✮*•̩̩͙✧•̩̩͙*˚✧*˚ 𝒇𝒍𝒐𝒂𝒕𝒊𝒏𝒈 𝒕𝒉𝒓𝒐𝒖𝒈𝒉 𝒓𝒆𝒂𝒍𝒊𝒕𝒚 ˚*✧˚*•̩̩͙✧•̩̩͙*˚✮

𝒅𝒊𝒗𝒆 𝒊𝒏𝒕𝒐 𝒎𝒆

is an installation, suspending two avatars in an eternal state of desire, generating a new future.  Sculpture, video, and sound converge into a field of sensual attention that seduces the visitor into the queer horizon of the yet-to-come, operating as a portal of lesbian futurity,




DIM as a portal, a site of passage between the real and the ideal, wherein the space of the gallery becomes a terrain saturated with longing, with the anticipatory charge of contact forever imminent and forever deferred. A screen anchors the installation: on it, a video loop of nine seconds, two figures floating on water, moving toward one another, converging on a kiss that the loop perpetually forestalls. Before their lips can touch, the current pulls the sequence back to its origin. The desire circulates, never discharged, always regenerating. This is libidinal economy in its most affirmative form, desire as a productive force, as what Deleuze and Guattari understood as pure positivity, a flow that does not require its object to be consummated in order to remain generative, operative, alive. The installation does not mourn the unfulfilled. The installation pulses with it.

Superimposed over the figures, fragments of a poem: dive into me. The same words surface across the nine resin sculptures arranged around the screen, water appearing to leak from the letters themselves, as though language here is not symbolic closure but an open channel, a conduit whose banks perpetually overflow. The sculptures float toward the visitor at eye level, meeting them fully, soliciting their complete attention. An ambient soundscape of walking through water fills the space, and beneath it, a voice, soft and insistent, calling: dive into me. The installation addresses the visitor directly, drawing them into the field of its desire, initiating the reciprocal process of seduction that Simone Weil recognised as the highest form of attention. For Weil, attention taken to its furthest degree becomes prayer, an unmixed, total orientation of the self toward the other. The sculpture performs exactly this: she asks for your full presence. She offers hers in return.

Seduction, understood here as a radical phenomenological act, dissolves the distance between subject and object, between the visitor and the work. It is presence meeting presence, the mutual recognition of two beings floating in the same ocean of sensation. The installation's logic is hydro-spatial: everything flows, everything seeks confluence. The queer aesthetics soaked into the work have eroded its edges over time, smoothed its crevices, made it yielding and soft. Water has been the agent of this transformation, turning form into an expression of love.

dive into me draws its theoretical sustenance from a full and unapologetic feminine, queer-centric archive, a confluence of currents that runs from Simone Weil and José Esteban Muñoz through the distributed intelligence of girl theory as it circulates on Substack, in notes-app poetry, in the Tumblr archive, in the essayistic and prophetic vernacular of online queer culture. Muñoz understood queerness as a horizon, something felt and anticipated, a structure of futurity that the present can only approximate through the aesthetic and the relational. dive into me inhabits that horizon deliberately. The video loop does not represent failure. The loop is the form of queer desire itself: the not-yet held open as the most fertile temporal structure available, the spring that keeps running without needing to arrive at the sea.

The installation is also an archive made material. The research that generated it poured through the floodgates that digital culture has opened to previously silenced voices, letting the girly research run full force, liberating the work from man-centric canons and allowing a new theoretical ecology to accumulate. What emerged is a sculpture soaked in these streams, a resin figure that holds the accumulated pressure of collective longing, that leaks it back into the space as water, as sound, as invitation.

The portal is open. The figures keep floating toward each other. The viewer, standing inside the current, is already inside the merge.

you can see my heart overflowing, towards you ‧͙⁺˚*•̩̩͙



₊̣.̩✧*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩⋆·̩̩.̩̥·̩̩⋆*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩✧·.̩₊̣.̩₊̣.̩✧*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩⋆·̩̩.̩̥·̩̩⋆*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩✧·.̩₊̣.̩₊̣.̩✧*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩⋆·̩̩.̩̥·̩̩⋆*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩✧·.̩₊̣.̩₊̣.̩✧*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩⋆·̩̩.̩̥·̩̩⋆*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩✧·.̩₊̣.̩₊̣.̩✧*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩⋆·̩̩.̩̥·̩̩⋆*̣̩˚̣̣⁺̣‧.₊




please have a look through my entire masters diploma thesis here.... 

melting into you

𝓲 𝓸𝓷𝓵𝔂 𝔀𝓪𝓷𝓽 𝓲𝓽 𝔀𝓱𝓮𝓷 𝓲𝓽 𝓯𝓮𝓮𝓵𝓼 𝓵𝓲𝓴𝓮 𝓽𝓱𝓲𝓼

A lesbian cyberscape of cascading longing: resin sculptures leak from portal screens, a waterfall pools across the gallery floor, and a digital avatar watches over the overflow as the installation makes visible the queer desire, tenderness, and community that flow through the internet as an ever-present spring.


i only want it when it feels like this (2024) is a full-room installation assembling nine resin sculptures, three video works, 3D prints, ambient water sound, fabric, collected objects, and LED light into a lesbian-coded cyberscape of overflowing desire. The work materializes the internet as a tidal field of becoming: a purple-blue waterfall cascades from ceiling to floor, pooling into an iridescent tide from which two screens emerge as portals between states of matter and modes of longing. Sculptures leak outward from the edges of the screens, shaped and carried by the perpetual current of digital flow. A figure reaches through the veil of falling water, visible from behind and through its dissolution, a body half-submerged in the threshold between worlds. Hatsune Miku's sakura avatar presides over the pool as tutelary spirit of networked feeling, a goddess of anonymous community. On the wall, the declaration i only want it when it feels like thisinscribes itself as queer territorial mark, as lyrical claim on the surface of the possible.

Drawing on Deleuze and Guattari's conceptualization of desire as a productive, machinic flow rather than a deprivation-structured economy, the installation enacts desire as something that seeps, overflows, pools, and cascades of its own irresistible force. Desire in this work is always already moving, always exceeding its banks, always discovering the next channel through which intensity may travel. The space itself functions as a Body without Organs assembled from desiring-machines in continuous relation: the screen as permeable membrane, the avatar as partial object, the waterfall as libidinal current, the resin sculpture as desire crystallized mid-flow.

The internet operates here as what Mark Fisher would recognize as a site where the utopian impulse refuses deferral and insists on present-tense inhabitation. Within the online aquatic field constructed, the anonymity of the avatar functions as a technology of self-construction rather than erasure, a vessel through which queer configurations of gender and sexuality are explored, repeated, and intensified. The fixed coordinates of heteronormative embodiment dissolve in the liquid environment the installation proposes; identity becomes a tidal process, pulling in and releasing, always provisional, always in motion toward new form.

The work draws on the deep archive of lesbian poetics from Sappho through to the contemporary, locating desire in the elemental: water, skin, breath, the perceptual blur of bodies submerged together until the boundary between self and other becomes undecidable. The poem embedded in the work traces this phenomenology of dissolution with precision: i can not tell where my body ends and yours begins, we're melting into one. This is queer futurity understood not as projection onto a horizon deferred but as a current already running through the present, already connecting bodies across screens, already producing the community it also yearns for.

The installation thinks through the logic of wetware, situating subjectivity in the saturated zone where biology and technology saturate each other, where the body is already screen and the screen is already capable of tenderness. Touch here becomes a field of continuous intensity flowing across physical and digital registers simultaneously, leaking from one state into another, refusing the hierarchy that would place one above the other. The sakura avatar, the reaching hand, the sculpture spilling from the portal: these are figures of queer desire finding form in the overflow, in the refusal to remain contained within a single medium, body, or world.

i only want it when it feels like this presents the internet as a living spring: a source of queer possibility, of belonging and erotic community, where shared feeling circulates freely between bodies, avatars, sculptures, and screens. The installation enacts utopia as lived infrastructure, already flowing, already here, already touching you through the surface.

𝒃𝒆𝒚𝒐𝒏𝒅 𝒕𝒉𝒆 𝒘𝒂𝒕𝒆𝒓𝒇𝒂𝒍𝒍
𝒍𝒐𝒔𝒕 𝒊𝒏 𝒕𝒉𝒆 𝒔𝒕𝒓𝒆𝒂𝒎 𝒐𝒇 𝒄𝒐𝒏𝒄𝒊𝒐𝒖𝒔𝒏𝒆𝒔𝒔

𝐤𝐢𝐬𝐬 𝐦𝐞 𝐭𝐡𝐫𝐮 𝐭𝐡𝐞 𝐬𝐜𝐫𝐞𝐞𝐧

Floating on the eternal stream, drowning in the feelings

going with the flow is not easy, you need to let yourself be taken by the stream, it will guide you there

i’m reaching out to for your hand through the screen

can we touch?

can we break through the (surface) tension

floating on the water, drifting away, reaching out for your hand, your gaze

streaming into the future

for your eyes only

revirtualizing
drowning in reality

A fountain flows at the centre of a hyper-femme, hyper-connected world: revirtualizing immerses the body in the desiring-currents of queer online counter-publics, flooding physical space with the utopian intensities of a future already underway.

RE-V is a multi-sensory installation that materialises the desiring-currents flowing through hyper-femme online spaces, channelling their opulence, warmth and utopian charge into a charged physical encounter. A fountain occupies the centre of the space as a sculptural and symbolic wellspring: its perpetual circulation of water figures the internet as an endless stream of longing, a flow that carries within it the accumulated desire for community, liberation, and futures otherwise foreclosed. Iridescent inflatables gather around it like presences, soft sculptures whose synthetic femininity pulses under luminous pink and purple light, diffracting across the room in iridescent refractions. The air carries the scent of sweet fruit. The floor glows. Visitors enter a space that holds them.

The installation operates through what Deleuze and Guattari would recognise as desiring-production: the work does not represent desire but produces it, assembles it, lets it leak across the threshold between the digital and the physical until that threshold dissolves into something more like a membrane, permeable and alive. The formal vocabulary of the work draws directly from the aesthetic intensities of internet subcultures shaped by fem-queer communities, communities for whom the online has historically functioned as a counter-public in the Fraserian sense: a space of subaltern world-building where marginalised subjects rehearse, perform and sustain visions of existence that dominant culture refuses to reflect back at them. Revirtualizing re-downloads this counter-public into physical space, making it inhabitable, making it shared.

Where Mark Fisher diagnosed capitalist realism as the foreclosure of futurity, this installation insists on the proliferative potential of the virtual, understood in its Deleuzian register as the reservoir of difference that has yet to actualise. The fountain's eternal recirculation is precisely this: a figure of the unexhausted, a spring that does not run dry. The installation does not archive or memorialise the queer internet; it lets it overflow. It floods the gallery with the affective intensities that fem-queer online communities have always known how to generate and sustain, intensities that accelerate toward connection, toward collectivity, toward the speculative futures that desire itself opens up when it is allowed to flow.

The dialogue around digital futures has been shaped predominantly by masculinist techno-utopian imaginaries. Revirtualizing constitutes an intervention into that discourse from a fem-queer position, one that insists on the political productivity of softness, of iridescence, of the synthetic and the sentimental. The work draws on the lineage of cyberfeminism and Haraway's cyborg manifesto while extending into the present conditions of platform culture, affirming the possibility that these spaces, so often read as escapism or spectacle, carry real desiring-force, real world-building capacity. The physical installation becomes a site of collective gathering, a space where offline coming-together is made possible by the energies that online communities have accumulated and preserved.

Revirtualizing -- drowning in reality proposes immersion as method and as politics: to be held by the flowing present of this space is to already be inside a different future, one that is always springing forward.

melting reality 

proposes online existence as ontologically continuous with physical life: a transmedia installation where synthetic femininity, technological embodiment, and the desiring-machine of the networked body pour through concrete, foam, and rose-pink light into the space of the real.

⛓✨💕☁️💖 hyper heart 💖☁️💕✨⛓

is an immersive installation suspending a luminous resin heart from steel chains at the convergence of digital desire and physical longing, staging the dissolution of bounded bodies as the opening current through which a queer, utopian future flows.

exhibited at:
Gmunden (AT): Festival "Photo Gmunden" curated by Beda Achermann
Vienna (AT): Vienna Art Week "House of Losing Control"



 🌥 what can you feel your dreams yearning for? 🌥

A hyper heart, illuminating the desires for freedom through excess, the emotional overstimulation through oversimulation.  The hyper heart is a reference, spanning a connection of emotionality between the physical and digital life.
Attaching them in excess, yearning for utopia. The utopian dream of limitless freedom, promised in the digital realm. A space without worldly boundaries of the body, the space and time. Serving as a reminder, that this is a possible future, a future we can strive towards through reclaiming the Physicality.

Oversimulating the physical space by overstimulating visitors through emotionally connotated cultural signifiers. Being hyper-aware of their presence and the possibility of occupying space in the body and mind. The bright pink light illuminates the sculpture, luring in the visitors - keeping them under its spell. The promise of utopia through excess of emotions. 


💫 omnipresent excess of emotions 💫

Hyper Heart conducts the affective surplus of merged online-offline existence into architectural form, crystallising the libidinal intensities of networked desire as sculptural presence. At the work's centre, a resin heart suspended from steel chains occupies the former dance floor of an abandoned club. Pink LED light runs the perimeter of the space and bleeds into the room's dirty mirrors, folding the sculptural body into infinite reflective tributaries, multiplying the heart across the architecture's accumulated memory of collective pleasure and longing. The sculpture leaks light. It pools sensation. It operates as a desiring-machine in the Deleuzian register: an assemblage producing connections, opening flows between registers of experience that the dominant organisation of space keeps separated.

Two flatscreen video works, auratic sentiency and envisioning real, run a continuous poem through the space. The texts move along the dissolution of bodily boundary as productive threshold, as a site of generative overflow. The body in these poems is porous, a surface across which virtual and physical intensities intermingle and drain into each other. A hologram LED fan installed in the rear of the space turns endlessly, projecting a three-dimensional animated rose in perpetual shedding, petals releasing in slow digital fall, the figure of morphogenesis looping without terminus, blooming and dispersing as pure becoming. The digital sculptural element is not atmospheric supplement but structural argument: the animation demonstrates that the immaterial leaves physical residue, that the virtual floods the sensorium.

The title operates across simultaneous registers. Hyper carries the logic of the hyperlink, the technical condition that makes connection and transmission possible, a channel blasted open for bodies, data and affect to flow through into each other. Hyper as superlative intensity, the overflow of sensation that marks the contemporary subject's navigation of layered realities. Heart as the central site of longing and desire, rendered here in the material durability of resin, in the tactile weight of something that persists across conditions, whose synthetic beauty activates Baudrillardian hyperreality and redirects it toward a queer affective horizon. The simulacral heart, gorgeous and synthetic, suspended in a space whose architectural history includes histories of collective intoxication and erotic abandon, functions precisely as the kind of utopian figure Mark Fisher describes: an image of desire oriented toward the horizon of a world made otherwise through connection, through the pooling of intensities across all the partitions that previously kept bodies and worlds apart.

The work thinks in conversation with xenofeminist propositions regarding the mutability of real conditions. Drawing on the xenofeminist proposition that alienation and technological mediation are materials available for the construction of new forms of being and community, Hyper Heart frames the merging of online and offline worlds as a generative ontological event. The borders between bodies become productive thresholds. The distinction between what exceeds empirical explanation and what constitutes everyday sensation becomes a site of creative inhabitation. Where does one body end and another begin? Where does the digital signal become somatic intensity? The installation holds these questions open as live current, as energy the visitor moves through and carries with them.

Throughout, the desiring logic of the work orients toward futurity. The slowly spinning holographic rose, forever in the act of losing petals and forever whole, figures a world in which loss and becoming flow together as the same motion. The heart at the centre, beautiful and durable and suspended, holds the channel open. Hyper Heart believes in the future already leaking into the present.

#cyber-rituals @hyper-self

exhibited at:
Vienna (AT): Kargl Permanent

curated by Martina Menegon & Brooklyn J. Pakathi 

The exhibition “TRANS.. #cyber-rituals @hyper-self” transforms the offline gallery space into an experience of simulated identities and rituals of self-representation. It creates a window into the constructing and reconstructive nature of the self and of the internet while establishing rituals, conceptions and unrepressed basis for the performance of the self.

The contemporary experience of the digital has inevitably changed our perception and conception of reality, enhancing the concept of performance in relation to the self and the body. Since its early days, the internet has been a space for construction and reconstruction of the self, an environment free from physical limits that allows an unprecedented play with past and new identities.

Online, the self becomes de-centred and multiplies without restrictions and in which social media has transformed into a virtual stage, where the diversity of new approaches to performance investigates and reshapes, mainly, the relation between reality and simulation, but also code and body and the very perception of the self through its digital double(s).

Hannah Neckel’s multimedia “XXXperiences” seduce viewers into a hyper-space, merging net-first visual cultures with the physical. Her use of symbols, text, 3D renderings and an arsenal of other tools and references propose a utopian internet, where the self is constructed, reconstructed and then open to a further unpacking by viewers of her work. The range of hand-crafted inflatables mediates between various states of reality, abstracting aesthetics as a means to perceive lived experiences both online and away from the keyboard. For “TRANS.. #cyber-rituals @hyper-self”, Neckel also augments form and material by extending into the virtual and altering the public offline space nearby.

Text by Martina Menegon & Brooklyn J. Pakathi 
Photos by Maria Belova 

☁️ auratic sentiency☁️

merged reality video (55 sec loop)
2021

exhibited at:

Modena (IT): Metronom "digital as device" curated by Martina Cavalli
Gmunden (AT): Festival "Photo Gmunden" curated by Beda Achermann

auratic sentiency is a 55 second video loop work created for the video wall exhibition at Metronom

Gallery in Modena, Italy. The video explores the merging of different states of reality, online, dream and physical reality towards the desire for a utopian future. These perfect sensuality soft like reality dream spaces help us to envision real spaces and possible futures, making a utopia imaginable again. A utopian world of free expression, connection and community.

the ecstasy of utopia –
a space more real than reality itself.
more dreamy than dreams.

omnipresent excess of emotions

★｡. :*:・”☆★ :*:・”ﾟ★｡. :*:・”☆★ :*:・”ﾟ★｡. :*:・

i got you where i want you  

i wish you were not here

 *•̩•̩* ̊dreaming in a dream ̊*·̩*•̩•̩*

⛓✨💕☁️💖 ultra hyper paradise 💖☁️💕✨⛓

ultra hyper paradise is an emotionally targeted installation featuring a centrally staged  💖 hyper heart 💖

exhibited at:
Vienna (AT): University of Applied Arts "Angewandte Festival 2021"  curated by Brigitte Kowanz

Vienna (AT): r00m69 "Somewhere Between There And Here" curated by Brooklyn J. Pakathi

Vienna (AT): Never at Home "Hyper_R"  curated by Clara & Vera Grillmayer

 

🌥 what can you feel your dreams yearning for? 🌥

a seducing installation featuring a centrally staged heart sculpture and a video poem explores the desire for a utopian future.

The auratic realness of the installation is seducing visitors to explore the space evoking an emotional xxxperience by utilising cultural signifiers of internet cultures and amplifying hyper femme influences. These sensual dream spaces help us to envision reality and possible futures, making a utopia imaginable again.
A utopian world of connection and community.
The ecstasy of utopia – a space more real than reality itself. More dreamy than dreams.
💫 omnipresent excess of emotions 💫

keep the balance 69 

stack overflow

BeachBabyBaker3000

a collaborative project with Josepha Edbauer
2021

exhibited at AA Collections Gallery, Vienna Austria
and Kleine Humbolt Galerie Berlin, Germany 

🐶 doggy 🐶

⛓ this feels like the continuation of a dream ⛓

the feeling of longing for

human connectedness

fantasy

love


is prevalent

post virtual garden

A site-responsive installation in which resin sculptures, iPhones, and LED light construct a post-virtual garden: the space after the virtual has overflowed into physical reality, where digital desire, online care, and embodied feeling pool together in a single luminous ecology, and IRL and URL bloom as one.





PVG is a durational, site-responsive installation operating across resin sculptures, mobile phones, charging cables, LED lighting, and PVC prints. The work first emerged in Vienna and travelled through iterations at the Austrian Cultural Forum London ("Hypersurfaces"), Periscope Salzburg, Kunstverein Jesteburg, Re:Publica Berlin, Forward Festival Vienna, and Kunstraum Niederösterreich, among further sites, each iteration responding to and absorbing the specific spatial and cultural charge of its host environment.

The work takes as its operative premise what Baudrillard theorised as the hyperreal: the condition in which simulations of the real accrue a greater ontological density than the real itself. Post Virtual Garden proceeds beyond diagnosis, treating this condition as inhabitable terrain. The digital and the physical share a single ontological floor. Feelings generated in URL space are feelings; the desire that circulates through a feed is desire; the care invested in a curated online presence is care. This is the theoretical stake from which the installation flows: a Deleuzian and Guattarian insistence on desire as productive, as a force that assembles worlds rather than merely representing them, released from its confinement to the analogue body and allowed to run across all surfaces simultaneously.

The garden serves as the structuring metaphor. A garden is an ecology of intention, a space shaped by attentiveness, by the sustained direction of desire toward growth. The algorithmic feed operates by precisely this logic: what receives attention expands; what is watered, blooms. Resin sculptures in the forms of anthropomorphic, softened, computer-generated bodies anchor the space. From these forms, iPhones grow like flowers from stems. The LED field emits a neon pulse that functions as a kind of ambient notification, a permanent low-grade intensity, the digital always-on seeping into the physical as light. Charging cables trail as roots, as arteries, as connective tissue. The PVC prints surface additional layers of the image world, a Photoshopian stratigraphy in which no single layer dominates.

The virtual has overflowed. The glass has long been too full. It spills into the room as a waterfall, as a river, as a pressure that reorganises everything it contacts. Post Virtual Garden materialises the moment after that overflow: a post-virtual ecology in which IRL and URL are layers of one composite reality, superimposed, mutually constitutive, flowing into one another the way currents merge in open water. Dream-space, online-space, and physical-space lose their discrete edges; they become, in perception and in feeling, a single fluid medium. The installation gives this merged condition aesthetic form, inviting the viewer into an experience of immersion rather than distance, of desire rather than critique. The body in the space is already in the garden. The garden was always the body's habitat.

resources

exhibitions with room69

2024
Puchberg (AT) Kunstraum Konrad “the echos we weave” 
Lublijana (SLO) pixxelpoint festival “speculation and decay”
 
2023

Vienna (AT) Das Weisse Haus “lost to the digital ether”
Vienna (AT) Sehsaal “concrete metamorphosis” for Best Austrian Animation Festival 
Online dwhx.space 1 year 4 part digital intervention 

2022

Vienna (AT) Raum D, Museumsquartier “nowhere in particular”
Los Angeles (USA) LA Artcore “ambient occlusion: desired paths” curated by Pranay Reddy 
Vienna (AT) Showroom Kalsplatz “like the lines of my body are melting away”
Belgrade (SRB) Monolog Gallery + Online Google Maps “balancing through breaking brightness. concrete depths” curated by Jan Gustav Fiedler 
Fano (ITL) Porto Futuro + Online Google Maps “wash me over (gently, softly)”
Online Google Maps “stack overflow” for Wrong Biennale 

2021

Vienna (AT) room69 “somewhere between there and here”
Online Google Maps “i wish you were not here”