Was ist die Webseite?

https://instagram.com/hervisions_/

Hervisions, Neukölln (2026)

12/05/2026

HERVISIONS spotlights Soft Bodies, Cold Machines, a solo exhibition by Ambie Drew () — an immersive exploration of girlhood, digital selfhood, and the feedback loop between consumption and identity ⟡

Through newly commissioned interactive installations and film, Drew interrogates what it means to come of age within algorithmic worlds shaped by targeted advertising and AI-generated imagery. Her work lingers in the tension between self-perception and curated persona, tracing the impossibility of fully separating who we are from how we are seen online 💻🪞

To develop this body of work, the artist purchased and tested beauty gadgets marketed to her through social media ads. The artworks that emerge from this process reflect both the physical and psychological impact of living amongst a constant stream of images and consumption 💄📱

“Buying and using these beauty devices felt like submitting my body to a feedback loop where desire is manufactured and then physically enacted. The works that come out of that process hold both the promise and the discomfort of trying to optimise yourself through technologies that are never neutral.”

Step into a hyper-feminised, in-between world: a teenage fantasy bedroom rendered uncanny — glossy, pink, and eerily familiar. A distorted Sailor Moon transformation loops endlessly on a glowing TV, surrounded by trinkets, screens, and synthetic visuals, echoing a version of girlhood shaped by algorithmic aesthetics and digital nostalgia 🌙📺

17 Apr – 2 Aug 2026 at arbyte Gallery, () London.

11/05/2026

HERVISIONS spotlights Soft Bodies, Cold Machines, a solo exhibition by Ambie Drew () — an immersive exploration of girlhood, digital selfhood, and the feedback loop between consumption and identity ⟡

Through newly commissioned interactive installations and film, Drew interrogates what it means to come of age within algorithmic worlds shaped by targeted advertising and AI-generated imagery. Her work lingers in the tension between self-perception and curated persona, tracing the impossibility of fully separating who we are from how we are seen online 💻🪞

To develop this body of work, Ambie purchased and tested beauty gadgets marketed to her through social media ads. The artworks that emerge from this process reflect both the physical and psychological impact of living amongst a constant stream of images and consumption 💄📱

“Buying and using these beauty devices felt like submitting my body to a feedback loop where desire is manufactured and then physically enacted. The works that come out of that process hold both the promise and the discomfort of trying to optimise yourself through technologies that are never neutral.”

Step into a hyper-feminised, in-between world: a teenage fantasy bedroom rendered uncanny — glossy, pink, and eerily familiar. A distorted Sailor Moon transformation loops endlessly on a glowing TV, surrounded by trinkets, screens, and synthetic visuals, echoing a version of girlhood shaped by algorithmic aesthetics and digital nostalgia 🌙📺

29/04/2026

🦋HERVISIONS is pleased to announce two research bursaries of £500 each, established to support femme-led creative research at the intersections of art and technology.

The bursaries are open to HERVISIONS members internationally and are intended to support the development of a piece of research to be published on the HERVISIONS website in August 2026. The format is open: proposals may take the form of a written text, moving image, sound work, visual portfolio, or any hybrid approach that best suits the enquiry.

ᥫ᭡𓆉⋆｡˚⋆❀ We welcome proposals from BIPOC, femmes and gender diverse artists whose practice engages critically and imaginatively with technology, broadly defined. This might include, but is not limited to, research into emerging or speculative technologies, digital cultures, embodiment and interface, networked ecologies, ancestral or indigenous technologies, or the politics of tools and infrastructure.

Application link and more information now available on HERVISIONS portal, sign up as a member to access.

🔗Link in bio.

🫧𓇼 ˖°𐙚⋆°｡⋆♡🖤⃝🦋𓍯𓂃𓏧♡🥽🫶🏻ִֶָ. ..𓂃 ࣪ ִֶָ🪽་༘࿐🖇️ Submissions to be received by 18 May 2026

23/03/2026

🫆🕯️ ✧ “What once appeared as a horizontal network now unfolds as a vertical structure of power.”

Morgane Billuart () reflects on myth, infrastructure, and narrative control in her latest essay for HERVISIONS — Virtual Promises, Digital Hells 🧨

We once imagined the internet as an open frontier: a space of collective authorship, decentralization, and creative autonomy. But as these promises recalibrate, they harden into infrastructures of control, extraction, and narrative domination.

Tracing cyberfeminist interventions of the 1990s, the essay recalls how digital systems have long mirrored — rather than dismantled — existing hierarchies ✧

Today, platforms operate as factories of myth-making. Stories are no longer simply shared — they are engineered, circulated, and instrumentalised. From interfaces to infrastructures, from bodies to satellites, these systems extend beyond the screen, embedding themselves into planetary scales 🌐

Within this terrain, Billuart enters into conversation with Anan Fries (), whose performance LORECORE unfolds as a speculative game world. Here, tech CEOs become mythological figures, governing both infrastructures and the narratives that sustain them, while users drift between agency and automation — between player and NPC 🎮

Lorecore names a condition of the present: endless feeds, threads, and streams producing continuous narrative environments, where the power to shape stories becomes inseparable from the power to shape reality 🌀

From Virtual Promises, Digital Hells, now live on the HERVISIONS Portal 🔗

—-
Anan Fries (they/them) is an interdisciplinary artist based in Basel and Berlin, working across installation, performance, VR, and video. Their practice draws on posthuman and xenofeminist discourse to create phygital experiences that explore transformation, reproduction, and the entanglements of “nature” and technology.

🎀 𝔏𝔬𝔯𝔢𝔠𝔬𝔯𝔢
𝔈𝔠𝔱𝔬𝔟𝔞𝔤 @ suck my code Video clips— LORECORE (performance), courtesy of Anan Fries Source: VNS Matrix, DNA S***s CD-ROM, 1992, digital image, courtesy the artists

Cyberfeminism Digital

20/03/2026

🛟 As we move through the March Equinox, Morgane Billuart’s () new text Virtual Promises, Digital Hells: On Technological LoreCore for HERVISIONS reflects on how we orient ourselves between light and darkness at a moment shaped by the rise of the “Dark Enlightenment.” 🧨🕯️

Virtual Promises, Digital Hells recalls how we once imagined the internet as an open frontier—a space of collective authorship, decentralisation, and creative autonomy. But what happens when these early promises recalibrate into infrastructures of control, extraction, and narrative domination?

The essay traces this shift from the utopian visions of the 1960s to the critical interventions of 1990s cyberfeminism, highlighting artists and collectives like VNS Matrix, who revealed how digital systems could reproduce existing hierarchies rather than dismantle them ✧

What once appeared as a horizontal network now unfolds as a vertical structure of power. Platforms evolve into factories of myth-making, where stories are no longer shared but engineered, circulated, and instrumentalized. From interfaces to infrastructures, from bodies to satellites, technological systems extend beyond the screen, embedding themselves at planetary and atmospheric scales.

〰️➰ Tracing this lineage, Billuart highlights practices that challenged dominant technological narratives from within. Their work reminds us that the politics of technology have long been contested by those excluded from its centers of power. Today, technological influence no longer operates only through screens.

📡🛰️ From surveillance networks to satellite constellations, infrastructures of control now extend into planetary and atmospheric domains, turning the sky itself into an interface shaped by militarization and cosmic ambition.

Read Morgane Billuart Virtual Promises, Digital Hells: On Technological LoreCore
on feminist resistance in the age of the “Dark Enlightenment” + Anan Fries’s ( ) LORECORE — where tech becomes myth on the 🔗

🪱🔦Source: Screenshot from Neon Genesis Evangelion 3.0
Source: Drawing entitled “Baby’s first tech manifesto” by Maelle Andre
Video clip Lorecore courtesy of the artist Anan Fries

27/02/2026

🧴🥀 ✧ “I’ve said before, and I’ll probably say again, that skin is the original interface. Touch is the first sense.”

Sarah Friend () reflects on the body and economic surfaces in Morgane Billuart’s () latest essay for HERVISIONS 💦

Sarah has been thinking lately about what she calls economic surfaces. Everything that can be bought, sold or owned—even legal concepts like ownership itself—has a kind of surface. An API, so to speak, that provides information about how these surfaces can interact, intersect, and interoperate. What new economic surfaces are exposed by emerging technology?

Prompt Baby is an experimental interface on the emerging economic surface created by AI’s ability to generate images of a real person. It’s a frictionful interface that runs human-in-the-loop. Prompts come to Sarah, the model’s creator and depicted subject, and she decides whether to accept them. The body itself is changing shape, growing fuzzy around the edges, less located in one place, less endemic to one here and now, than it was only a few years ago 🌀

From ‘The Body as An Interface: Fantasies of Upgrade’, now live on the HERVISIONS Portal 🔗

2 - Prompt Baby (platform), Photo by Frankie Tyska

—-
Sarah Friend is an artist, researcher, and software developer exploring machine learning and its relationship to the body. She has exhibited at Galerie Nagel Draxler, MoMA, Haus der Kunst, Centre Pompidou, Kunsthaus Zürich, and HEK Basel 🧬

MachineLearning DigitalOwnership SarahFriend

26/02/2026

🩸𖦹✧🌀🥽 “In my work, Interface does not appear as a definition or a word. It appears as a rupture.”

Ana Roman ( ) on the interface as rupture in Morgane Billuart’s () latest essay for HERVISIONS

For Ana, the interface is never clean. Interface is not single-use. Interface isn’t something that happens to her. But it is something to constantly negotiate, manipulate, even weaponise. Each interaction, swipe, or download consents blindly or intelligently refuses. It asks: is my technology doing or is my technology using? 🧬

The recursive layers in her work are not mind games, they are acts of glitched sabotage. The recursive virus of her feeds the noise of surveillance capitalism back into the interface until it splits. The VR headsets replicate multiple images of her into infinite iterations that hack and overflow. When the system demands clarity, she answers with abstraction. When it takes from her, she overwhelms it with too much. When it wants to gather her, she shatters ✴︎

From ‘The Body as An Interface: Fantasies of Upgrade’, now live on the HERVISIONS Portal 🔗

Ana Roman is a multidisciplinary creative technologist and Sonic Arts teaching artist whose work sits at the intersection of generative arts, sonic cyberfeminism, and algorithmic bias. She has presented at Dok Leipzig, MIT Media Lab, NYU, Columbia University, and Berklee College of Music 🧿

23/02/2026

💦🌀✴︎ 🔫 “When skin serves as a social interface, it becomes a tool of adjustment”.

Arvida Byström () reflects on the body as interface in Morgane Billuart’s () latest essay for HERVISIONS 🧿

Arvida asks: if an interface is a bridge between two entities, what is being bridged? In a biological sense, the skin is our primary interface—a protective envelope that allows our internal systems to interact with the world. But what gets exposed when this interface is replicated without the flesh of a living system underneath? ✧

From ‘The Body as An Interface: Fantasies of Upgrade’, now live on the HERVISIONS Portal 🔗

Arvida Byström is a digital native whose work employs a hyper-feminine aesthetic to explore femininity, body image, and emerging technologies. Based in Paris, her work has been featured at Gallery Steinsland Berliner, Gallery Kranjcar, V&A London, TATE, and recognised by Art News as one of the most defining projects of the year 🌌

DigitalCulture ArvidaByström

20/02/2026

🔭🫁🪱The body as interface—glowing, transparent, effortless, fluid. We typically picture the polished surface of contemporary technology, but what happens when we consider the body itself as a technological object, a site where senses and encounters interact?

In our latest essay, Morgane Billuart () explores the body as a site of endless experimentations and distortions—from Orlan’s earliest body modification strategies in the 1970s, calling for a reframing of the female body and its material reality, to Rachel Rossin’s decomposed avatars that refuse the illusion of immaterial fantasy 🧬✧

The skin becomes the point of exchange, the interface that mediates between subjective experience and external inputs. But as technological progress strives toward an effortless merger between virtual persuasion and physical reality, Morgane asks: at what point does the body, deployed as a technological panel for hyperconnectivity, shift from agency to subjection, from subject to substrate, or conversely become a site of empowerment? 🌌

Featuring reflections from Arvida Byström (), Ana Roman (.studio), and Sarah Friend () on how technology writes itself onto our skin, examining the body as social interface, tactical device, and economic surface ⟂

‘The Body as An Interface: Fantasies of Upgrade’ by Morgane Billuart is now live on the HERVISIONS Portal 🔗

Source 1: Interface by Lena Kuzmich, 2023. Source 2: Gif from Ghost in the Shell (1995).
Source: Stelarc, Fractal Flesh / Involuntary Body / Third Hand, 1996

MorganeBilluart

19/02/2026

💕🌊Thank you again to everyone who came and supported the new moving image presentation by Eunjo Lee (.lee) for HERVISIONS () last Wednesday 🕹️

An evening centred on the theme of rebirth and desire, curated by HERVISIONS founder Zaiba Jabbar, featuring:

The First End, The Blind Noon and The Last Origin by Eunjo Lee

Agony of Eros / DRIFT by Sofia Albina Novikoff Unger ())

—
🔬Lee’s approach acknowledges that contemporary ritual participation now unfolds through digital platforms—through replicated and mutated content, and through the “poor image” that gains power via accessibility rather than resolution. Her work considers how circulation itself becomes a form of collective witnessing: where audiences do not simply consume, but participate in mythic regeneration through sharing, looping, and transformation across networks.

Drawing on theoretical frameworks that interweave ecological consciousness with relational vitality, Lee employs mythological structures to re-evaluate human ontological positioning—emphasising the unique capacity of digital art to render these entangled relationships visible 🌀

Eunjo Lee’s commission for HERVISIONS presents a trilogy of 3D animations centred on Rebirth, marking both a launch and an opening into an expanded digital cosmology.🌐

🔖Cover video, 3rd and last slide courtesy of the artist
✨Photography by Denisha Anderson

Hervisions

12/05/2026

11/05/2026

29/04/2026

23/03/2026

20/03/2026

27/02/2026

26/02/2026

23/02/2026

20/02/2026

19/02/2026

Adresse

Webseite

Benachrichtigungen

Service Kontaktieren

Verknüpfungen

Teilen

Kategorie