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Everyone should have the opportunity to play the piano and express themselves musically. That&#8217;s why the team behind Piano LED has simplified piano playing to make it accessible, so that everyone can unleash their talent and creativity.
The idea for inventing such a product came from Anthony, a French engineer in the field of IT and industry. His passion for the piano led him to find a creative way of learning it: by lighting up his playing. In March 2021, the start-up Piano LED was born. A year later, in March 2022, his project won over Euratechnologies, Europe&#8217;s largest incubator, enabling the team to work in a stimulating and rewarding environment on a daily basis.

Piano LED

Piano LED has developed a technology that makes learning the piano easier.
The product consists of a system and an LED strip that both connect to an application where you can find songs, import others and then learn them using light signals : the LEDs light up the keys to be played and wait for you to press them before moving on to the next note.

An intelligent LED strip for learning the piano in a fun and accessible way.

KIKK Market

Piano LED (FR)

Prof. Igor Eeckhaut (University of Mons) : Head of the Biology of Marine Organisms &amp; Biomimicry Laboratory
Nathan Puozzo (University of Mons) : Developer &#8211; Marine Biology &amp; Biomimicry Laboratory

Prof. Igor Eeckhaut & Nathan Puozzo (UMons)

MetaMorphos VR is an educational application that immerses you in the fascinating world of animal biology in virtual reality.
Explore the internal structure of animals, from insects to starfish, using 3D avatars. You can explore the inside of these animals for a better understanding of their anatomy.
A unique learning experience that offers a new perspective on the animal kingdom.

MetaMorphos VR

Explore the internal structure of animals, from insects to starfish, using 3D avatars.

MetaMorphos VR (BE)

Audiovisual innovation with integrity.

Wizard Motion - Visual & Sound Art -

Described as a &#8220;Movie-Game&#8221; at the crossroads of art, technology, spirituality, and philosophy, this immersive experience invites each participant to embark on a personal journey of self-discovery, while contemplating the essence of our humanity.
Through encounters with ancestral archetypes, enigmatic characters, and breathtaking scenery from around the world, participants will uncover the meaning of their own exploration.
Designed as a multidisciplinary new media art, ONA combines hyperlapse videography, interactive motion designs, and programming languages to create a truly unique digital artwork.

An interactive journey across the world to discover the quest of humanity.

ONA (BE)

Archiv VR is a bridge between art, culture and technology. They are much more than a platform, they are immersive environments that transport you to the heart of creativity and artistic expression. With them, culture comes to life, preserving the treasures of the past while propelling the artists of tomorrow.
Archiv VR is dedicated to bringing cultural heritage to life digitally. They support artists and cultural institutions in their transition to the Metaverse. Their expertise in virtualising works of art is aimed at preserving our heritage. Their platform provides an innovative digital structure for classifying diverse cultural content, exporting it easily and promoting the visibility of Quebec creators around the world.
With this approach, They aim to build bridges between artists, cultural institutions and a global audience eager for enriching discoveries.

Archiv VR

Epistolary is an immersive and innovative fusion of music, video, and virtual reality, created in collaboration with Quebecois artist KROY, Vivid Memory Studios, and Archiv VR. This groundbreaking event marks the first Quebecois virtual music video, propelling the music industry into new horizons.
Music : KROY, with her enchanting voice and captivating compositions, takes a central role in this immersive musical experience. Her music transcends boundaries and explores deep and emotional themes. In Epistolary, she combines her musical talent with technological innovation to create a captivating and immersive experience.
Artistic Direction and Production : Vivid Memory Studios excels in designing interactive and immersive experiences. For Epistolary, they crafted a narrative and environment in harmony with the song and the artist. This has been translated into various presentation media, including an exhibition, a music video, and a virtual clip, all with the aim of immersing you in the emotional universe of the song. You won&#8217;t just be a spectator ; you&#8217;ll experience KROY&#8217;s music like never before.
Virtual Reality and Broadcasting : Archiv VR, a pioneer in creating immersive environments and preserving cultural heritage, is the key partner in this digital adventure. Their expertise in virtualizing artworks has allowed us to create a high-quality immersive visual universe to complement KROY&#8217;s music. Thanks to their innovative platform, we dive into a digital world where music and art meet in a revolutionary way.
By collaborating with these three creative forces, Epistolary offers a unique artistic experience where music, digital art, and virtual reality converge into a multidimensional experience. It&#8217;s a celebration of Quebecois artistic innovation that unites generations, cultures, and borders.

Epistolary

A musical revolution : Quebec's very first virtual music video !

Epistolary (CA)

PatchXR is a Swiss-Danish studio founded in 2020, focused on sound and vision in mixed realities. Co-founder Mélodie Mousset is the creator of HanaHana, an award-winning surrealist VR artwork five years in the making celebrated by film festivals and the interactive circuit alike. A half-decade of development produced the core philosophy of a bespoke VR sound engine, Patch. Eduardo Fouilloux had in parallel developed MuX, a sandbox for musical instrument creation available on Steam.
This coming together of co-founders represents an unprecedented convergence of backgrounds in interactive sound and extended realities, all in a single vision of an accessible, emotionally powered new genre of tools and music.

PatchXR-  Eduardo Fouilloux, Melodie Mousset, Gad Hinkis

PatchWorld is an XR creative platform developed by the Swiss start-up PatchXR. It allows users to create immersive virtual music worlds and interactive experiences using a user-friendly 3D patching tool. Users can craft music, collaborate in real-time, play shows and build virtual environments through a gamified design. The platform is designed to be a collaborative and creative space where people can express themselves, share their creations, and interact with others in the metaverse.

Patchworld

XR creative platform

PatchWorld (CH)

Welcome to the virtual digital exhibition of Henning Wagenbreth, a multi-talented graphic designer who deploys his artistic genius in a multitude of fields : illustrations, posters, books, stamps, record sleeves, games, costumes, theatre sets, and even in the enchanting world of puppets. His graphic work, characterised by a profusion of colours and bold deconstruction, may appear naïve at first glance, but in reality reveals an impressive artistic mastery. An inimitable visual signature that has made this artist internationally renowned.
Immerse yourself in Henning Wagenbreth&#8217;s captivating world, where comic strip characters come to life under his distinctive creative touch. You&#8217;ll meet characters who, although sometimes caricatured, embody a surprisingly authentic human presence. You&#8217;ll explore a world populated by futuristic robots, crazy rockets and infernal machines, all the result of Wagenbreth&#8217;s fertile imagination.
During your visit, you&#8217;ll discover how Wagenbreth pushes the boundaries of graphic creativity by using a bold palette of colours and deconstructing traditional artistic conventions. His works will transport you to a world where creativity knows no bounds, where fantasy meets reality, and where the imagination is in constant turmoil.
Experience an extraordinary digital journey, where you can interact with some of the works on display. Prepare to be dazzled, inspired and amazed by the rich visual universe of this internationally renowned master of graphic art.

Henning Wagenbreth : The Graphic Universe of a Master

Dive into the bold visual world of graphic artist Henning Wagenbreth.

Henning Wagenbreth : The Graphic Universe of a Master (CA)

Welcome to the Maurice Ravel experience, an immersive experience designed by the Orchestre Symphonique de Trois-Rivières in collaboration with Archiv VR. This experience transcends the simple framework of virtual reality to offer you an immersive presentation of the artist&#8217;s emblematic work &#8220;Ma Mère l&#8217;Oye&#8221;, in a dreamlike and poetic environment that resonates perfectly with his work.
In this experience, you will plunge into the life of the artist himself, guided by his voice and exploring the range of instruments that make up the orchestra to perform the pieces from &#8220;Ma Mère l&#8217;Oye&#8221;.
Our main aim is to bring the audience closer to the orchestra in an immersive, informative and captivating way. Whether you&#8217;re a curious neophyte or a seasoned music lover, you&#8217;ll discover a new approach to understanding and appreciating this musical work in a completely new light.
Our innovative approach will plunge you into the heart of this dazzling and interactive virtual experience, allowing you to connect with the instruments, explore the subtleties of their resonant frequencies, while immersing you in the fascinating story of the famous composer Maurice Ravel through captivating audio capsules.
Get ready for an exhilarating musical adventure where every moment is an opportunity for discovery, learning and wonder. We are delighted to accompany you on this immersive exploration and hope that this experience will enrich your life with new perspectives and unforgettable discoveries. Welcome to the future of cultural mediation.

Maurice Ravel : Immersive mediation with the Symphony Orchestra

Immerse yourself in the enchanting world of classical music through an immersive experience.

Maurice Ravel : Immersive mediation with the Symphony Orchestra (CA)

A special preview for KIKK Market : be the first to explore our Archiv VR Gallery. Immerse yourself in the world of six talented artists, each with their own unique vision and creativity. What&#8217;s more, we&#8217;ll be welcoming a Franco-Belgian artist to enrich this cultural experience.

Galerie Archiv VR

A journey into the world of six talented artists

Galerie Archiv VR (CA)

Odoo is a Belgian IT company offering a complete and flexible management solution, with a suite of open source applications covering all business needs : CRM, eCommerce, accounting, inventory, point of sale, project management, website, manufacturing, purchasing, etc.

Odoo

Where innovation meets design : create your website like a professional designer with the Odoo Website Builder !
Get intelligent design proposals and perfect colour combinations with Odoo&#8217;s artificial design intelligence.
A host of features are available to make your life easier : multilingual tool, technology designed for SEO, modern environment&#8230; and much more!

The creation of your website will take as long as a coffee break !

Create your website like a professional designer with Odoo Website Builder

Odoo (BE)

Brussels based Creative innovation agency, Futurewave works on big ideas to make the world a better place by blending best-in-class designers &amp; tech experts to help forward-thinking companies drive their future.
Product Innovation : A long journey accross Strategy, Product Design, Brand, Prototyping &amp; Manufacturing.
Tech Innovation : Building exceptionnel hardware &amp; software systems ( AI, Electronics, Electromechanical Systems).
Sustainable innovation : Helping companies achieve their sustainable goals.
Their clients : Adidas, Decathlon, Duvel, Sony, Flos, Cowboy, Ionnyk, Yoda, O-Boy, Addax motors&#8230;

Futurewave

Futurewave sectors are : Mobility, Smart Products, Home &amp; Lifestyle, Healthcare, Aerospace.
Projects example :
&#8211; <a href="https://cowboy.com/">Cowboy</a>
&#8211; <a href="https://www.yoda.bike/">Yoda bike</a>
&#8211; <a href="https://o-boy.com/">OBoy</a>
&#8211; <a href="https://www.ionnyk.com/">Ionnyk</a>
&#8211; <a href="https://www.courtyard.io/">Courtyard</a>
&#8211; <a href="https://www.umbrosa.be/fr">Umbrosa</a>

Projects

Design meets technology

Futurewave (BE)

Founded by Hamie Robitaille and Ganesh Baron Aloir, TRANSVERSAL is both a creative studio and a non-profit organization with the mission to transcend the boundaries between digital arts and creative industries, as well as between artistic, technological, and scientific disciplines. By creating conceptual and transdisciplinary experiences that seek to address contemporary issues through design, TRANSVERSAL places humans at the center of its reflections to foster discussions around complex subjects, while emphasizing an integrated vision of technology.

Transversal

TRANSVERSAL, in collaboration with Robocut Studio, is working on the development of a bidirectional digital creation tool that translates the movement of bodies into sounds and images, and vice versa.
Taking the form of an interactive light baton, this research and development project aims to establish connectivity between disciplines by exploring the interaction of living beings with technology. Going beyond conventional peripherals, this new type of tool facilitates human-machine exchanges and integrates the intuitive language of the body into the digital space, creating a genuine vector of emotion that can be transmitted to diverse audiences.

Interactive Light Baton

Bidirectional digital creation tool

Interactive Light Baton (CA)

HITT (Human Interaction Technology Transfer) aims to bring together the key players in research and innovation focused on immersive and interactive experiences (AR, VR, MR, XR, Metavers, etc.).

HITT

Virtual reality driving simulator and metahuman animation

HITT (BE)

sPods is a multidisciplinary professional studio that solves problems through innovation. They develop unprecedented realms, products and UX for business development, product development and R&amp;D projects.

sPods

As the sober curious becomes a global movement, the demand for non-alcoholic beverages is expected to rise. However, in many cases, non-alcoholic beverages are mass-produced products found in cans and PET bottles containing a lot of sugar and additives. PJ INFINITEA developed the extraction technology COLDRAW as a countermeasure against the harmful effects on the global environment and people&#8217;s health due to mass production. COLDRAW brings out the natural flavors of plants, allowing you to enjoy a delicious non-alcoholic beverage experience without sugar. By avoiding bottled products and focusing on freshly extracted drinks based on the needs and occasions, this will also help to significantly reduce plastic and other waste. We are confident that the development of COLDRAW will contribute to the sustainability of the global environment.

Coldraw

A technology for non-alcoholic beverages that brings out the natural flavors and colors of plants in a few minutes.

COLDRAW (JP)

Nathan Puozzo

Addmire offers a range of immersive virtual reality experiences specifically designed for the cultural and museum worlds. Addmire aims to create immersive experiences that enable visitors to explore cultural elements in a more in-depth and engaging manner. By skillfully merging technology with culture, we provide a unique opportunity to explore, learn, and connect with the rich diversity of our cultural and artistic heritage.

Addmire

Immersive virtual reality experiences for museums and cultural sites

Addmire (BE)

The Office helps cultural and creative operators in Wallonia and Brussels to obtain European funding for their projects. There are around forty offices in Europe. As part of KIKK 2023, the France, Luxembourg, Flanders and Wallonia-Brussels Offices are working together to inform and support cultural and digitisation professionals.
&#8220;Europe Créative&#8221; is a European Commission programme. Its aim is to respond to the needs and challenges of the cultural and creative sectors. It supports them in their efforts to become more digital, more ecological and more inclusive. It is open to all creative sectors : contemporary art, heritage, architecture, theatre, music, dance, fashion, design, cultural tourism, literature, etc.
The Offices help cultural and creative operators to seize the funding opportunities offered by this programme and support them in their funding projects.

Bureau Europe créative Wallonie-Bruxelles

The Office to help you secure European funding for your cultural project !

Bureau Europe créative Belgique-France-Luxembourg (BE/FR/LU)

XR4heritage, a program of the Belgian association 3 Plumes, uses social innovation and new technologies to massively engage the public around the challenges of safeguarding and promoting heritage. Created in 2021 by Géraldine Bueken, XR4heritage offers a rich program of 
program of activities to support cultural and local players in the design, production and dissemination of attractive, accessible, participatory, inclusive and sustainable phygital cultural formats.
TROIS PLUMES has been working with authors and creative people since 2005 on positive-impact writing projects: children&#8217;s books, fiction, TV entertainment, exhibitions&#8230; Since 2010, the non-profit organization has been designing and organizing training courses and professional workshops to connect writing and digital technologies. It specializes in narrative and/or mass media projects conceived as tools for the positive transformation of mentalities and behaviors. In 2023, in addition to its head office in Brussels, the association will open an operations office in Mons.

XR4heritage

An innovative program to explore the potential of historical avatars for culture, media and tourism professionals. Visit the stand to learn about motion capture and give a voice/move to forgotten and little-known African figures/women in history.

AVATARS by XR4heritage

An innovative program to explore the potential of historical avatars

AVATARS by XR4heritage (BE)

Our programme of events is constantly expanding !

More prototypes to come

Market

The Market is the place where you will discover the unique and innovative projects of talented Belgian and international entrepreneurs. On the program : a selection of innovative objects to handle, to test before everyone else.
From 10am to 6pm (except Sunday from 10am to 4pm).
Supported by the Feder.

Workshops for kids

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

Steel Life 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 project 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.

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

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

Namur

Colllectif VOID

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

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

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

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

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.

ORA : Listening to our Dead

Grand Manège

Amos Peled (b. 1997 IL, based in NL) is a 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

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).

Navid Navab

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

Navid Navab & Michael Montanaro

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

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.