Ball Theater – La fête n’est pas finie is a project created by a multidisciplinary team. Within the design team, the Muoto studio and Georgi Stanishev are responsible for the general curatorship of the Pavilion with Jos Auzende, associate curator. The studio Clémence La Sagna and Georgi Stanishev are responsible for the set design of the installation. Ball Theater hosts a programme of artistic, scientific and educational residencies and workshops, designed and coordinated by Jos Auzende and Anna Tardivel. The permanent sound installation is designed by the electronic music creator Pilooski (Cedric Marszewski) and the sound engineers Alain Français and Thomas Fourny. 

Ball Theater is an installation designed to awaken our desire for utopia. Its hemispherical shape conjures multiple images. It can be interpreted as a globe or a disco ball, a kitschy icon of a time when celebration was still possible. 

This party of the imagination suggests a new approach to the current crises, emphasising not the urgency but the possibility of imagining other places. During the Biennale, the theatre will alternate between moments of contemplation and immersion in a sound world composed of strange and distant voices, and periods of intense occupation in the form of "balls", spectacular residencies where artists, researchers and students intermingle. 

The architecture of the theatre is halfway between structure and set. It is designed in this fashion in order to accommodate, like a real theatre, a stage, a company and an audience. Yet it remains ambivalent, conjuring images as contradictory as those of the futuristic capsule and the primitive hut. In this way it plays upon our contrasting feelings of hope and nostalgia. Our desires to reconstruct this future that belongs to the past, by recycling a host of found objects. 

This theatrical experience does not so much provide answers as raise questions. What is the origin of this half-sphere? Who inhabits it? What is its purpose? How did it get here? What do the fragments of voices, whispers and radio interference emanating from its speakers tell us? Has it just landed or is it about to take off? These are the questions we ask ourselves with some hesitation: should we land or take off? Should we get closer to things, create new groups, erase distances and distinctions, or should we rise and distance ourselves? How do we choose? How do we reinvent our relationship with this world in search of a future? 

An invisible space of sound trajectories links the half-sphere to all the objects that surround it. This sound space evolves over time. The voices, whispers and radio interference that shape it form an abstract, non-verbal proto-language that precedes words and encourages new kinds of attention. 

The installation is completed by a photographic novel, conceived and imagined by the artist Ugo Bienvenu. The novel underlines the fictional part of the installation by retracing the history and odyssey of the half-sphere in an abandoned city landscape where only children and robots live. It reveals how it was built, the provenance of the objects that surround it and its next destination. 

An invisible sound space links all the objects in this installation to one another. The space, designed by the composer Pilooski (Cédric Marszewski), Alain Français and Thomas Fourny, evolves over time. The voices, whispers and radio interference that shape it form an abstract, non-verbal proto-language that precedes words and encourages new kinds of attention.