Franck Vigroux is a multifaceted artist whose works range from experimental electronic music to modern composition and music theatre. Franck Vigroux‘s music is made of tectonic tensions, beats, electronic textures and a very personal approach to sonic exploration. He is equally prolific as a solo artist and as a collaborator, he has worked with musician such as Elliott Sharp, Mika Vainio, Reinhold Friedl, Ars Nova... Vigroux’s uniqueness comes from his artistic approach that integrates new media and performance arts. He designs transdisciplinary shows and audiovisual concerts, collaborating with visual artists such as Antoine Schmitt and Kurt d’Haeseleer.

Kurt d’ Haeseleer’s work focuses on the visualisation of the dynamic of information. He translates the all-encompassing presence of media into meta-images. Media presence is symbolized through layers of sticky pixel-textures, noise and interactivity. Special effects play an important role in his work that can best be described as a ‘pixel drama’ or ‘pixel soap’ and which can be found in the border zone between painting, video clips, cinema and performance. In his work the special effect is the message. D’ Haeseleer is well known for his extreme video manipulations.  He manipulates images by forcing them to react to the parameters of other images. With this approach, he can only partly foresee how the image will appear. The result is a process that strongly ressembles developing analogue photographs, where it is always a surprise to see the result, or even alchemy, but that is in fact entirely digital. Kurt d ‘Haeseleer is the artistic director of the WERKTANK, factory for new and old media art.  He has produced several videos and (interactive) video installations, such as “Scripted Emotions’, ‘Fossilization’ and ‘S CKMYP’, that could be seen at international festivals and exhibitions in Rotterdam, Tokyo, Montreal, Paris, Berlin , …

Amma Ateria is an electroacoustic composer and sound artist working in psychoacoustics with binaural beats and equal-loudness contour. Compositions developed during her concussion recovery utilizes brainwave entrainment, time shifts, and changes of neurological responses to DELTA, THETA, ALPHA, BETA, GAMMA waves as materials and focal point. With memories of condensed cities, she gravitates to frequencies of close-ranged airplanes, polyrhythmic occurrences, out-of-body experiences, sustained harmonics intersected with musique concrète, and lost speech.

Presenting The Entropic Arias: I. Neurogenesis Overload, Ateria sonically encapsulates her post-concussion neurogenesis as it enters stages of maximal entropy. A series of sonic movements develops as she navigates entropy acceleration to reach equilibrium. This work invites audiences into a space where breakdowns—sonic or cognitive—become thresholds for clarity and balance for meditation. The Entropic Arias unfolds as an immersive multi-channel experience, blurring the boundaries between collapse and emergence.

The Recombinant Media Labs organization was founded to research the qualities and artistic potential of Spatial Cinema. It does so by means of Experiential Engineering; exploring processes that propagate the aesthetic and technological boundaries of panoramic AV exhibition. RML acts as producer and presenter of hybrid artworks and performance archiving based on spatial media synthesis; intermodal works using image, light, sound and other disseminated media in three-dimensional space. The CineChamber is RML's curated, nomadic platform under the artistic trajectory of founder & Director Naut Humon plus a superhuman crew.

Werktank is a production platform for media art. Our main mission is the realisation and distribution of installation art that investigates the relation between technology and perception.

Werktank functions as a work tool for the artist and puts its artistic, technical and productional expertise at the disposal of young and emerging artists. We accompany the artist through all the phases of the creation process of media art, from the research process till the final realisation and active distribution of the work, by offering residencies, financial and productional support.

Every year we give new artists the opportunity to work in Werktank, in parallel with a selection of artists who are supported on a longer term and who assure the continuity of the Werktank-dramaturgy.

We aim to continuously challenge the artistic line developed over the past years with new impulses, at the same time trying to maintain a coherent story which connects the works we produce.

Werktank operates at the crossroads of media art, visual art and performance art. Most of the works produced in our media-factory are comments or reflections on contemporary visual culture. They form a bridge between the past and the present by deliberately mixing new and old media. Often they combine the latest digital technologies with old craftsman like techniques, always maintaining the focus on the content and imaginative force of the artwork.

Our headquarters are situated in the heart of the city of Leuven (Belgium) and consists of offices, workspaces and a technical workshop. We are an inter(national) organisation, but are also firmly rooted in the city, closely collaborating with local actors to give new impulses to its emerging artistic scene.

Werktank is supported by the Flemish Authorities and the City of Leuven.

Founded in 1851, Sacem is a private, non-profit society owned by its members, the authors, composers and publishers of music.

It acts in complete transparency and independence. In an increasingly complex environment, collective management represents the most effective solution for protecting and promoting creation.

The goal of the CNM is to guarantee the diversity, renewal and freedom of musical creation. The CNM’s financial and non-financial aid schemes aim to support authors, composers, artists and the professionals who work with them to enable them to reach out to all audiences in France and internationally.

Founded in 1959 by five musical performers, SPEDIDAM (Society for the collection and distribution of performers rights) enables them to exercise control over the secondary uses of their recorded performances and to receive additional remuneration for such uses (recordings broadcast in shows, recordings used for film soundtracks, etc.).

Generous equipment support is provided by Epson.