The Mothership figures as metaphor for the field of possibilities which technologies can open up. Drawing on experiments with the speaker as a medium, ecology of machines, networks and webs, cybernetics and feedback, affect, and unstable procedures and processes, the seven sound art installations in this exhibition explore these possibilities.

In collaboration with iMAL, open 11:00 – 19:00.

25.04, 16:00 Opening + expo activation by ooooo & Isabel Burr Raty and Sonia Saroya & Edouard Sufrin

29.04, 16:00 Guided tour + conversation #2 with Aernoudt Jacobs, Charlie Usher, and Sonia Saroya & Edouard Sufrin, moderated by Elena Biserna

02.05, 16:00 Expo activation, presentation tekhnē microresidents, performance by Diane Barbé & Marie Thompson

Ooooo & Isabel Burr Raty set up a laboratory for electromagnetic fields as shared energetic resource, The Endless Speaker built by Aernoudt Jacobs is haptic and amorphous; Mixed feelings by Charlie Usher invites visitors to dive into the unpredictability of found sound in and from boxes; Sonia Saroya & Edouard Sufrin have constructed a sculpture made from diodes and transistors which speaks of relation and is playable in duo; the issue of online networks and surveillance is unpacked in Jasmine Guffond‘s Listening Back where online cookies are made audible in an audio-visual installation; as a glimpse into a possible future, the movie caprizaen, a world made for robot goats, by Tintin Patrone is projected in loop; and finally an open source synthesizer tool based on the wave rings of pebbles thrown into water built by Laura Conant is available for the public to use.

The seven installations will be activated by the artists and some guests on three moments during the duration of the exhibition.

Listening Back is a sounding and listening practice, a Web browser plug-in that sonifies Internet cookies, and a research into the potential of sound to engage contemporary socio-political contexts. For Oscillation ::: from the Mothership, Listening Back will be presented as a multi-channel audio-visual installation that exposes the proliferation of ubiquitous online surveillance. As a sounding strategy for interrupting the visual surface of the browser interface, the real time sonification of Internet tracking cookies provides a non-stop, durational composition. Seamlessly embedded into the Web, automated processes of personal data extraction such as the cookie remain intangible to the surveilled. The relative invisibility of digital surveillance, and the proliferation of consumer modes of online surveillance has both intensified and rendered ambivalent our relationships to being surveyed.

© Andrzej Golc

Jasmine Guffond is an artist and composer investigating the intersection of sound, technology and political infrastructures through live performance, recording and installation. Research based artistic projects provide sonic experiential platforms to encourage listening as a mode of socio-political investigation and explore what it may contribute to the production of knowledge. She has also released solo records with the Sonic Pieces, Karl Records, Editions Mego, OOH-Sounds, and LINE / Boomkat Editions labels.

The idea of progress is tied to the acceleration of atomic matter and the instrumentalisation of free-flowing electrons powering greedy antennas and appliances.  Much of what radio amateurs call “dirty electricity” leaks through the everyday devices we use, while the electromagnetic fields they emit permeate human and more-than-human bodies, as well as the spaces we inhabit. What if these fields were understood as a critical natural resource, capable of awakening the power potentials of earthly and cosmic beings? This exhibition offers a gateway to technofeminist strategies for engaging with the explosive presence of radio frequencies through intra-active transmissions between bodies and both physical and immaterial matter.

https://ooooo.be/squawks/

𝐨𝐨𝐨𝐨𝐨 is a transuniversal constellation that creates projects in relation to relevant techno-social issues. Their ‘open’ network inspires participatory processes, mutual learning and collective emancipation. For Squawks, whoops, swish and whirls , they bring together the research of technoactivist, radio-amateur and performer ON3MCR, who explores strategies of digital re-affection, and transdisciplinary artist and Kung Fu practitioner Isabel Burr Raty, who questions meanings of matter, territory and healing.

L’archipel (The Archipelago) plays with the musicality of the breaths of diodes and transistors through a sound installation performable by two people; an attempt to create a language to speak to oneself and to others while shedding words. Drawing on the archipelago as a figure of relation, the installation connects sculptures-as-instruments through cables and shared experience. Activated during performances, concerts, and lectures, it becomes a medium for collective musical and theoretical expression. It is part of Derniers Souffles, initiated in 2021, exploring the acoustic characteristics of obsolete electronic components, their mineral origins, and the industrial processes behind their fabrication.

Sonia Saroya develops a fragile, discreet universe through installations combining sculpture, digital art, and sound. Her sound sculptures and autonomous “tool-artworks” explore landscapes and listening journeys, drawing on philosophy, humanities, and low-tech practices. Edouard Sufrin considers art and technology as pharmakon – both poison and remedy – and uses immersive, site-specific practices to resist spectacle and dominant techno-industrial narratives. He combines artistic research with knowledge sharing through autonomous tools, lectures, workshops and teaching at the Université Paris VIII, École des Beaux-Arts de Paris and beyond.

What happens to our perception when a speaker takes on a radically different form? The Endless Speaker is a spatial sound installation using a long, single continuous speaker foil. A voice-based composition is amplified along its entire length, creating a planar acoustic field rather than a point source. The installation explores both spatial unfolding and temporal continuity of sound by investigating how distance, movement, and material geometry can shape our perception. The work is set up in different forms and shapes—each transforming how sound is experienced, shaping both the sonic and visual dimensions of the installation.

Aernoudt Jacobs is a Belgian artist working primarily with sound. His work is both phenomenological and empirical. It has its origins in acoustic and technological research and investigates how sounds can trigger sonic processes that will affect the observer’s scope of perception. His work focuses on a central question: how can the complexity, richness and stratification of our direct, daily environment be translated into something that can really be experienced.

Mixed feelings is an installation conceived for the storage and access of information, in music, sound, and affect. Detailed structural and formal protocols compile a sprawling corpus of voices and music, composed and sampled from pop culture, avant-gardes, marginalised or politicised communities, operating since 2018 as a slow-moving field recording of the internet. Diffused over a sound system comprising cardboard-box loudspeakers, light sources, and their infrastructure, Mixed feelings mobilises shifting modes of attention to interrogate the act of listening, and relating, to information we hear.

Charlie Usher is a composer living in Brussels, working with composed sound, heart-on-sleeve cultural samples, installations of rotary and handmade speakers and live instruments; in museum, gallery and concert hall contexts. His solo and collaborative work has been installed and performed over Europe and North America. A double CD edition of his recent collaboration with Slow Reading Club was released by Ediçoes CN in 2025. Since 2022 he co-runs the project space Winona with Sabrina Seifried and Henry Andersen.

Caprizaen draws on the tradition of animal fables by the Grimm Brothers and Aesop to explore moral conflict, self-perception, and social pressure. The short film challenges romanticized images of rural life, revealing tensions that emerge where technology, land use, and local communities intersect. Shot as a dystopian mockumentary on the Greek island of Samothraki, where goats outnumber humans, the film weaves together internet metaphors, conspiracy narratives, and themes of human urban flight. A robotic goat equipped with an image-to-speech generator captures the footage and produces accompanying descriptions, while a drone disguised as a dove observes from above. Acting as a hybrid mediator between species and systems, the robotic goat becomes both witness and rural influencer.

Tintin Patrone is a German-Filipino sound and performance artist. Her work explores collective musical practices, embodiment, and the relationship between humans and technological systems. She is particularly interested in the human conditions of technology: how machines are shaped by social contexts, how they influence behaviour, and how new forms of dependency, intimacy, and collaboration emerge through artistic and performative experimentation.

Funded by the Free and Hanseatic City of Hamburg, Ministry of Culture and Media, and Hamburgische Kulturstiftung.

(s)tones is an FM synthesis audio plugin that tries to challenge the highly technical and exclusionary narratives common in audio technology. It prioritizes accessibility, playfulness, and creative experimentation as core design principles. The plugin functions not only as a sound tool but as an interactive environment that invites intuitive and unexpected exploration. By prioritizing surprises over technical precision, it encourages an open and inclusive relationship with sound.

Laura Conant is a Brussels-based producer, DJ, designer and developer whose work combines technology and sound. She focuses on designing audio technology with accessibility and play in mind, believing that coding and creating tools with a DIY ethos can empower individuals to better understand and use the tools they engage with. As part of the MONTAGE label and event series, she promotes a more inclusive electronic music scene.