The festival ((((interference_S)))) _ festival of sound substrate _ is the banner of self-differentiating, self-publishing research - a festival of the unpredictable, decoding, carried by artists limiting buried realities and unsuspected sounds.It unfolds in the spaces of the Centre via an anarkhè-exhibition that aggregates research-creations that probe the sounds of the visual installation to the radio creations, but also the time of events called 'days of intercession'.These days propose to extend the challenges of the festival by creating moments of condensation: Moments when works cease to be stabilized entities to become active and become situations in the making, protocols of experience, collective ecologies.They take place, they occupy, they overflow.Workshops, activations of works, collaborative works, edible proposals, performances, live, concerts. Here, Bear Bones concert, lay Low — LIVE - carte blanche au collective SMOG SMOG is a monthly series based in Brussels (Belgium) for 11 years, with more than 130 evenings organized, dedicated to contemporary musical creation in its most open sense. Conceived as a meeting space, SMOG seeks to create connections between practices, sound aesthetics and audiences that often coexist without actually intersecting. At the heart of the project is a particular attention paid to musical research, that it is inscribed in contemporary written language, but also in forms derived from other hybrid practices. What connects these proposals is not a genre, but an artistic requirement and a willingness to research. SMOG evenings, often structured in two or three parts, put these universes into dialog in order to provoke new listening and movements of perception. SMOG thus seeks to create bridges between usually separate scenes, ranging from contemporary classical music to techno, from punk to string quartet, in the desire to go beyond aesthetic settings and traditional venues, by offering evenings where different ways of making and listening to music can coexist in the same space.

The festival ((((INTERFERENCE_S)))) _ festival from substrate sound _ se done the standard from research who differentiate themselves, self-publish - a festival from the unpredictable, du decoding, dooŕ by of artists limier.e.s from realities buried and from sounds unsuspected.It unfolds in the spaces of the Center through an anarkhè-exhibition that combines research-creation that probes the sonorities of visual installation to radio creations, but also the time of events called 'Days of Intercession'.These days propose to extend the stakes of the festival by creating moments of condensation: moments when works cease to be stabilized entities to become active and evolving situations, protocols of experience, collective ecologies.They take place, they occupy, they overflow.Workshops, activations of works, collaborative works, edible proposals, performances, live, concerts.Here, the public is invited to discover the exhibition spaces according to the activations of works and performative protocols that will take place all day.A about d'((((INTERFERENCE_S)))) _ festival from substrate sound :An External, extraterritorial and sidereal aim for this schizofestival that takes up its morphology in extenso consisting of an anarkhè exhibition, a weekend of climax performances, evenings in orbit and flows in cyberspace.The festival (((INTERFERENCE_S))) is the banner of research that differentiates itself, self-edits itself, and generates erratic schedules – a festival of unpredictability, decoding, sequencing, of the highly poetic indeterminacy carried by artists who try to limit hidden realities and unsuspected sounds.From the ship: will thunder, will resonate, will vibrate, will arise sounds emancipated from musicality - the language of artifacts, machines, mediums, the semiotic springs of trivial sonorities, noises, vibrations, electro-presenceMagnetic, relegated elementals in the subalternating zones will invade the spaces.Furtive sound immanences will form a fiery canopy proposed to experience, sensation and perception.Inviting us to explore the substratum of sound in what is most open-ended and falsificationist: from visual installations to radio creations, listening sessions, concerts, and performances ((((INTERFERENCE_S))))) gives a measure of the powerful capacity of sound to freaktionalize reality. The festival contributes to deploying virtual in the current and amplifying possibilities.Within the exhibition space: there reside intonarumori[3] - which for some exist in an autopetic way or are dazzled by artistic gestures, pieces that, like omens, resonate with presences from elsewhere and from a non-linear time. Y reigns a certain mysticity that coexists with an aesthetic of carving, feral, which blazons the improbable assemblagism[4] - the irruptive dissimilarity. The anatomies and viscera of the machines will be disemboweled to reveal their mechanics. Many works mediate a hermeneutic of "doing" and all an aesthetics of the indefinite.The sound experience is of a chaosismic order and leads to restore to reality its inextricability, its incommensurability – it is an experience of darkness that illuminates, of wandering that gives us to anchor ourselves to this drift that does not lead astray.This edition is again distinguished by a donation – an archival gift from the philosopher, theorist, activist, and artist, Tetsuo Kogawa – the incandescent figure of radio art – the facetious author of agentivist concepts like the narrow-casting, visual artist of the phenomenon of transmission that inspired a pirate radio project we are carrying and which will be unveiled to him later... when everything has been sown.It is still the result of alliances with ((sound 7)) - sound art gallerywho for 25 years has been presenting unique pieces of sound art, with the Soft Signal Festival which since 2017 explores the interfaces between humans and machines, reality and fiction, sound and silence. She presents two sound pieces from a creation residency at Q-O2*sound laboratory based in Brussels.During this edition, a first sound residency was also inaugurated, drawing on the sound archives of the Musée du Quai Branly among other collections.To conspire means to breathe together... to conspire and virtualize.Stéphanie PécourtFounder and curator of the festivalWith the artists:Accou Laposte & Marjolein Guldentops - Alan Poster - Alexis Bourdon - Alexis Puget - Andrès Navarro Garcia - Basile Richon - Bear Bones, Lay Low - Bertrand Larrieu - Claire Williams - Cyril Leclerc - Davide Tidoni - Felix Luque Sanchez - François K - Graciela Muñoz Farida - Hugo Livet - Hugo Vessiller-Fonfreide - Jérôme Grivel - Jorge Haro - Julien Poidevin - Kinda Hassan - Lesley Flanigan - Lina Filipovich - Luc Avargues - Lucian Moriyama - Maryia Kamarova - Marc Melià - Mirja Busch - MNPL - Octave Courtin - Pedro Olivera - Roxane Métayer - Simon Mahungu - SMOG - Sonia Saroya - Tetsuo Kogawa

The festival ((((interference_S)))) _ festival of sound substrate _ is the banner of self-differentiating, self-publishing research - a festival of the unpredictable, decoding, carried by artists limiting buried realities and unsuspected sounds.It unfolds in the spaces of the Centre via an anarkhè-exhibition that aggregates research-creations that probe the sounds of the visual installation to the radio creations, but also the time of events called 'days of intercession'.These days propose to extend the challenges of the festival by creating moments of condensation: Moments when works cease to be stabilized entities to become active and become situations in the making, protocols of experience, collective ecologies.They take place, they occupy, they overflow.Workshops, activations of works, collaborative works, edible proposals, performances, live, concerts. Here, Concert de Navarro & Bourdon — LIVE - carte blanche au Collectif SMOG SMOG is a monthly series based in Brussels (Belgium) for 11 years, with more than 130 evenings organized, dedicated to contemporary musical creation in its most open sense. Conceived as a meeting space, SMOG seeks to create connections between practices, sound aesthetics and audiences that often coexist without actually intersecting. At the heart of the project is a particular attention paid to musical research, that it is inscribed in contemporary written language, but also in forms derived from other hybrid practices. What connects these proposals is not a genre, but an artistic requirement and a willingness to research. SMOG evenings, often structured in two or three parts, put these universes into dialog in order to provoke new listening and movements of perception. SMOG thus seeks to create bridges between usually separate scenes, ranging from contemporary classical music to techno, from punk to string quartet, in the desire to go beyond aesthetic settings and traditional venues, by offering evenings where different ways of making and listening to music can coexist in the same space.

The festival ((((interference_S)))) _ festival of sound substrate _ is the banner of self-differentiating, self-publishing research - a festival of the unpredictable, decoding, carried by artists limiting buried realities and unsuspected sounds.It unfolds in the spaces of the Centre via an anarkhè-exhibition that aggregates research-creations that probe the sounds of the visual installation to the radio creations, but also the time of events called 'days of intercession'.These days propose to extend the challenges of the festival by creating moments of condensation: Moments when works cease to be stabilized entities to become active and become situations in the making, protocols of experience, collective ecologies.They take place, they occupy, they overflow.Workshops, activations of works, collaborative works, edible proposals, performances, live, concerts. Here, Cyril Leclerc — B A G N O L E - immersive concert "Bagnole" offers a few spectators·rices, installed·in a stopped car, a live concert of a maximum duration of 20 minutes around the notions of car, travel and collective. These immersive performances, both sound and visual, invite to still travel experiences.Symbol of freedom, wealth and today a major ecological challenge, the car is a central object of our contemporary imaginary. Beyond its utilitarian function, it embodies an experience of movement and travel widely explored in cinema (Thelma and Louise, on a perched tree) as in literature (on the road, crash).The project offers a few spectators·rices, installed·in a stationary car, a live concert of a maximum duration of 20 minutes. This configuration creates an intimate and immersive listening situation, where the vehicle becomes both a scenic space and a perceptual device.These concerts-performances offer immersive sound and visual experiences, building forms of “still travel”. The device plays on proximity, sensory perception and the transformation of a daily object into a space for artistic experimentation.

The festival ((((interference_S)))) _ festival of sound substrate _ is the banner of self-differentiating, self-publishing research - a festival of the unpredictable, decoding, carried by artists limiting buried realities and unsuspected sounds.It unfolds in the spaces of the Centre via an anarkhè-exhibition that aggregates research-creations that probe the sounds of the visual installation to the radio creations, but also the time of events called 'days of intercession'.These days propose to extend the challenges of the festival by creating moments of condensation: Moments when works cease to be stabilized entities to become active and become situations in the making, protocols of experience, collective ecologies.They take place, they occupy, they overflow.Workshops, activations of works, collaborative works, edible proposals, performances, live, concerts. Here, Simon Mahungu — "fragments of a moving memory" Fragments of a moving memory explores memory as a language in circulation. From sound archives and voices collected between Brussels and Kinshasa, Simon Mahungu composes a polyphony of fragments, silences and resonances. The project reveals a poetry of memories in transformation, where languages, bodies and imaginaries cross and rewrite each other. Fragments of a Memory in Motion is a sound installation project that questions the contemporary circulation of voices and archives. Hosted in residence as part of the interference_S program initiated by the Wallonia-Brussels Centre, in dialog with Archipel / Salé 2026, Simon Mahungu develops a research where memory is considered as a process in transformation, always in progress.In collaboration with the Musée du Quai Branly – Jacques Chirac, he works with ethnographic sound collections from colonial contexts. These archives are linked to sounds of the present: Fragments of lyrics, tablecloths recorded between Brussels and Kinshasa, voices in transit and sounds produced at the very moment of listening.By bringing these materials together in the same space, the artist brings out unpredictable dialogs where memory is recomposed in real time, in contact with the public. His approach is not to restore the past, but to cross it, to observe what it becomes when it flows between different bodies, territories and temporalities.This approach also involves a critical reflection on the conditions of existence of archives: Who speaks, who listens, and in what context. The artistic gesture aims to move these memories, to free them from any geographical, historical or institutional assignment, in order to reveal their living and relational dimension.At the heart of this practice, poetry acts as a method. It makes it possible to connect fragments, to reveal silences and absences, and to transform listening into a sensitive experience. Each sound becomes a related matter, contributing to a writing in motion.Anchored in postcolonial thinking, the project asserts that memories do not have a unique origin, but are built in circulation and dialog. Between Brussels and Kinshasa, between colonial archives and contemporary voices, the installation composes a moving polyphony where visible and invisible narratives, missing fragments and ghostly presences intersect.Fragments of a moving memory thus offers a sensory and reflexive experience where archives become active materials, capable of transforming themselves in the present and opening up new ways of inhabiting listening.

The festival ((((interference_S)))) _ festival of sound substrate _ is the banner of self-differentiating, self-publishing research - a festival of the unpredictable, decoding, carried by artists limiting buried realities and unsuspected sounds.It unfolds in the spaces of the Centre via an anarkhè-exhibition that aggregates research-creations that probe the sounds of the visual installation to the radio creations, but also the time of events called 'days of intercession'.These days propose to extend the challenges of the festival by creating moments of condensation: Moments when works cease to be stabilized entities to become active and become situations in the making, protocols of experience, collective ecologies.They take place, they occupy, they overflow.Workshops, activations of works, collaborative works, edible proposals, performances, live, concerts. Here, Maryia Kamarova — Atelier Sound artifacts as Material: Restitution This workshop envisages amplification not only as a technical process, but as a strategy of attention and perceptual decentering, a way to enter into friction with acoustic ecology and the materiality of sound equipment. Amplifying is revealing as much as obliterating: Bringing out certain presences, relegating others to areas of indeterminacy. Amplification thus acts as an unstable mediation, sometimes dissenting, of what we hear — an operation of shifting the listening thresholds.How can we amplify by the attention itself, by shifting our sensitive scales, by modulating our listening regimes?Participants·will be introduced·to work techniques that mobilize accessible and low-tech devices: Self-built electret microphones, portable recorders, hi-Fi broadcast systems — a small technological lutherie ready to be activated, diverted, switched on. An experimental session, based on the direct manipulation of instruments, will be devoted to what are commonly referred to as sound artifacts — distortions, breaths, larsens, turbulence, contact sounds and other manifestations generally assigned to interference status in field recording practices.These phenomena will be approached not as residues to be corrected, but as vibrational matter, likely to be activated in gestures of listening, recording and performative utterance. Between chance and mastery, drift and intention, technological imperfections will be welcomed as operating forces, compositional agents. It will be about letting machines speak in their failures, their tremors, their excesses — to deal with the unpredictable and to open immediate, situated, context-sensitive responses.The session will conclude with a collective performative intervention within the exhibition space — a circulation of sound flows, an activation of acoustic presences, an attempt to make the sound substrate flush in what is more unstable and undisciplined.

The festival ((((interference_S)))) _ festival of sound substrate _ is the banner of self-differentiating, self-publishing research - a festival of the unpredictable, decoding, carried by artists limiting buried realities and unsuspected sounds.It unfolds in the spaces of the Centre via an anarkhè-exhibition that aggregates research-creations that probe the sounds of the visual installation to the radio creations, but also the time of events called 'days of intercession'.These days propose to extend the challenges of the festival by creating moments of condensation: Moments when works cease to be stabilized entities to become active and become situations in the making, protocols of experience, collective ecologies.They take place, they occupy, they overflow.Workshops, activations of works, collaborative works, edible proposals, performances, live, concerts. Here, Sonia Saroya — "Drum Machine" - participatory workshop in two stages (night of Museums and Nuit Blanche) from her sound installation visible in the exhibition. In the continuity of the logic described by Charles Strépoff — where certain ritual practices are based on an open circulation of know-how and on the possibility for everyone·to access the instrument — these two sessions extend the piece into a space of co-elaboration. Where the drum became a circuit and the autonomous machine ceremonial object, the action returns here in a shared form: Manipulate, connect, transform, in order to concretely test the way in which technical devices produce sound, shape listening and orient our imaginaries.These moments are not aimed at the production of closed forms but at the activation of a common process. By discovering the principles underlying the device — capable of generating signals, rhythms, acoustic presences — then by giving substance to their own variations, participants·take part in a circulation of gestures and knowledge, in a dynamic where understanding is built by experience. The circuit then ceases to be a simple functional architecture to become a sound source, a medium of attention, a medium of projection and critical reflection.Thought of as an evolutionary base, the installation is transformed over the course of contributions. The elements from the sessions gradually join the exhibition space and reconfigure its physiognomy, modifying its auditory textures as well as its visible forms. The piece thus unfolds as an open, cumulative structure, crossed by successive contributions — an artistic organism in the making, where each intervention deflects the soundscape and prolongs the vibration of the whole.These two meetings affirm manufacturing as an act of sharing and reappropriation: A way to open access to tools, redistribute skills and make technique a sensitive field of experimentation, where listening becomes a mode of attention to the world and where imaginary are collectively composed.E-mailp.couturier@cwb.frÉvénement référencé dans le pass Culture

The festival ((((interference_S)))) _ festival of sound substrate _ is the banner of self-differentiating, self-publishing research - a festival of the unpredictable, decoding, carried by artists limiting buried realities and unsuspected sounds.It unfolds in the spaces of the Centre via an anarkhè-exhibition that aggregates research-creations that probe the sounds of the visual installation to the radio creations, but also the time of events called 'days of intercession'.These days propose to extend the challenges of the festival by creating moments of condensation: Moments when works cease to be stabilized entities to become active and become situations in the making, protocols of experience, collective ecologies.They take place, they occupy, they overflow.Workshops, activations of works, collaborative works, edible proposals, performances, live, concerts. Here, Maryia Kamarova — Workshop Sound artifacts as Material - Language: English This workshop envisages amplification not only as a technical process, but as a strategy of attention and perceptual decentering, a way to enter into friction with acoustic ecology and the materiality of sound equipment. Amplifying is revealing as much as obliterating: Bringing out certain presences, relegating others to areas of indeterminacy. Amplification thus acts as an unstable mediation, sometimes dissenting, of what we hear — an operation of shifting the listening thresholds.How can we amplify by the attention itself, by shifting our sensitive scales, by modulating our listening regimes?Participants·will be introduced·to work techniques that mobilize accessible and low-tech devices: Self-built electret microphones, portable recorders, hi-Fi broadcast systems — a small technological lutherie ready to be activated, diverted, switched on. An experimental session, based on the direct manipulation of instruments, will be devoted to what are commonly referred to as sound artifacts — distortions, breaths, larsens, turbulence, contact sounds and other manifestations generally assigned to interference status in field recording practices.These phenomena will be approached not as residues to be corrected, but as vibrational matter, likely to be activated in gestures of listening, recording and performative utterance. Between chance and mastery, drift and intention, technological imperfections will be welcomed as operating forces, compositional agents. It will be about letting machines speak in their failures, their tremors, their excesses — to deal with the unpredictable and to open immediate, situated, context-sensitive responses.The session will conclude with a collective performative intervention within the exhibition space — a circulation of sound flows, an activation of acoustic presences, an attempt to make the sound substrate flush in what is more unstable and undisciplined.E-mailp.couturier@cwb.fr

The festival ((((interference_S)))) _ festival of sound substrate _ is the banner of self-differentiating, self-publishing research - a festival of the unpredictable, decoding, carried by artists limiting buried realities and unsuspected sounds.It unfolds in the spaces of the Centre via an anarkhè-exhibition that aggregates research-creations that probe the sounds of the visual installation to the radio creations, but also the time of events called 'days of intercession'.These days propose to extend the challenges of the festival by creating moments of condensation: Moments when works cease to be stabilized entities to become active and become situations in the making, protocols of experience, collective ecologies.They take place, they occupy, they overflow.Workshops, activations of works, collaborative works, edible proposals, performances, live, concerts. Here, Jerome Grivel — VVV (variations Vociferantes Virales) - participatory performance With VVV (variations Vociférantes Virales), Jerome Grivel proposes a project with several entangled parts, articulated around the voices of a heterogeneous group of people. During a participatory workshop, after an introduction to extensive vocal practices, participants are invited to interpret, alone or in groups, instructions from an open partition, in order to vocally emerge the emotional and psychological states that pass through them (joy, fear, sadness, frustration, anger, etc.).From the recordings made during the workshop, the artist composes a performance accompanied by sound pieces broadcast via portable speaker sculptures manipulated by performers walking from the inside of the exhibition space to the street and adjacent spaces. Vocal manifestations can be seen as protests, rales, pleas or clamors. The artist also embodies a soloist position, interpreting a vocal score constructed in dialog with the sound pieces from the recordings. VVV (variations Vociferantes Virales) is deployed as a participatory and transdisciplinary performative device. The project is based on a preliminary vocal workshop bringing together a group of participants with heterogeneous profiles, invited to explore extended vocal practices from an open partition. This step generates a collective sound material based on the expression of emotional and psychological states, without hierarchy or strict codification of language.The recordings from this workshop then form the basis of a sound composition broadcast within a public performance. It mobilizes portable speaker sculptures, designed as autonomous sound diffusion devices, manipulated and worn by performers walking around. The route crosses the interior spaces of the exhibition space to extend toward the public space, creating porosity between inside and outside, private and collective.At the same time, the artist adopts a soloist posture, interpreting live a vocal score in interaction with pre-recorded sound materials, in a game of relations between harmony, counterpoint and dissonance. The ensemble forms a lively composition where recorded voices and live voices overlap and respond to each other.Through this device, Jerome Grivel questions the capacity of the voice to become a tool of emancipation when it frees itself from the normative constraints of language and unfolds in the public space in exacerbated forms (screaming, breath, railing, whistling, eructation). The project thus proposes a reconsideration of vocal manifestations as vectors of meaning and expression, by putting into play a collective experience of the sensitive.Far from a negative or reductive reading of these expressions, VVV explores their potential for address and circulation between individuals, promoting the emergence of dynamic empathy. Voices then become relational elements capable of transforming space into a place of shared listening and sensitive interaction, where affects propagate and modulate in contact with others.