is interested in the porosity of physical and virtual worlds, of dream and reality, and in changing the perspectives of linear approach of temporality. Her aesthetic brings together techniques of accumulation, saturation and codified ornament.
Zebola is one of the latest projects that Shivay has been working on. It began during a residency trip to French Guiana in the village of Papaichton, along the Maroni River that separates Suriname from Guiana, the master place of marronage. The river has not only a spiritual dimension but also a political, economic and social importance. For her, this entity is a bridge that leads to the immensity of the oceans and the heart of the forest. The Bushinenge are the ancestors of the Neg Maroons, slaves who used dissemination and escape as an act of resistance before returning to save their own. They established an entire aesthetic code &#8211; the Tembe. She then went to the Congo where she has roots but had never been. She made a journey backwards from the uprooting of the Maroni River to the Congo River, where part of her roots are.
Shivay began to accumulate her material in the markets: bags of rice and flour, whose aesthetics attracted her without knowing yet what she would do with them. It is by unweaving them that she gave them a new materiality, through which she was able to reweave a new narrative and generate a new poetics&#8230; Their assembly gave birth to Zebola, in relation to certain rituals performed in the Lower Congo. Women inhabited by certain entities are not exorcised but are taught to live with them, through ritual. Zebola was shown at KinAct and at the Centre International d&#8217;art et du paysage on the island of Vassivière before coming to Namur. Shivay has also created a moving digital mask that uses the Spark AR technique. This mask practice began in the hypermodern city of Shanghai, questioning the link between ideograms and emojis that constitute universal scripts and language forms.
Nasima mascara na mususu mascara 
Find a FACE 
Find a FACE 
FACEFINDEUR 
Find a FACE 
FACEFINDEUR 
Synchronisax la nouvelle mascara 
Traverses les espace, les temps

Zebola

Shivay La Multiple – Zebola

Joan Fontcuberta :
Born in 1955 in Barcelona, Spain. 
Lives and works in Barcelona, Spain. 
Joan Fontcuberta has developed an activity both artistic and theoretical centered on the conflicts between nature, technology, photography and truth. Recently, he explores the new visual culture in the light of the impact of technological tools and artificial intelligence.
Pilar Rosado :
Born in 1965 in Barcelona, Spain. 
Lives and works in Barcelona, Spain. 
Pilar Rosado holds a doctorate in fine arts and a master&#8217;s degree in biology. Her artistic research involves the application of machine learning technologies to the revision of collective visual memory and artificial creativity.

Joan Fontcuberta & Pilar Rosado

From a dataset of orgasmic portraits (taken from the www.beautifulagony.com page where thousands of users post their video-selfies after guaranteeing that their orgasm is not fake but genuine), we used Generative Adversarial Networks (GAN) technology to run a deep learning process to generate fake portraits of non-existent people at the moment of climax. This process identifies the characteristic expressive patterns of orgasm and transfers their feature typology to the image of any face.

Beautiful Agony

Joan Fontcuberta & Pilar Rosado – Beautiful Agony

Born in 1996 in Mulhouse (France), Magalie Mobetie decided at a very young age to become a Swiss Army knife: video, sound, 3D, augmented reality, interactivity, everything is mixed in her creative process. Between tradition and modernity, it is not Japan but the Caribbean that Magalie highlights in her work. She is interested in what is not said, not seen and the reasons for silence. Her transdisciplinary practice is confirmed at Le Fresnoy, studio national des arts contemporains (2020 &#8211; 2022), during which time she investigates an old family cemetery (Anba tè, adan kò &#8211; 2021).

Magalie Mobetie

France has many dependencies and departments spread all over the world. Because of their little-known histories and cultures, the search for identity remains uncertain facing the colonial past and the denial of its repercussions.
&#8220;What does it mean to be a French overseaser?
0.005m3 d&#8217;identités invites young overseas people of all origins to debate this question. These testimonies, immaterially stored in bottles, can be released by the visitor&#8217;s action. By uncorking one of them, the speeches of these young people highlight the complexity of the question of identity in these heteronomous societies. The speeches are illustrated by projections of different types &#8211; interviews, landscapes and portraits.

0,005m³ d'identités

Magalie Mobetie – 0,005m³ d’identités

The ephemeral nature of kinetic sculpture seems an appropriate place for my ideas, emotions, and hopes. A space in which I can focus on ways to blur the boundaries between cinematography and sculpture. Combining computational devices with mechanical elements, I create mandala-influenced sculptures, but divergent from a traditional sculptor, I consider these kinetic sculptures solely a medium! Only a necessary first step in a process to achieve what I believe is the true-focal point of my work. That being the transitory animations, choreographies, and sounds while the sculptures are in motion.

Inspired by The Industrial Revolution and the subsequent changes in human development. A process that led and will lead humanity to both heaven and hell. I aspired to try to capture the paradox of this duality by making an intimidating/brutalist machine. &#8220;Vicious Circle&#8221; is a manifestation of a machine-like society militaristic in fashion. With its relentless drive for conformity, this machine acts out its role. Oblivious and undaunted by either its own destruction or the destruction around it. Maybe, it dances to the beat of progress. Or does it dance to a different tune? With outstretched arms beckoning the observer for redemption! Yearning, someone will notice the beauty contained within its motions, the rise and fall of the hands as they form swarms that flock together like birds in a choreographed dance, a possible virtuous circle.

Vicious Circle

Peter William Holden – Vicious Circle

Orange presents &#8220;Eternelle Notre-Dame&#8221;, the first immersive virtual reality expedition to Notre-Dame de Paris. Relive the history of the cathedral thanks to virtual reality, discover inaccessible places and enter history&#8230;. Thanks to virtual reality, you will be able to explore Notre-Dame de Paris through the centuries, completely recreated digitally and thus experience a real emotional journey to discover the secrets of the monument, while (re)discovering the historical events and characters who have marked its history.

Eternelle Notre-Dame

La Nef

Orange – Eternelle Notre-Dame

Natalie Paneng (b.1996) received her BA in Dramatic Arts from the University of Witwatersrand in 2018 and was awarded the Leon Gluckman Prize for the best piece of creative work. She lives and works in Johannesburg, South Africa. Natalie makes use of both her self-taught digital skills and theatre background to create multidisciplinary digital art/new media.
Paneng’s work has been exhibited with TMRW Gallery, The National Arts Festival, Blank Projects, Michaelis School of Fine Art, BKHz Gallery, Javett Art UP and Galerie Eigen Art Leipzig, Standard Bank Gallery and Mutek Festival. Along with this, she has participated in local artist residencies such as Bubblegumclub Future 76 Residency(2018), Floating Reverie(2019) and Fak&#8217;ugesi Digital Innovation Artist Residency (2019) and The Centre of A Less Good Idea&#8217;s So Academy&#8217;s &#8216;Thinking in Cardboard&#8217; scenographers mentorship (2021)
Through her work she explores what it means to have an online presence, the persona’s we develop online and how the Internet and its algorithms control and influence us and our perceived reality. Her video work and art become a way for her to interrogate as well as share how she manifests and navigates the world she lives in and creates for herself. The internet is MTV and she welcomes you to her crib.
Paneng describes herself as a world-builder and see&#8217;s her growing practice as a way to navigate, share and archive imagined and alternative realities brought to life through a digital artistic process.

Natalie Paneng

Ophelia Does Backstroke is an immersive installation which looks at a glitched and recontextualized version of the many iterations of Ophelia fromShakespeare&#8217;s Hamlet. The most popular iteration of this image is where Ophelia is lifeless in a river surrounded by a lush environment, painted by Sir John Everett Millais. This iteration became a prompt for this speculative thinking behind the glitched version presented here in Paneng&#8217;s digital secret garden.
The glitch here transcends timelines and contexts. Ophelia Does Backstroke aims to be a recharged version of the image. We find a black Ophelia swimming in her pool surrounded by a mystical and magical environment filled with fairies, playing and existing in the open environment while another version of Ophelia poses with a bouquet of purple roses next to her pink unicorn. The piece speaks to reigniting new life into former contexts, key stories in our histories and set archetypes.
The immersive installation is a multi-media presentation which makes use of sound, projection and world building installation. The sounds of birds,water and wind chimes all play at the same frequency, imitating Ophelia&#8217;s inner peace and essence. The sound also acts as a teleportation tool for anyone visiting thedigital secret garden.
The piece aims to inspire and bring(glitch) blackwomen into Western stories, ensuring that their position in the context of the story is nothing less than magical and playful. It is an attempt to recontextualize past representations given to blackwomen in previous histories through playful and lighthearted speculation and visual response.
Using technology, Internet pop culture and aesthetics aswell as and stock imagery &#8211; the piece is a playful in its composition and commentary on howart and timelines collidewithin Paneng&#8217;s artistic practice.

Ophelia does Backstroke

Natalie Paneng – Ophelia does Backstroke

Linda Dounia is a self-taught artist, designer, and curator from Senegal who explores the social construction of power and the cultural implications of how it is distributed. Linda is particularly curious about the relationship between individuals and the systems that govern them, and seeks to shed light on the ways in which hegemonic power structures affect her agency over her identity, physical embodiment, and environment.
Linda’s practice is rooted in technology while showing a deep respect for the tangible. Her practice plays with the borders that exist between a variety of digital and physical mediums and incorporates collaborations with AI and machine learning. She has a background in visual and interaction design.
In an approach that is both radical and poetic, Linda’s work seeks to bring herself out of a state of numbness and surrender to the patriarchal modus vivendi, and to create space for the quietly brewing resistances within her.

Linda Dounia

Linda Dounia’s long-form AI project, Spannungsbogen, reflects on issues of discrimination in commercial AI technology and the lack of representation of non western perspectives and data in generative adversarial network (GAN) generated art.
For this series, the artist hand painted 2,000 acrylic vignettes in an abstract style inspired the Fremen of Frank Herbert’s Dune. She then trained a GAN model with these paintings to output 10,000 new paintings that were then arranged following an indexing system that considers form, colour, and texture. Finally, Linda curated these outputs to feed into the creation of 80 animations of 1 minute each and 400 still images.
In Herbert’s words, spannungsbogen is ‘the self-imposed delay between desire for a thing and the act of reaching out to grasp that thing’. This series simulates a conversation between artist and machine, a dialectical search for meaning between a thinking mind and a feeling one, and an ode to the invisible creatures in the cracks and crevasses of the world, patiently lying in wait for their turn to freely exist.
Spannungsbogen was exhibited by Quantum Art online and in its physical space in Los Angeles. The entire series sold out in under 30 minutes on the day it was auctioned.

Spannungsbogen

Linda Dounia – Spannungsbogen

Laura Nsengiyumva is a Brussels-based artivist, architect and researcher. Through her interdisciplinary practice, Nsengiyumva explores themes such as diasporic experience, hidden histories, North-South relations and empathy. She speaks about these topics through images and interventions on colonial spaces. . Her artivists actions like PeoPL (the melting of a statue of Leopold II) and Queen Nikkolah, are part of her research project &#8220;Shaping the presence of the African diaspora in Belgium&#8221;. Her transcultural view of history is based on human stories that invite us to find what brings us together.
Nsengiyumva is affiliated as an artistic researcher to Kask, the School of Arts of HOGENT, and howest. She won the first prize at the Kunstsalon Ghent in 2011, and the second prize at the Dakar Biennale in 2012. She is an artist resident of Kult-XL.

Laura Nsengiyumva

Helen is the biographical monolog of a young european woman. She speaks about her lovelife with a touching since- rity. Based on the buddhist idea that pain has the power of connecting people, her monolog is used by Afro-European women as an opportunity to make their voices heard. They share Helen’s pain by dubbing her voice in their maternal language. 
The languages are spread in the space in front of the screen in several auditive areas. It becomes an assembly of women as well as a travel for the visitor wandering through the voices. The non-understanding of the languages allows the visitor to experience exclusion and get to know the diversity of the African languages. As well as the understanding of one the languages leads to repair communitary links around an apolitical subject.
In the manner of the American soaps dubbed in Spanish, this «sound-cartography» is a way to claim the African presence in Europe and raise the idea of an Afro-European identity.

Helen

Laura Nsengiyumva – Helen

Hussein Shikha is a multidisciplinary artist, graphic designer, writer, and researcher. He was born and raised in Iraq and moved to Antwerp in 2009. He graduated with an MA in visual arts from The Royal Academy of Fine Arts Antwerp. His work deals with the preservation, translation, and digitization of the visual culture from his intersectional experience as an Iraqi-Belgian. Currently, he is doing research on the erasure of handmade Iraqi tapestries and its idea of ‘beauty’ that relates to Islamic art, as a way to de-modernize his creative practices.

Hussein Shikha

Similar to layers of threads, the brain can learn to recognize patterns which makes it capable of weaving together visual forms to create a visual tapestry or simply our sight. 
Following Donna J. Haraway’s theory on neuron connections, through the subjective multi-layered consciousness, the artist’s brain becomes a metaphor for the neural network in which the spectator experiences presented works. That inner tapestry is embodied in the visual representation of one&#8217;s brain.
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On the technical and aesthetic capacities of this work, pixelation becomes a thread or a connection between technologies of weaving and the development of digital computing. This work becomes an opposition against arguments which relegates carpet weaving to an older temporal order, one incapable of connecting to modern technologies. Contrary to conventional ways of seeing digital technologies, there are real and vital connections – structural, aesthetic, and even spiritual connections – between older ways of weaving reality and newer ways.

Weaving of Sight

Hussein Shikha – Weaving Of Sight

Tabita Rezaire is infinity longing to experience itself in human form. Her path as an 
artist, devotee, yogi, doula, and farmer is all geared towards manifesting the divine 
in herself and beyond. As an eternal seeker, Tabita’s yearning for connection finds 
expression in her cross-dimensional practices, which envision network sciences &#8211; 
organic, electronic and spiritual &#8211; as healing technologies to serve the shift 
towards heart consciousness.
Embracing digital, corporeal and ancestral memory, she digs into scientific 
imaginaries and mystical realms to tackle the colonial wounds and energetic 
misalignments that affect the songs of our body-mind-spirits. Tabita’s work is 
rooted in time-spaces where technology and spirituality merge as fertile ground to 
nourish visions for connection and emancipation. Through screen interfaces and 
healing circles, her offerings aim to nurture our collective growth and expand our 
capacity for togetherness.
Tabita is based near Cayenne in French Guyana, where she is birthing AMAKABA &#8211; 
her vision for collective healing in the Amazonian forest. Tabita is devoted to 
becoming a mother to the world.
Her offerings have been shared widely – Centre Pompidou, Paris; Palais de Tokyo, 
Paris; MASP, São Paulo; Serpentine, London; MoMa, NY; New Museum, NY; Gropius 
Bau, Berlin; MMOMA, Moscow; Museum of Contemporary Art, Chicago; ICA London; 
V&amp;A London; National Gallery Denmark; The Broad LA; MoCADA, NY; Tate Modern, 
London; Museum of Modern Art, Paris – and presented for international biennales 
in Shanghai, Guangzhou, Kochi, Athens, and Berlin and Sydney.
She is represented by the Goodman Gallery in South Africa.

Tabita Rezaire

Deep Down Tidal excavates the power of water as a conductive interface for communication. From submarine cables to sunken cities, drowned bodies, hidden histories of navigations and sacred signal transmissions, the ocean is home to a complex set of communication networks. As modern information and communication technologies become omnipresent in our industrialized realities, we urgently need to understand the cultural, political and environmental forces that have shaped them.
Looking at the infrastructure of submarine fibre optic cables that transfers our digital data, it is striking to realize that the cables are layered onto colonial shipping routes. Once again the bottom of the sea becomes the interface of painful yet celebrated advancements masking the violent deeds of modernity.
Deep Down Tidal navigates the ocean as a graveyard for Black knowledge and technologies. 
From Atlantis, to the ‘Middle passage’, or refuge seekers presently drowning in the Mediterranean, the ocean abyss carries lost histories and broken lineages while simultaneously providing the global infrastructure for our current telecommunications. Could the violence of the Internet lie in its physical architecture?
Like countless African and indigenous traditional sciences, research in physics now suggest that water has the ability to memorize and copy information, disseminating it through its streams. What data is our world’s water holding? What messages are we encoding into our waters? Beyond historical sorrow, water is a portal to other realities as its mysterious sealife of mermaids, water deities, and serpent spirits celebrated in many cosmologies remind us.
Deep Down Tidal enquires the intrictate cosmological, spiritual, political and technological entangled narratives sprung from water as an interface to understand the legacies of colonialism.

Deep Down Tidal

Tabita Rezaire – Deep Down Tidal

Roel Heremans is a transdisciplinary artist working with ethical videogames, composed introspection &amp; neurofeedback.
In most of his works he composes fragments of audio that trigger the imagination of visitors in order to create immersive group experiences. As a result, the visitors simultaneously become actors, witnesses, performers and reenactors of mental and physical processes of thought and movement, where collective performances encounter individual reactions and vice versa.
By activating people in this way, Heremans generates a simulation of the contemporary world, one in which every individual is part of their own self-mirroring bubble, one in which the visitor, with their experience, remains the artist’s only metaphorical canvas. His varied practice, all deriving from these immersive group experiences, also includes video and works on paper.

Roel Heremans

Neuro-wearables and BCIs (Brain-Computer-Interfaces) are already here, and soon they will be everywhere. 
As innovation is moving faster than the social and ethical frameworks around it, researchers at Columbia University have developed 5 NeuroRights: 
Mental Privacy, Personal Identity, Free Will, Equal Access to Mental Augmentation and Protection Against Algorithmic Bias.
The NeuroRights Initiative has proposed a kind of Hippocratic Oath, similar to that taken by doctors around the world in their commitment to protect their patients, but applied to companies. 
The aim is to secure a commitment to ensure that digital advances do not interfere with neurorights and this has focused on the acceptance of such an oath by the world’s leading technology companies.
Inspired by and based on these NeuroRights, Roel Heremans and his team are designing a series of 5 interactive installations to make each NeuroRight tangible for participants. 
They want participants to explore unasked questions about the future of our NeuroRights in a world where BCIs are ubiquitous.
Wearing a real-time BCI headphone in front of a custom made Arcade Machine, participants will be guided through an aesthetic experience where their mental state is transparent and malleable. 
With this, the team hopes to evoke a visceral reaction so participants feel the need for NeuroRights on a personal level.

The NeuroRight Arcades

Roel Heremans – The NeuroRight Arcades

Haseeb Ahmed (b. 1985) is an American artist who lives and works in Brussels, Belgium. He produces objects, installations, and films. His work is often collaborative and draws from the hard sciences, blending art and aeronautics, myth and technology, to create new narratives. Over the last 10 years, Ahmed has structured his research-based artistic practice around the fluid dynamics of wind and water. His focus is on what we can learn about our changing climates from the movements of the wind and the waters, by focussing on what they carry, both physically and in terms of cultural associations throughout history. His work was the subject of a solo exhibition at the Museum of Contemporary Art (Antwerp, BE) and has been exhibited internationally at the Göteborg Biennial (Göteborg, SE), Museum Bärengasse, (Zurich, CH), The Museum of Contemporary Art (Chicago, USA), De Appel (Amsterdam, NL), and the Frestas Triennial (Frestas, BR), amongst others.

Haseeb Ahmed

The wind inaugurates chaos or change. The Library of the Winds features an air-powered lottery machine which selects one of the World’s great winds. Aeoliphones have been used in theater and opera since the 16th century to create the sound of wind. The automated aeoliphones here play back the selected winning wind. Just as the spinning of the Earth sets its winds in motion so too does The Library of the Winds revolve, resembling a special form of carousel. The wind speaks to many of our senses, In The Library of the Winds there is no wind, but the effect that it has on our senses is replicated, especially the sense of sound, sight, and orientation.

The Library of the Winds

Haseeb Ahmed – The Library of the Winds

In his early career Teun Vonk (1986, Uden) focused on photography and video. Group dynamics and how a group affects an individual were his main topics, as well as the interaction between the visual director, himself, and the subject. Vonk used the camera as a means of exercising power, used it to create a situation and register the spontaneous reactions of the participants.
Currently, Vonk has a radically different direction in his approach to this subject: he creates art installations that focus on individual physical experience. Following a personal experience during a residency in Shanghai, his own body and that of the viewer/participant are his focus point. This has also shaped Vonks daily practice: instead of working primarily from behind a desk, Vonk focuses on the process of making and uses his studio as playground, test site and production area.
Teun Vonk has shown his work at Ars Electronica, FILE Brazil, STRP Biennial Eindhoven, Art Rotterdam, Chronus Art Center Shanghai, EYE Amsterdam and CTM Festival Berlin.

Teun Vonk

During a residency in Shanghai, Teun Vonk discovered by chance that it eased his stressed body and mind to apply physical pressure to his body. Contrary to what one may expect, the registration of sensory input does not improve in a heightened state of sensitivity, such as stress. Such a state serves the evolutionary purpose by filtering out irrelevant information, only focusing on the accurate response: fight or flight. When experiencing such a state, applying pressure to the body has a strong stress-relieving effect.
With The Physical Mind, Vonk seeks to let participants experience the relation between their physical and mental states by applying physical pressure to the body. The installation consists of two inflatable objects. The participant lays down in between, is lifted up and gently squeezed between the two inflatable objects. The lifting creates an unstable feeling, a slightly stressful sensation that is directly contrasted with a secure feeling of being gently squeezed between two soft objects. Paradoxically, this forced physical stimulus reduces feelings anxiety and paradoxically stress and the flight- or fight-response disappear. The participant experiences and increased sensitivity to stimuli, normalised alertness and a calm state of mind. The positive effects of this increased receptivity can continue for a few hours after the experience. The installation evokes empathy in bystanders who witness a participant undergo the experience.
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This project has been realised in co-production with Chronus Art Center and V2_Lab for the Unstable Media as part of the Summer Sessions Network, with generous support of the Creative Industries Fund NL.

The Physical Mind

Teun Vonk – The Physical Mind

Mimi Ọnụọha is a Nigerian-American artist and researcher whose work highlights the social relationships and power dynamics behind data collection. Her multimedia practice uses print, code, installation and video to call attention to the ways in which those in the margins are differently abstracted, represented, and missed by sociotechnical systems.
Ọnụọha has been in residence at Eyebeam Center for Art &amp; Technology, Studio XX, Data &amp; Society Research Institute, Columbia University, and the Royal College of Art. Her exhibition and speaking credits include venues like La Gaitê Lyrique (France), FIBER Festival (Netherlands), Mao Jihong Arts Foundation (China), Le Centre Pompidou (France) and B4BEL4B Gallery (San Francisco). Her writing has appeared in Quartz, Nichons-nous Dans L&#8217;Internet, FiveThirtyEight, and K. Verlag. In 2014 she was selected to be in the inaugural class of Fulbright-National Geographic Digital Storytelling Fellows, and in 2017 she was nominated as a Technical.ly Brooklyn Artist of the Year.
Ọnụọha earned her MPS from NYU Tisch’s Interactive Telecommunications Program. In 2018-19 she served as Creative-in-Residence at Olin College for Engineering. She is a Visiting Arts Professor at NYU Tisch.
Ọnụọha a été en résidence au Eyebeam Center for Art &amp; Technology, au Studio XX, au Data &amp; Society Research Institute, à l&#8217;Université Columbia et au Royal College of Art. Elle a exposé et donné des conférences dans des lieux tels que La Gaitê Lyrique (France), le FIBER Festival (Pays-Bas), la Mao Jihong Arts Foundation (Chine), le Centre Pompidou (France) et la B4BEL4B Gallery (San Francisco). Ses écrits ont été publiés dans Quartz, Nichons-nous dans l&#8217;Internet, FiveThirtyEight et K. Verlag. En 2014, elle a été sélectionnée pour faire partie de la classe inaugurale des Fulbright-National Geographic Digital Storytelling Fellows, et en 2017, elle a été nommée artiste de l&#8217;année de Technical.ly Brooklyn.
Ọnụọha a obtenu son MPS du programme de télécommunications interactives de NYU Tisch. En 2018-19, elle a été créatrice en résidence à l&#8217;Olin College for Engineering. Elle est professeur d&#8217;art invité à NYU Tisch.

Mimi Onuoha

The third and final work in the Us, Aggregated series builds off of the first and second thematically but takes the form of a video. Us, Aggregated 3.0 uses Google’s reverse-image search algorithms to hint at questions of power, community, and identity. The work presents an expanded collection of photos from the artist&#8217;s family&#8217;s personal collection set alongside images scraped from Google&#8217;s library that have been algorithmically categorized as similar. Viewed together, the images evoke a sensation of community and similarity that belies the fact that the subjects are randomly assorted, a manufactured aggregation of “us” that remains an &#8220;us&#8221; nonetheless.

Us, Aggregated 3.0 

Mimi Onuoha – Us, Aggregated 3.0

The obsession of the Brussels collective Muesli, composed of artists Louis Darcel, Hannah De Corte and João Freitas, is to create an &#8216;ideal&#8217; material: a material-work in perpetual evolution, constantly reacting to its environment and its multiple constituent factors. An unpredictable surface that never looks the same. The paints are hygrosensitive (they react to changes in the amount of water in the air and therefore undergo visible changes in colour and texture).
This work was carried out and co-produced in the framework of the residency &#8220;Imagining Ecological Futures&#8221; organised by the KIKK, the Goethe Institut Brussels and the Centre Culturel de Namur / Les Abattoirs de Bomel.

Peintures indisciplinées

Le Pavillon

Collectif Muesli – Peintures indisciplinées

After thriving for 300 million years, ammonites became extinct when the dinosaurs died out 66 million years ago. From the shell structure and fossils, it is assumed that the ammonite is closely related to the squid and octopus. The octopus shed its shell during evolution, but is known to use tools such as coconut shells and bivalves to protect its soft body. Inspired by this evolutionary story, artist and designer Aki Inomata reproduced an ammonite shell and put it in contact with an octopus. Mersi, the animal chosen for this experiment, was placed in an aquarium with an ammonite shell made using 3D scanning and printing techniques, and it took Mersi only a few minutes to settle in.

Think Evolution #1 : Kiku-ishi (Ammonite)

Aki Inomata – Why Not Hand Over a “Shelter” to Hermit Crabs?

What happens when our forgotten urban waste resurfaces? Presented as a &#8220;photographic inventory of the invisible&#8221;, Lia Giraud&#8217;s Photosynthesis project focuses on the thousands of objects fished out of the port of Marseille between 2016 and 2020 by the association MerTerre. 
The installation consists of a tubular structure that houses six bioreactors in which micro-algae cultures develop day after day. 
The projected film shows the processual revelation of these objects/images through a process called algaeography. These micro-algae, usually used as a marker of pollution, replace the photographic silver grain to reveal an image that has become alive.

Video film, sound diffusion, pvc structure and photobioreactors.

Photosynthesis, Algegraphic installation

Lia Giraud – Photosynthèse

The Transparent Beehive is a living sculpture in the form of an observation hive. Inside is a colony of living bees that have access to the outside world through a plexiglass tube. 
The hive was inspired by the work of the Swiss entomologist Francis Huber (1750-1831), who made numerous discoveries about bees, including the principle of the &#8220;book hive&#8221;, a multi-frame hive model that can be opened like the pages of a book. 
The artist has appropriated this concept by integrating sensors on each frame to collect the vibrations of the insects. The different sounds captured are then amplified by a sound system that allows us to hear the real activity of the bees, visible in front of us thanks to a structure entirely made of transparent plexiglass.

The Transparent Beehive

Anne Marie Maes – The Transparent Beehive

Coccolitophores are nano-planktonic plants; a single drop of ocean contains thousands of these organisms that are invisible to our senses. And yet, by harvesting sunlight, phytoplankton produce 60% of the oxygen we breathe, even more than terrestrial forests. 
In this installation, the artist Antoine Bertin is particularly interested in the semiochemical study of plankton, i.e. their language. Throughout their bloom, which can last several weeks, coccolitophores exchange chemical words called &#8220;metabolites&#8221;. The artist followed scientists studying coccolithophores during an expedition to South America. The concentrations of metabolites measured during the expedition are translated into sound to allow visitors to immerse themselves in the conversations of a form of aquatic and plant intelligence.

Installation for directional speaker, reflecting puddle and sonification of ocean metabolites.

Conversation métabolite

Antoine Bertin – Conversation métabolite

Rotifers are fascinating multicellular animals that have evolved on Earth for over sixty million years. Smaller than a millimetre, they represent a scandal in evolutionary biology: asexual females clone themselves without any intervention from males. Moreover, these microscopic animals, among the smallest on earth, are particularly robust. They can withstand extreme conditions such as desiccation, radiation and freezing. 
Rotifer (a)live gives an insight into the science and fascinating discoveries made about rotifers. In the form of a scientific apparatus, this installation takes the visitor on a journey into the world of biological research laboratories and also presents the high-tech aerospace modules that have transported rotifers to the International Space Station (ISS), as part of the European Space Agency-funded RISE (Rotifers In SpacE) project, which proposes the rotifer as a new biological model for space research.

Installation, wood, acrylic glass, tulle fabrics, various materials.

Rotiferes

One Tree ID condenses the identity of a specific tree into a complex perfume that can be experienced by human visitors in order to apprehend the tree’s communication system at a biochemical level. By applying it, a person can invisibly wear not just characteristics of the tree he/she is standing next to, but also use parts of its communication system and potentially have a conversation that – although invisible and inaudible by nature – might still take place on the biochemical level plants use for information exchange.
The artist aims at creating empathy and suggests an exploration of how to question the way we use our senses to generate new connections and interactions between species. Like humans, trees and plants also have their individual odour. One Tree ID’s perfumes offer alternative ways of information exchange with the plant kingdom upon which humankind depends.

One Tree ID − How To Become A Tree For Another Tree 

Agnes Mayer-Brandis – One Tree ID − How To Become A Tree For Another Tree

Michael Frei :
Michael Frei (CH) is a filmmaker and artist. His Films Not About Us and Plug &amp; Play received numerous awards all over the world.
Mario von Rickenbach :
Mario von Rickenbach (CH) is a game designer and artist. He likes to create playful experiences that tickle the audiences&#8217; senses. Fruitful collaborations with other designers and artists lead to various award-winning interactive projects.

Michael Frei & Mario von Rickenbach

KIDS is a game of crowds. How do we define ourselves when we are all equal? Who is steering the crowd? What if it is heading in the wrong direction? Where does the individual end and the group begin? What is done by choice, and what under duress? The project consists of an interactive animation, a short film and an art installation.
KIDS is the second collaboration of director and animator Michael Frei and game designer Mario von Rickenbach after their award-winning animated short film and short game Plug &amp; Play.

KIDS 

Michael Frei & Mario von Rickenbach – KIDS

Decay is the name given to the research conducted by artist and researcher Pepa Ivanova, in collaboration with the Laboratorium KASK (Ghent), on the behavioral characteristics of dyes.
The artist uses a gelling agent, Gelrite, derived from microbial fermentation. Gelrite has clearer optical properties than its better known counterpart, Agar. In Decay, Pepa Ivanova injects dyes into the gel solution, which is encapsulated in glass. The transparency of the glass allows both light and heat to interact with the dyes, while the gel, with its porous structure, allows the dyes to mix over time. All of these interactions and components create a living sculpture in continuous transformation.
This project was co-produced by KIKK thanks to the support of the Cellule Arts Numériques of the Fédération Wallonie-Bruxelles.

Decay

Pepa Ivanova – Decay

Part animal documentary, part erotic film and part science fiction film, Cindy Coutant&#8217;s high definition camera follows the (fictional) day of a group of snails. The gastropods, the stars of this short film, are bathed in a light that is sometimes pink, sometimes blue. From sunrise to sunset, the snails advance in a slow ascent, out of time and following the Earth&#8217;s axis. Télédésir, a thirty-minute film, follows their nonchalant rhythm and love-making. 
The animal reproduction takes on a theatrical, even supernatural dimension, enhanced by the soundtrack of Théo Pozoga, a musician and DJ also known as &#8220;Strip Steve&#8221;.
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Télédésir

Cindy Coutant – Télédésir

Econtinuum invites us to dive into the ecosystem of trees. This work is a collaboration between the artist Thijs Biersteker and the Italian botanist Stefano Mancuso. Before our eyes, it creates a conversation between two trees as it might happen underground, showing how the two species can warn each other of danger, how they share nutrients and how they learn from each other. As visitors enter the system, they realise that the roots respond to their presence and learn from their habits, forming a futuristic ecosystem of shared knowledge. 
The system is equipped with two sensors. Each one represents a tree and captures data on humidity, pressure, temperature, CO2 and the level of volatile organic compounds (VOCs) present in the exhibition space. These sensors are combined with artificial intelligence that mimics inter-tree communication from a large network of scientific data.

Econtinuum

Thijs Biersteker – Econtinuum

The bacteria that live on your body outnumber your own cells.  While we have 23,000 genes, our microbiome can contain up to 2 million unique bacterial genes.  There is a lot of emerging research on the role of all the microorganisms cohabit our body and personal traits, such as mood, behavior and health.  These findings unseat our relationship with notions of identity and genetic determinism; do I exhibit certain traits because of genes I inherited, because of the environment I was raised in, or because of the biome I have acquired through a lifetime of kissing and touching? 
Kisses from the Future consists of a series of self portraits exploring a decentralized identity composed of the multi-species constellation that is a microbiome. This project examines the impact of microorganisms living in the body that impact mood and behavior- elements that we typically associate with a sense of “self”, but is co-made with other species.

Market

Rokoko

Instruments of Things

xrintelligence

Intuitive Instruments

HAPTX Gloves

Binocolo

GLITCH

ONYO

Jeeves

MONASTUDIO

BEATSURFING

Open Mind

LSFB LAB

Benuts

ODOO

Liège Hackerspace

Incubhacker

ENTER.BLACK

Losonnante

La Niche

Zafi Cycles

Deloitte Digital

EyeHarp

FabricAr3v

IT4Anxiety

Keep explOrinG

Parties and Performances

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KIKK in town