In installations full of thundering and disorderly machines, the Irish-born artist Malachi Farrell presents the world at its most aggressive, with the accent on irruptions of violence, sonic pollution, and collective outbursts. One may recall in particular his piece Hooliganism, 1997, which simulated and exaggerated the hysteria of soccer stadiums, with recorded screams, mechanically shaken bleachers, and fake money falling from the ceiling like confetti. Or his disconcerting reconstruction of an execution in Nature Morte (Les Chaises Electriques) (Still life [electric chairs]), 1997, where two