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Hervisions, Neukölln (2026)

03/08/2026

🌱 “In Eternal Seeded Echoes, places may disappear, but the memories and invisible stories held within them are planted and continue to grow like roots. These emotional traces remain alive, transforming into organic landscapes that continue to grow through people and across time, and bloom again as an emotional home.”

🪸Jane Tao (dji_jartist) 𝓔𝓽𝓮𝓻𝓷𝓪𝓵 𝓢𝓮𝓮𝓭𝓮𝓭 𝓔𝓬𝓱𝓸𝓮𝓼 is an immersive digital environment that transforms breath, memory and microscopic life into expansive sensory worlds.

Her practice invites audiences into spaces where technology becomes a vehicle for intimacy, memory and sensory transformation.
Working across XR, 3D animation and audiovisual installation, ✨⚡️Jane translates invisible emotional and biological processes into luminous landscapes of colour, light and movement.

🖇️On view as part of HERVISIONS node in Stigmergy: a PSUEDO x NCM project
More information and exhibit link in bio on

30/07/2026

🌬️❤️‍🔥💦Jelena Visković (Jelena Visković) presents🔥 HEAT — an experimental film set within a Baltic spa where leisure, surveillance 🤳🏾and ecological collapse quietly converge.  
Following a group of ageing women navigating wellness infrastructures amidst climate crisis and geopolitical tension, HEAT considers who gets to age, recover and survive in increasingly uncertain worlds.

Blending experimental VFX, game design and feminist storytelling, the work transforms the spa into a space of resistance, introspection and social tension.

Presented as part of Stigmergy, the work reflects the exhibition’s exploration of systems that shape bodies, environments and collective futures.
Curated by HERVISIONS, experience Jelena Visković’s work in Pseudo x NCM’s Stigmergy, now showing at the National Communication Museum.

More information and exhibit link in bio 🖇️

29/07/2026

🌴🍍🌴Tatyana Zambrano (Taty Zambrano) and Hernán Rodríguez (Hernan Rodriguez) present Bunker for a Tropical Pixel, a cinematic game set within a post-tropical world where light has disappeared and tropical bio-bacteria become the planet’s final source of illumination.

Presented as part of Stigmergy, the work reflects the exhibition’s exploration of speculative digital worlds and alternative systems of knowledge. Blending gameplay, film and ecological storytelling, players journey across three symbolic landscapes inspired by the RGB pixel system while navigating questions of technology, ecology and post-colonial imaginaries.

By reimagining how digital games represent the tropics, the work proposes new relationships between ancestral knowledge, artificial environments and planetary futures.

Curated by HERVISIONS, experience Tatyana Zambrano and Hernán Rodríguez’s work in Stigmergy, now showing at the National Communication Museum.

More information and exhibit link in bio 🖇️

26/05/2026

ᥫ᭡𓆉⋆｡˚⋆❀ Thank you to everyone who applied for the Bursary.

We’ve been deeply moved by the range of proposals shared with us, spanning critical, poetic, and experimental approaches to art, embodiment, digital culture, and speculative futures.

It has been incredibly meaningful to read through so many thoughtful and urgent research ideas from our community.

Successful applicants will be informed by the 7th June week ✴︎

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

Hervisions

03/08/2026

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