Tallieu Art Office

tele-present wind (Mars wind version) in Silence & The Presence of Everything

Monopole
Schiedam (NL)

Stedelijk Museum Schiedam breathes new life into the former dance hall and cinema Monopole with art. Silence & The Presence of Everything opens to the public on Sunday, September 21, 2025: an exhibition full of intriguing art installations exploring natural phenomena. Immerse yourself in magical natural phenomena and experience captured sunbeams, weather systems of dust and light, swaying reeds from Schiedam bending with the Minnesota wind, boundless horizons, and dancing droplets flowing toward the center of the earth

The art installations of artists Sabine Marcelis, Guido van der Werve, Tina Farifteh, Lachlan Turczan, David Bowen, Gordon Hempton, Lily Clark, Carel Balth, and Boris Acket are spread throughout the Monopole. The artist Boris Acket, is also the guest curator of the exhibition, alongside co-curator Sanneke Huisman.

Silence is the Presence of Everything
The inspiration for this exhibition comes from the acoustic ecologist and philosopher Gordon Hempton. He once placed a microphone on the world and put on headphones. According to him, this gave him an unforgettable experience. Boris Acket and Sanneke Huisman: “We’ve taken that feeling as the starting point for this exhibition. You enter a world where everything seems new, seen through the eyes and ears of the artists. The title of the exhibition is therefore derived from a statement by Hempton, which encapsulates everything: ‘Silence is not the absence of something, but the presence of everything.'”

tele-present wind (Mars wind version)

This installation by David Bowen is a collaboration with the NASA Jet Propulsion Laboratory. The piece consists of a series of 84 x/y tilting mechanical devices connected to tall dried grass stalks, installed like a field in the gallery. The mechanisms will tilt, move and sway based on data collected from the wind sensor on the Perseverance Mars rover.

Dr. José A Rodríguez-Manfredi, lead scientist on the Mars Environmental Dynamics Analyzer on Perseverance, assisted in collecting the wind data for the project. That data is mapped to the movement of the mechanisms. Thus, the individual components of the installation here on earth will move in unison as they mimic the direction and intensity of the wind from another planet.

Elusive Matter

Transart Festival
BASIS Vinschgau Venosta, Silandro, Bolzano (IT)

18 September 2025 from 21:45 until midnight
19 September 2025 from 9:00 until 15:00

With Elusive Matter, a minimalist sound and light performance, Martin Messier transforms simple wisps of smoke into a veritable projection screen. In a room plunged into darkness, armed only with a projector as a source of light, the artist creates tableaux in an intangible mist: a myriad of ghostly spaces, architectural forms and dreamlike images take shape in the mist, suspended just a few centimetres above the viewer's head. This proximity of matter creates the illusion of a moving space, blurring spatial reference points.

Exploring the boundary between the tangible and the intangible, Elusive Matter brings light and sound into tension to generate atmospheres that are both ethereal and soothing. Guided by the search for an immaterial device, Martin Messier creates a sensory universe where matter fades away to make way for an experience oscillating between presence and absence, intangible beauty and dream.

Martin Messier
Transart Festival

Innervision

Transart Festival
NOI Tech Park, Bolzano (IT)

Innervision

Opening performance Transart Festival on 11 September 2025
at 20:30 & 21:30

A living sculpture takes shape with 62 dancers, each facing an amplified light table, and guided live by Martin Messier. At the heart of this human wave that passes through and encompasses the audience, each performer follows the artist's instructions, as if carried by an inner voice, oscillating between obedience and free will. Dressed in black, the performers merge into a pulsating collective body, swelling, shrinking, advancing or collapsing, embodying the power and malleability of the social body.

In this vast choreographic device, the dancers hold a stone, symbolizing raw material and original nature. Their simple, repetitive gestures - rubbing, throwing, catching - evoke both a return to our roots and a harbinger of humanity's future struggles. In a space saturated with technology, this visceral, prophetic performance returns us to the timeless power of nature and the weight of our collective heritage.

Martin Messier
Transart Festival

tele-present wind (Mars wind version) at Ars Electronica

Ars Electronica
Postcity (Groundfloor), Linz (AT)

Futures Entangled: Material Intelligence, Memory & Movement
Istanbul Digital Art Festival (IDAF)

The exhibition Futures Entangled: Material Intelligence, Memory & Movement, presented within the framework of the Ars Electronica festival’s PANIC – yes/no theme, offers a narrative that weaves together the urgencies of migration and ecological crisis. Through installation and data artworks, it explores the emotional, material, and technological dimensions of displacement, adaptation, and survival.

This work invites audiences into an environment where speculative ecologies, nonhuman data, and alternative systems of exchange come to life—proposing new sensibilities for how we sense, share, and sustain in a rapidly transforming world. By engaging with both planetary and personal scales of crisis, the work asks: How do we navigate panic—not just as fear, but as a potential for transformation?

tele-present wind (Mars wind version)

This installation by David Bowen is a collaboration with the NASA Jet Propulsion Laboratory. The piece consists of a series of 84 x/y tilting mechanical devices connected to tall dried grass stalks, installed like a field in the gallery. The mechanisms will tilt, move and sway based on data collected from the wind sensor on the Perseverance Mars rover.

Dr. José A Rodríguez-Manfredi, lead scientist on the Mars Environmental Dynamics Analyzer on Perseverance, assisted in collecting the wind data for the project. That data is mapped to the movement of the mechanisms. Thus, the individual components of the installation here on earth will move in unison as they mimic the direction and intensity of the wind from another planet.

Organism: In Turbulence: Golden Nica at Ars Electronica

Ars Electronica
Mariendom, Linz AT)

Navid Navab (IR/CA) explores an experimental approach to organ sounds with his performance Organism: In Turbulence, that won the Golden Nica at the 2025 Prix Ars Electronica. Based in Montreal, they challenge conventional ideas of classical church music. The installation will be on display at St. Mary’s Cathedral throughout the festival, with additional performative interventions to look forward to. 

Organism: In Turbulence
Solo concert with a century-old pipe organ prepared robotically to sound turbulent patterning

Organism destabilizes the socio-historical tonality of the organ to liberate its turbulent materiality, robotically unleashing timbres unheard after centuries of sonic repression. In concerts, Organism’s shifting metastable states allow for its energetic thresholds to fall into and out of compatibility with one another. Navab aerodynamically shapes the resulting ecology of interdependent timbres into emergent realms, traversing microsonic polyrhythms, post-rock overspill and swampy soundscapes.

Mariendom, Linz (AT)
Openingconcert Wednesday 3 September 2025 - 19:30
Saturday 6 September - 12:30 - 13:30
Saturday 6 September - 20:00 - 21:00

Organism + Excitable Chaos: Golden Nica at Ars Electronica

Prix Ars Electronica Exhibition
Mariendom, Linz (AT)

Organism + Excitable Chaos
Navid Navab (IR/CA), with Garnet Willis (CA)

This year’s Golden Nica in the category “Digital Musics & Sound Art” goes to media artist Navid Navab and Garnet Willis for their project “Organism.”

Anyone who was in the POSTCITY bunker during last year’s Ars Electronica Festival may remember that moment. The humming in your chest, the rattling of the technology, the archaic sound creeping through the concrete. “Organism” by Navid Navab and Garnet Willis was no ordinary piece of music. It was an experience, raw, expansive, almost eerie. And above all: difficult to forget. No wonder, then, that the work has now been awarded the Golden Nica in the “Digital Musics & Sound Art” category.

This category is one of the most traditional at the Prix Ars Electronica. Ars Electronica introduced the category for computer music back in 1987—a bold move long before electronic sounds were commonplace in the art world. Since then, the field has developed rapidly: from algorithmically generated music and hybrid compositions to immersive soundscapes that challenge and expand our listening habits.

But what makes “Organism” so special? And what role does chaos play in a work that seems so precisely programmed? In conversation with Navid Navab, we dive into a world where machines breathe, organ pipes whisper, and order is just an illusion. 
Read interview

Organism is a new instrument reconstructed from a century-old Casavant pipe organ using robotics technology. By combining it with a robot-controlled triple pendulum system called Excitable Chaos, it unleashes the organ’s turbulent materiality and releases tones that have been suppressed for centuries. The pipes chosen for the work are those that exhibit the highest degree of instability, “edge-tone jumping” to sound intermittently even the subtlest fluctuations. Designed to produce unpredictable compositional futures, Excitable Chaos is animated by the rapid exchange of potential and kinetic energy between its three moving arms. The generative movement of Excitable Chaos conducts Organism’s aerodynamic thresholds, drawing kinetic chaos into dialogue with sonic turbulence. The resulting sonifications of chaos serve as meditations on the sense of more-than-oneness that spontaneously emerges in life and nature, and how this wild yet steerable relationality can help us express worlds yet unknown.

Mariendom, Linz (AT)

Thursday 4 September 2025
10:00 – 17:30

Friday 5 September 2025
10:00 – 17:30

Sunday 7 September 2025
12:30 – 18:00

Prix Ars Electronica 2025
Golden Nica – Digital Musics & Sound Art

New Project: Astronomical Water

Village Numérique - MUTEK Montréal
Society for Arts and Technology [SAT], Montréal (CA/QC)

Astronomical Water 

Omnipresent on our planet, water also exists in different states in the universe, notably in the form of drops in microgravity. Astronomical Water invites us to rediscover the sublime nature of water, questioning our relationship with this element, the magic it conceals and its life-giving power.

Echoing his performance 1 drop 1000 years, Martin Messier imagines an installation made up of a hundred drippers arranged on three large panels. The public is invited to move inside and outside the structure, sometimes watching the panorama, sometimes immersed in the heart of the device. Playing on the rhythms of the drops and the stroboscopic lights, the artist manipulates persistence of vision to reverse or freeze the movement of the water. The paintings follow one another: first emphasizing the gravitational effect, then giving the illusion of levitating water. Sound is reduced to its essentials: the sound of valves opening and closing. An organic rhythm that accompanies the falling drops and finally reveals their materiality.

Astronomical Water offers an immersion without a digital screen, where time seems to stretch, a contemplative and singular work that allows us to invest the world once the experience is over. 

The Montréal-based artist Martin Messier (CA/QC)  creates works blending sound art, light, robotics, and video. His performances and installations emphasize the body. Collaborating with various artists, his creations have been presented in 50 countries and have won numerous international awards. He has directed the company 14 lieux since 2010.

Martin Messier
Village Numérique
MUTEK Montréal

Winner of Golden Nica Digital Musics & Sound Art 2025: Organism by Navid Navab in collaboration with Garnet Willis

Prix Ars Electronica 2025
Linz (AT)

The Prix Ars Electronica is the world’s most established competition for media art. Since 1987, it has honored pioneers who realize inspiring projects at the intersection of art, technology, and society. In 2025, the competition received 3,987 submissions from 98 countries across four categories. The four winners have now been selected and will be awarded the coveted Golden Nica as well as up to 10,000 euros in prize money.

In the category Digital Musics & Sound Art (1,127 submissions), Navid Navab (IR/CA) and Garnet Willis (CA) are honored for their project Organism. At its center is a robotically modified organ that breaks free from the rigid patterns of prescribed sacred music and embraces uncontrollable soundscapes.

„A century-old Casavant pipe organ—long associated with rigidity, control, and Western sacred music—is reanimated through a choreography of kinetic gestures in the attempt to deconstruct the socio-historical tonality of this instrument. Robotically prepared and intimately entangled with a chaotic triple pendulum, the instrument no longer obeys the dictates of a human performer but slowly deconstructs new timbres and sonic nuances. […] It seems that, Organism become a subversive apparatus—an act of sonic reclamation. Through the radical recontextualization, the artists dismantle the organ’s fixed authority and repurpose it to a state of responsive, chaotic life. This is not simply a reinvention of an instrument, but a re-imagining of time, space, and historical memory.“ 

„[…] The jury recognizes the work as a profound and poetic gesture—an invitation to listen differently, and to reclaim what was silenced through resonance, care, and embodied presence.“ 

Over the years, Navid Navab presented already several installations & performances in the context of Ars Electronica: Practices of Everyday Life | Cooking and Aquaphoneia in 2016, ⋗ tangibleFlux φ plenumorphic ∴ chaosmosis in 2018 and last year Organism + Excitable Chaos in 2024.

Navid Navab (IR/CA) is an antidisciplinary composer and a media alchemist with a background in contemporary music, biomedical sonification, and philosophical biology. Through an investigative ArtScience practice, Navab's recent creations meticulously stage uncanny forms of order by imbuing machines with a sense of liveliness through fusion with the excitable dynamics of matter. Navab’s art-machines sculpturally engage with transductive structures of liveliness, probing the excitable tendencies of matter—suspended in metastable states where thermodynamic reservoirs of indeterminacy generate cybernetic intentionality. Making the imperceptible palpable, these investigative works orchestrate sensory attunement to forms of life, at the pre-metabolic border between breathing and not breathing, while cybernetically enfolding their excitable dynamics.

Garnet Willis (CA) is an interdisciplinary artist, designer, audio engineer, and instrument builder. His interests sit at the crossroads between sensation, form over time, sentient matter, and material agency. He has a keen interest in exploring the way in which energetics and materiality entwine to create surprising outcomes and combines a broad range of skills across many disciplines to produce multivariate artworks which tend to revolve around sound. His shapeshifting sculptures utilize complex material calculations driven by internal stresses resulting in unpredictable, real-time changes in physical form. 

Read interview with Navid Navab: "Sound as a living process" 

Navid Navab
Organism + Excitable Chaos
Organism: in Turbulence

Read more

1 Drop 1000 Years at Curtocircuito - 22 Festival Internacional de Cinema e Artes Visuais

Treatro Principal
Santiago de Compostela (ES)

1 DROP 1000 YEARS - Scientists agree that a drop of water travels the globe in less than 1,000 years. This drop shapes our world: it transports nutrients, heat and living organisms, while regulating our planet's climate and ecosystems. It contributes to the fundamental process of life's equilibrium.

Drawing on data from the Global Conveyor Belt, the vast ocean current that orchestrates the mixing of water from the five oceans and redistributes heat on a global scale, Martin Messier underlines the fundamental role of water as a vital substance. Yet, over the past two centuries, human action has been shaking this fragile balance: the gradual slowing of this ocean current could trigger a major climatic upheaval, threatening the entire chain of life.

In this hypnotic performance, the artist explores the tensions between the global currents that drive planetary equilibrium, and the intimate currents that resonate within each of us. Fifteen suspended devices, veritable kinetic sculptures, orchestrate the flow of water particles in real time, materializing oceanic dynamics. The patterns generated, fed by data such as the temperature and salinity of the Pacific Ocean, intertwine in a visual and sonic choreography. 1 drop 1000 years reveals itself as a masterful, poetic ballet, conveying the fragility of ecosystems and the delicate harmony that binds all things on Earth.

Martin Messier
Festival Curtocircuito

ANTENNAE 02025

Tromsø Arboret Forest
Tromsø (NO)

In this new installation the audience is invited to participate in a continuous work in progress, assembling and disassembling delicate geometric constructions that resemble molecular models or astronomical orbits. 

The installation is currently adapted into a scenography for the audio walk Solaris? by Mathilde Caeyers. Here 3 dancers seem to construct various antenna-like constructions extracting memories from the vegetation and the audience. 

The project will premiere on 1 July 2025 in a pine forest on Tromsø Island. 

Premiere Tuesday 01.07.25 at 19:00 
Wednesday 02.07.25 at 14:00 and 19:00 
Thursday 03.07.25 at 14:00 and 19:00

With support of Norsk Kulturråd.

Lawrence Malstaf