In “Please Compile Carefully,” curator Mika Ben Amar explores software as a site of intimate craft for TICK TACK’s cinema program. Every night, Chia Amisola’s browser interventions and Sabato Visconti’s videogame hacks screen outside the Antwerp gallery’s exhibition space (and on its website). “Through acts of performance and rewriting, the works emphasize the human gestures, decisions, and labor embedded within computational systems,” writes Ben Amar.

Brennan Wojtyla transforms Antwerp’s TICK TACK (BE) into a brutalist arcade with “LAN,” where scores of stripped-down computers become sculptural and host a Local Area Network Party. The American artist reduces hardware to essential components—every vent, cable, and chip optimized for playing classic Counter-Strike (1999)—bringing LAN-party nostalgia into the white cube. In parallel, the gallery’s architecture is transformed into a playable game map for both local and online visitors.

“The Geopolitics of Infrastructure” probes the aesthetics and power relations of transnational systems at Museum of Contemporary Art Antwerp (M HKA). Curated by Nav Haq, it features Tekla Aslanishvili, Jean Katambayi Mukendi, Jonas Staal, Zheng Mahler and 10 others exploring infrastructure “as both facilitator and destroyer.” Assem Hendawi’s film Everything Under Heaven (2021), for example, traces Egypt’s post-1952 infrastructural ambitions as national cosmology and contested sovereignty.

A show celebrating the many species we share the world with, “The Lives of Animals” opens at the Museum of Contemporary Art (M HKA) in Antwerp (BE). Inspired by animal studies and the animal rights movement, curator Joanna Zielińska assembles works that ask “what an animal is and whether humans can be friends with animals.” Featured artists include Simone Forti, Anne Marie Maes, Panamarenko, Lin May Saeed, Tomás Saraceno, and Noor Abuarafeh (image left: Am I the Ageless Object at the Museum?, 2017),