Under Construction
Interactive exhibition
Le Pavillon, Namur, 2023
In the summer of 2023, Kati and I had the opportunity to develop an exhibition for “Le Pavillon”. This extraordinary space once served as the Belgian Pavilion at the World Expo in Milan and has since been relocated to Namur, where KIKK turned it into a creative space for digital culture. It's situated on the Esplanade of the citadel, atop a steep hill, with direct cable car access from the city center.
We named the exhibition Under Construction, as it was a large, creative laboratory in constant development, lasting for five weeks. The scenography built upon construction site aesthetics and new artworks were invented and installed while the spectacle was running.
Central aspects of the exhibition were interactivity, discovery and participation. The scenography and installations aimed to evoke curiosity and encourage people to play around and investigate the giant DIY world combining art and technology.
The exhibition video in the beginning of this page is an example of audience participation. The footage was captured using a small action cam mounted on a transport dolly, recording a time-lapse video. On the top of the dolly was a talking plush owl, La Chouette, to whom the visitors could show the exhibition space by pulling it around.
Part of the exhibition space was a large workshop. Here, we built new attractions under the eyes of the audience.
We used a lot of recycled materials that we got for free to build the attractions. Stuff that we hadn't used (yet) became part of the scenography.
Another powerful visual element that transformed the space into a construction site was the inclusion of traffic signs, generously lent to us by the city of Namur.
I stayed at the Pavillon throughout the entire exhibition period, working on new installations, modifying existing ones and fixing broken exhibits. Our artist colleagues, most of whom we know through Eniarof, visited Namur and also created various interactive installations. The Pavillon team was very supportive in every stage of the exhibition, from planning to set-up and maintenance. Additionally, our wonderful team of mediators did a splendid job guiding the visitors in the show.
Entering the exhibition
We aimed to immediately immerse visitors in our peculiar Under Construction world. To achieve this, we installed a large Hand Scanner at the entrance. The scanner was a disguised photocopier, which the visitors used to create a personalized ID card to enter the construction site. The card also included a discount for repeated visits, allowing people to witness the development of the construction site during the exhibition period.
After verifying their IDs, the mediators let the visitors in by pulling a handle to open an entrance gate. This mechanism was connected to a long rope that travelled through the entrance corridor into the main dome. Inside the dome, the rope was linked to a Guitar Machine. Originally built as part of the Music Construction Machine, this mechanism now served as a unique doorbell. Each time a mediator opened the entrance gate, strings on the guitar were plucked, announcing the new arrivals.
In addition to the gate mechanism, the entrance corridor was structured with large frames covered with translucent foil and texts, created using my spray can plotter Graffomat.
In the middle of the corridor was a big rotating arrow, which I recycled from the Pneumatic Sponge Ball Accelerator. The arrow directed attention to a small glass dome with a Sensor inside. Guests could cast their shadows on it, which triggered an 8‑bit light and sound show, programmed by Felix.
To add an element of mystery, the corridor also displayed fifty numbered canvases. Some of them were left blank, while others showed abstract paintings. The origin of these artworks remained a secret until the visitors discovered the Public Painting Machine in the basement floor of the exhibition. The machine offered the visitors a chance to collaboratively create paintings, which later became part of the exhibition.
Since we wanted to give the created paintings to the visitors at the end of the exhibition, we made a tombola, called Mystery Box. Stéphane organized an old postcard vending machine, which we filled with lottery tickets. Visitors could win the painted canvases or free drinks at the bar.
Balls everywhere
The Pavillon has a large dome in its center, which is the first thing the visitors encounter after leaving the entrance corridor. From the dome, people can then enter smaller spaces on the sides of the dome as well as the basement. In order to use this architecture in an interesting way, we installed a long track of transparent pipes traveling from the basement through the dome to the corridor and back. Small red and yellow plastic balls zipped through the pipes, infusing the space with an intriguing and playful ambiance.
The origin of the balls became clear once the visitors descended the stairs to the basement, where a ball pit and a vacuum cleaner were available for injecting balls into the system. This proved to be an extremely popular attraction for younger guests. After the balls had traveled through the dome, they returned to a container above the ball pit. They could be released by pulling a string, creating a ball shower. This setup was another iteration of my installation Suck the Balls!
Later, Thomas and Guillaume expanded the installation with a Digital Ball Counter. It kept track of the number of balls inside the container and displayed the count on a screen next to the ball pit.
Thomas and Felix also devised the Ball Blaster, a contraption that empowered visitors to shoot balls through the dome. Fueled by a large air blower, the machine struck a playful balance between mischief and fun.
Making more pictures
We also had some calmer activities to offer. Among them was the Electronic Instant Camera, which I created over a decade ago. While sitting still for a couple of minutes, the device captured a low resolution selfie on a piece of thermal receipt paper.
I also brought the Mosaikmaschine to Namur, which I had made for a public art project in Berlin. At this arcade cabinet, visitors could draw pixel pictures. They received a printout of their drawing, which became part of an infinite animation, projected on the large screen behind the machine.
Most visitors kept their instant camera and pixel drawing prints as souvenirs, but some chose to leave them on the wall for other visitors to enjoy. It was fascinating to observe how this Photo Wall grew over time.
We also built a huge Drawing Wall where everyone was free to sketch out their ideas for inventions. To ensure an endless canvas for creativity, Stéphane constructed a motorized mechanism to roll up fresh paper each day.
Another endless drawing opportunity was offered by Lumenoise, which I built around the same time as the Electronic Instant Camera. Operated by a light pen, this audiovisual synthesizer created abstract visuals and noisy 8‑bit sounds by “drawing” on an old CRT screen.
Let's get loud!
Around midway through the exhibition period, we added a performance stage in the spirit of Under Construction, utilizing a variety of vintage audio gear sourced from our stock of recycled materials. Rrrrrose traveled from Paris to deliver a joyful concert, engaging the audience in playing a drone sound with dozens of recorders. She wore an amazing stage outfit made of safety vests, crafted on the spot by Clémentine.
Jankenpopp took the stage with his Game Boy next. He turned the event into an energetic afternoon dance party, fueled by his energy and plenty of free beer.
Later, we placed a bicycle home trainer on the performance stage, connected it to a keyboard, and named the setup Cyclopiano. This mechanical contraption was inspired by Guillaume's Cletapop, using parts from my Music Construction Machine.
Games with a twist
Installations with an element of quirky gameplay were also on display. Chloé created a rendition of the classic computer game Snake, titled Scylle 3000. In her version, the playfield was projected on a wall and controlled by playing specific notes on recorders. A motorized plush snake added to the atmosphere.
Next to Chloé's installation, Felix and Thomas set up their Office Job. This game was operated by moving a giant computer mouse, and the players' task was to click away error messages. This was quite a challenge, given the physical dimensions of the interface.
Jankenpopp also contributed a high-speed reaction game called Yala Yolo! Up to four players could compete in this fast-paced game, constructed from an old TV, an Arduino, and recycled sheets of cardboard.
Speaking of high-speed action, Kati and I built Promo Bricolage, a hardware store themed version of our self‑checkout game Bonprix. In a given timeframe, participants had to swiftly scan the barcodes of various shopping items, including a screwdriver, a construction helmet, and a plant pot. The total sum of their “purchases” determined their score, which was then printed out as a shopping receipt.
On a slower and more contemplative note, we also brought the Forbidden Fruit Machine to the exhibition. This electromechanical artwork allowed visitors to explore a painting called “Fall of Man” using a joystick.
Up the elevator and to the roof!
Since the Pavillon building is still relatively new in Namur, we wanted to spread the exhibition to all floors to enable visitors to get to know the building. One notable space is the roof terrace. It provides a panoramic view over the entire city and the cable car. There, I installed a couple of Musical Windmills — small windmills driving music boxes, each playing “Für Elise”.
To access the roof, visitors had to take the lift, which Felix and Thomas transformed into a Disco Lift. They added decorations, various sensors, a sound system, and LED lighting to the cabin. Once the doors closed, techno music started playing. An accelerometer detected the cabin's movement, visualizing the motion with animated lights. The disco lift became immensely popular, resulting even in queues.
Exploring worlds
In the dimly lit downstairs area, Kati built Scary Basement — an installation inviting visitors to explore junk in an old basement. She repurposed a remote-controlled vehicle from Operation Kiba, with added construction helmet and flashlights. Visitors could navigate the vehicle on a playfield, pushing buttons that triggered animated effects, such as Barbies caught in a spider web or a dust monster.
Roman showcased Forest, an installation where visitors could sketch a top-down map of a forest. Once scanned, the installation transformed the map into a virtual 3D rendition of the drawn woodland, displayed on a large screen. Visitors could also navigate it using their smartphones.
Eniagolf
During the final week, we unveiled a minigolf course in the style of Antonin Fourneau's Eniagolf. It featured seven distinctive tracks. The inaugural track, named Ethanol, was built by the Le Pavillon team and positioned in the entrance corridor.
Thomas constructed the second track, Pavillon, around a scale model of Le Pavillon with my alter ego, “Riklas Noy”, situated inside a pneumatic elevator. Visitors could operate the elevator by pushing a button.
No minigolf course is complete without a looping. The third track, designed by me, was based on a Clothoid, a mathematical curve also known as the Euler spiral. A precisely hit ball gracefully navigated the looping, experiencing a constant G-force against the surface due to its special shape.
Guillaume's creation, the fourth track named Thereminigolf, was an experimental marvel magically operated like a Theremin.
Track five, the Golf Wobbler, was another track made by Guillaume. It featured a long LED strip placed atop a stack of unused materials. A single white dot represented the ball, moving along the strip while accounting for gravity.
Chloé built the sixth track, Vortex, located in the gloomy air conditioning room. The steady breeze of cold air added a tricky challenge to getting the golf ball into the hole.
For the roof terrace, I created Regolith, the last minigolf track. It featured a surface of textured construction material with raised nubs. Its elevated location and the distinctive track texture inspired its name.
A visitors' hit
After five weeks, at the end of the exhibition, the number of visitors had exceeded all expectations by far. Many of the visitors returned to bring their friends and to witness the development of the show. We received very positive reviews in the Belgian press and the mediators did an excellent job managing the crowds. I guess I dare to say that the exhibition was an enjoyable experience not only for the invited artists, but also for those who came to explore our construction site.
The positive experiences were reflected in the Guestbook, placed near the exit. The Guestbook repurposed parts of my previous installation Please Leave a Message, this time it merged a keyboard with a pen plotter. Before departing, visitors had the chance to type messages, and the pen plotter wrote them onto a large roll of paper. Over time, the paper covered the entire nearby space, preserving a collection of memories and greetings from our audience.
Thanks
Grand merci to all our fellow artists and the dedicated mediators, who guided the audience well and kept their good mood even during the lively moments when the exhibition got noisy. Special thanks go to Charlotte, Pauline, Romane and the entire team of Le Pavillon for their outstanding organizational efforts. Thanks a lot to Ethan, Charles, Guy, Ronny and Jean-Yves for their invaluable assistance. Many thanks also to Marie and the KIKK team for the invitation, trust, and for enabling this extraordinary experience. Last but not least, a big thank you to Technobel for the workshop program alongside the exhibition.
Press coverage
Additional resources
- Diary photo album
- ZIP archive with diary photos (hires)
- Photo album by Antonin Weber on Flickr
- Video by Le Pavillon on Youtube
- ZIP archive with t-shirt and postcard designs
- Log file of the guestbook
- Video files on archive.org
- Square video clip
- 16:9 HQ video clip