At Oerol, Marco Barotti will  present his installation Swans. These artificial swans are partly constructed by recycled materials (such as satellite dishes) and newly added electronic equipment. In this way the Swans form a ballet of unique creatures swimming in a dunes lake.

Swans represents the power of mainstream TV and mass media. Brought to life by sound, wind and water, these animals float peacefully in a pond merging perfectly with the nature surrounding them. This image provokes both a sense of revulsion and an intimate feeling of familiarity. The Swans are hacking their natural habitat, while challenging the visitor to reflect on the growing tech waste that ends up in our waters.

In nature, clams are detectors of pollutants; they serve as tiny filtration systems. Inspired by this natural phenomenon, Marco Barotti is now presenting his new work Clams; a kinetic sound installation triggered by water quality. Real-time data is streamed by a sensor and converted into an audio signal.

The audio signal generates a live evolving soundscape, which initiates the opening and closing movements of the clam sculptures. Sound and motion unite to create an experience that allows the audience to see and hear the water quality in real-time. The Clams sculptures are made from recycled industrial plastic waste. The artwork intends to raise awareness about water issues and plastic pollution.

Under The Surface is a première work and part of the residency program in which  Maze de Boer develops a unique work at a location in the dunes on Oerol. The new work  exists at the area of tension between visual art and theatre. Maze de Boer reflects on this theme of water (and its dilemmas) by making it palpable on site.

 De Boer created new work with fishing nets . The installation responded to the global sea level rise. From the highest dune, visitors had a view on boats lying in dry on the dunes.  These drawings were made from the fishing nets spread in parts over the dunes.

In this site-specific audiovisual observatory the sound and light of the Vlieland island and the Wadden Sea are aligned. Underwater and above surface, audible and inaudible, day and night. The inverted dome positioned in the old inland dune is the sun(d)idial of the Vestibular S. Observatory. It corresponds with the path of the sun, that is followed by the subaquatic sounds Into the Great Wide Open.

Robertina Šebjanič (1975) based in Ljubljana (SI), is an internationally exhibited and awarded artist. Her work is since several years focused into cultural, (bio)political and biological realities of aquatic environments, which serves as a starting point to investigate and tackle the philosophical questions on the intersection of art, technology and science.

Arnout Meijer’s commissioned and self-initiated projects range from public sculpture, architectural interventions, and interiors to video and product design. His work is characterized by ongoing explorations of perception and light. As the designer tells us, “The way we perceive the world around us defines the reality we live in. Undeniably our most dominant perceptive sense is our vision, which depends entirely on the presence of light.”

Two third of all fish species living in the Dutch freshwater belongs to a group of ‘hearing specialists’ and are highly sensitive for sound. This group, among many others, will experience the negative effects of the increasing underwater noise nuisance. In general, the effects of noise pollution on aquatic ecology are still obscure. Noise pollution is, among others, caused by the off-shore industry, construction activity, fishery, and water sports.

In the artistic project Aquatocene, Robertina Šebjanič investigates the impact of noise pollution on the aquatic ecosystem in lakes, rivers, and seas. Since 2016 Šebjanič travels all around the world to record the noise nuisances that are found in our waters. Her large database of sound, that is still growing, have set the starting point for her audiovisual performances and installations. With her project, Šebjanič aims to open up a discussion about the aquatic ecology and the noise pollution that is occurring. She will present different performances and installations and will give a workshop in which she will take her participants on an expedition to the underwater soundscapes.

“Throne, watchtower, pulpit, pot, cocoon, module, spaceship, mutating virus, living organism, arthropod, liberté, égalité, fraternité, peace, pis, everything your heart desires, urinal, vomatorium, ejaculatorium, excrementorium, toilet of toilets, compost to the people.”

When one visits AVL’s Excrementus Megalomanus, one leaves behind the turbulence of the festival by towering above it. Becoming part of the recycling process, while exhibiting yourself.

Human waste systems and toilets have always been part of Atelier Van Lieshout’s work. They are functional sculptures on the border between art, design and architecture, one of the boundaries that AVL often plays with and rebels against. A compost toilet is a very simple way to efficiently recycle every human excretion imaginable and it made its first appearance in the oeuvre of AVL in 2001 during AVL-Ville, the anarchist and self-sufficient free state in the port of Rotterdam.