The Némo Biennial has been interested in the relationship between art and science since its inception. The Biennial's iconic image - Luke Jerram's planet Mars - has a counterpoint in the work Orbis Tertius by Benjamin Védrenne, who reinterprets the topography of the Martian surface based on NASA data.

In Effets de Champ, Stéphane Bissières' black ferrofluids form a collection of magnetic mini-choreographies inside glass bottles.

Instabilités by Tristan Menez and Benjamin Le Baron, a composition of kinetic and sound tableaux inspired by fluid mechanics, offers an immersive dive into the infinitely small through live chemical manipulations.

Philip K. Dick is the patron saint of the Némo Biennial, which likes to plunge its spectators into dystopian worlds.

Antoine Schmitt and Franck Vigroux's ATOTAL, a spectacular visual concert about a universe that is cracking, echoes the "cardboard" reality often found in the science-fiction author's novels.

Donatien Aubert's Les Jardins cybernétiques (Cybernetic Gardens) highlights the power of cybernetics on the living. The four VR experiences imagined by Stéfane Perraud and Aram Kebabdjian with Zone bleue immerse us in a landscape marked by the atom.

With a good dose of humour, the NeoConsortium's Moduloform Panoptique presents a fictitious startup that claims to combine "poetry, growth and innovation"...

Shows and performances are a strong axis of the Némo Biennial, which opened this edition with Maxime Houot's ballet of light sculptures.

Combining theatre and virtual reality, Les Aveugles by the INVIVO collective, adapted from the work by Maurice Maeterlinck, offers an immersion into a sensual rather than visible world.

The audiovisual concert The Island by Kurt d'Haeseleer and Franck Vigroux is an electrifying sensory and musical experience that highlights the upheavals caused by the construction of hydroelectric dams.

In the immersive audiovisual performance KRASIS by Annabelle Playe and Alexandra Radulescu, bodies, nature and technology become one.