***Laxlan Petras + Yasmin Saleh, Humanities. © Spyros Rennt***

The exhibition offers a transformative and ever-evolving experience, where the very essence of art challenges its static facade. Bridget Polk's continual reconfiguration of Reclaimed Damages invites viewers into a dynamic dialogue with shifting sculptures, fostering contemplation of personal, historical, and present narratives.

***Billy Bultheel, The Thief’s Journal. © Spyros Rennt***

Rabon Aibo's Hidden Resonance X Kraftwerk melds industrial remnants into sound-generating marvels, conjuring echoes of the past within the contemporary context, prompting reflection on our evolving post-industrial landscape. In contrast, Ain Bailey's Trioesque, an evocative musical homage to jazz trios, adapts to Kraftwerk's unique soundscape, sourced from the depths of Deutz Brucke in Cologne. This musical voyage transcends traditional staging, merging frictive dialogues within the spatial confines.

Mire Lee's hanging fabric installation is a study in temporal transformation, as viscous clay slowly thins the worn fabrics, metaphorically unraveling human fantasies of technology's defiance against the inevitable decay and deformity of existence.

In a groundbreaking German premiere, Romeo Castallucci's video installation, "The Third Reich," is accompanied by Scott Gibbons' resolute sound, igniting a symbolic linguistic ceremony within its large-scale narrative canvas.

Marco Fusinato's enigmatic "DESASTRES," adapted from a Venice Biennale performance, materializes and vanishes, akin to an apparition, weaving its mystery throughout the exhibition. Meanwhile, Nastya Livadnova's musical performance, "i come as one and i stand as 1o ooo paradoxes," weaves unpredictable narratives through a tapestry of ordinary objects and dramatic movements, culminating in a mesmerizing spectacle with paper soaring through the air, underpinned by an emotionally charged soundscape.

FRI 15 SEPT: Billy Bultheel debuts "The Thief’s Journal," an immersive Kraftwerk performance blending the sacred and industrial. Atelier Impopulaire and Dreamcrusher's "Crosscurrents" evoke subcultures in a polyphonic poetry reenacting pre-Black Arts Movement experiences. Marco Fusinato adapts Venice Biennale's "DESASTRES" into a stroboscopic wall of guitar noise, exploring sound as transformative matter. The aftershow premieres Persher, blending heavy noise and club dimensions from Crystallmess and Black Rave Culture.

SAT 16 SEPT: Christian Love Forum's syncretic music kicks off, followed by CORIN's "Lux Aeterna," exploring collective consciousness in times of crisis. Carmen Villain's sonic tapestries envelop the main stage. Blackhaine's "Paith" premieres with containers and dancers. Emptyset presents new percussion-rooted material. Prison Religion's dystopian soundscapes lead the aftershow.

SUN 17 SEPT: Alessandro Cortini's "Nati Infiniti" offers a live improvisation. Pavel Milyakov and Perila blur the lines between performance and installation with "pxmxper." The Bug, Flowdan, Blawan, and Mala deliver genre-defying performances, shaking Kraftwerk's foundations.

***Blackhaine presents Paith. © Frankie Casillo***

This exhibition invites viewers to transcend conventional perceptions of art, time, and existence, embarking on a multi-sensory journey through the interplay of change, sound, and ephemeral narratives.