The walls of this experimental museum are built with compressed stacks of plastic, paper, metal, fabric and wood. All the material is recycled. The books of the library are kept inside disused fridges, tables are installed on top of upside-down washing machines. A huge fan regularly blows wind that moves the fabric walls of the corridor. A rudimentary skywalk allows visitors to get a better idea of the architecture of the museum

Cinema is more than film alone, as Almost Cinema proves every year. At this festival organized by Vooruit and the Ghent Film Festival, artists from a variety of disciplines offer the audience a different take on cinema. With performances, concerts and an exhibition with surprising installations, they dissect the ordinary cinema experience as they experiment with sound, image, light, space and movement

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To discover M10, you have to open a very mundane door. Then another one on your right. And another one in front of you. There are ten of them, each leading to a plain, beige room so claustrophobic you quickly look for more doors that will take you out of there as the art critics mayhem pictured here demonstrates

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In the previous episode, Austin Houldsworth had installed a ‘Fossilisation Machine’ in the Tatton Park estates in England. He was hoping that his rudimentary machine could fast-forward the fossilisation process and petrify a pineapple and pheasant over the Summer only. Two weeks ago, the artist opened the prototype fossilisation machine and checked out the outcome of the experiment

This year, the biennial was guided by the notion of cybernetic autonomy – by the evolution of principles and patterns derived from the emerging behaviors of the devices themselves. The devices not only possess the ability to enter in a dialog with their surroundings, they also determine the rules for this interaction and change their behavior as if they had “personality”

Enter the Casino art center and you will find video consoles, a trampoline, a pin-ball machine, games of dart, a billiard table, a playground, etc. Yet, every single work is playing with you rather than the opposite. You instantly loose every single game of Mortal Kombat, the ceiling of the room where a huge trampoline lies is far too low for you to even stand on your feet, the hula hoop is monopolized by a plastic cactus, the mohair bascketball net is 130 m long, fences deny any access to the playground, etc

Austin Houldsworthhas installed a 3 tonnes and 4m-tall ‘Fossilisation Machine’ in Tatton Park, a historic estate in Cheshire, England. With Two Million & 1AD, the artist is trying to create a fossil using rudimentary, human-designed machines that would substitute and speed-up the natural processes. Houldsworth’s project starts with the attempt to petrify both a Tatton-grown pineapple and pheasant, and conclude when it is a human that ends up fossilised

Hello Process, by Marloes de Valk and Aymeric Mansoux, is part of Laboral’s new exhibition, “El proceso como paradigma – Process Becomes Paradigm.” The show reflects the shift in contemporary art and culture from finished, stable objects to processes. Flourishing beyond the limits imposed by the market, this art is in continuous flux and execution, that has a life of its own, that grows, changes and decays

The “Tropospheric Laboratory” allows insights into cloud cores and other matter of the apogee. The installation narrates the synthesis of clouds and shows varying conditions and combinations of art and science in the absence of weight. The “laboratory” is the gravimetric document of “Cloud Core Scanner” – an experiment and artistic project by Agnes Meyer-Brandis, carried out on board a German Aerospace Center research plane

An office is frozen in an arctic winter, plants propagate behind walls, the same person is repeatedly struck by lightning, money goes up in smoke, and a high frequency soundtrack plays only for the dogs…. CHASING NAPOLEON recognizes how a rise and fall can spread to reality itself. A wavering of interpretations, an inversion of values, and a paradox of situations… Here everything happens as if the world has slipped into a parallel universe

The installation echoes the artist’s concern for the relentless threats against Iran made by many countries in recent years. Sentences that include “attack Iran” are scavenged from Google News and spoken using a text-to-speech synthesizer. The voice is then picked up by a microphone, analyzed, and translated into rhythmically corresponding smoke rings from a quartet of smoke ring makers

Like paper projects designed in the absence of “real” architecture, installations offer architects another way to engage in issues critical to their practice. Direct experimentation with architecture’s material and social dimensions engages the public around issues in the built environment that concern them and expands the ways that architecture can participate in and impact people’s everyday lives

Going beyond the phenomenon of number stations, the exhibition explores forms of art that elude any wistful desire for fixed interpretations, they include mathematical encoding, the production of aurora borealis, archiving contact lenses, seismic sensors, the disappearance of hanged men and mountain summits

Rather than answering questions–such as, How can technological advances be controlled? On what ethical bases can its purposes be chosen? Who is entitled to decide on the ultimate mission of machines? Can machines destroy us?–this installation, on the contrary, is about reformulating those modern philosophical questions through the use of images associated with the popular culture of science fiction

Los Angeles-based Jiacong “jay” Yan completed his degree at the cradle of young talents that is UCLA Design|Media Arts Department. Fresh from UCLA, Jay started exhibiting his interactive installations and videos in galleries in the U.S., Asia and Europe as well. This is my attempt to extract a few words from a very laconic and clever artist