The title is taken from a thought by Pascal, which Martin de la Soudière explores in «Arpenter le paysage». In it, he examines the specific landscape imagery of various authors. The full quotation reads:
«A town, a country-place, is from afar a town and a country-place. But, as we draw near, there are houses, trees, tiles, leaves, grass, ants, limbs of ants, in infinity. All this is contained under the name of country-place.»
Using this fragment, de la Soudière analyses Jean-Loup Trassard’s obsessive engagement with a specific place and its minutest details. Pascal’s image addresses distance and perception, as well as the question of how a place is viewed, experienced and imagined.
«limbs of ants, in infinity.» transports the audience into the heart of a dreamlike anthill. Sounds created in the studio give rise to a dense micro-soundscape of scurrying, humming, chirping, scraping and rubbing, immersing the listeners in a living acoustic environment.

«Fliessband» is a modular, variable and large-scale ink drawing on rolls of paper, each ten metres long and one metre wide. The work emerges from the continuous repetition of drawing gestures and the variation in the resulting patterns.
Strong horizontal strokes give structure to the sheets, whilst the flow of the ink produces fine lines that are diverted into curls and flourishes. Monotony and playfulness, improvisation, chance and control characterise the essence of these drawings.
The work can be installed in spaces of varying sizes and is often interpreted musically: the rhythmic patterns, the fine lines reminiscent of staves, and the loops that evoke associations with clefs bring to mind a musical score. Variations, densifications and different brush widths create various ‘timbres’.

The installation combines a wax sculpture in the shape of a fawn with an ambient soundscape. The work explores the porous boundary between the body, nature and mutation through materials such as wax, resin, glass beads, moss and plants.
A world is imagined in which animals form alliances with plants and the entire ecosystem, as they sense that humans are hostile towards life. Nature begins to change: skin surfaces bloom with iridescent toxins and release gases that irritate and constrict the human respiratory tract. Pores and fur lose pigment until bodies blur at the edges of visibility.
An experimental electronic sound loop surrounds the sculpture, creating an immersive encounter with the fawn.

This work stems from a fascination with physical phenomena and their visible, tangible effects. At its heart is sound as something visible, as movement within matter.
«Untitled (O.L. I)» consists of three metal plates positioned just above the floor. Beneath each plate is a bass shaker – a transducer that converts electrical signals directly into vibration. If the energy is strong enough, the plates begin to visibly tremble.
The composition was not written for loudspeakers, but developed in conjunction with the plates. Three audio tracks consisting of sine waves of different frequencies are each transformed into sound by one of the plates. The metal absorbs the signal and reshapes it: it sounds like itself, like its mass, tension and natural resonance.

«MeTimeMachine» is an interactive sound installation designed for a single person. As soon as visitors put their heads inside the machine and press the buttons, they experience the much-touted «me time» in a radical way.
In the darkness, they compose a finely structured piece of music just for themselves – in direct contact with the sounds they have created themselves. With absolutely no chance of succumbing to the health-conscious hype and sharing the moment immediately on social media.
100% me time — 0% hype — 100% analogue music

«Bass-Automat» is an autonomous sound sculpture and part of the «Schaltungsquintett» project. For the «Sounds Nice» exhibition, the work is presented as a standalone installation.
A sensor is illuminated by a small spotlight. As soon as visitors block the beam of light, the automat begins to move. The resulting sound is deep and percussive. Through its immediate reaction to being obscured, the work translates a minimal gesture into a sonic intervention in the space.
This creates a minimalist, participatory interplay between instrument, machine and sound installation, working with light, darkness and presence.

The more precisely we try to replicate nature, the further we move away from it.
«Overengineered» arose from an interest in the point at which imitation gives way to transformation – where technical reconstruction generates new meaning. The sculpture takes the form of a tree, an overengineered object that has developed a logic of its own.
Since «purpose» forms the backbone of engineering – a discipline of problem-solving – this tree has been assigned a new purpose. Although it continues to appear as a tree, it now functions as an antenna, emitting an invisible, inaudible field of radiation that visitors can explore and translate into sound using electromagnetic pickups.
A tree becomes an instrument.

«BEINGS» (Nos. 3, 4, 5), 2026
Mixed media, oil paint (aluminium pigments)
H: 89–97 cm, W: 50–58 × 37–58 cm
These silvery, gleaming beings appear as if from another time or an undefined in-between space. Whilst their long, awkward legs possess a sense of groping and searching, the lattice-like eyes lend the figures a quiet, observant presence.
The works oscillate between creature, relic and futuristic object. Natural forms combine with artificial surfaces to create bodies that appear both familiar and uncanny.
When grouped together, the beings unfold a spatial dynamism. The impression of a silent exchange arises, as if they shared their own system of perception and communication. The sculptures open up a poetic space between myth, memory and a speculative future.

«CORD» is an interactive sound installation in which four parallel soundscapes can be directed and shaped by pulling on eight objects. This results in a unified overall sound.
The installation invites visitors to become part of the instrument themselves: sounds emerge, shift and take on new forms as movement, form and sound enter into a direct relationship.
Through interaction with others, a dynamic process unfolds in which control is shared and unexpected sonic spaces emerge. In this way, the work creates an open space for collective exploration and creation. Listening, reacting and contributing become central elements of the experience.
The interdisciplinary project is realised by the artists Theo Flach, Lia Sauser and Belarmín Cremonini, working in the fields of sound design, music/movement and process design.