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Hyperobjects is pleased to present “TRACES”, a project by Tania Daniel (aka @tatiaumiel ) in collaboration with Miles Scharff (@mjsmiles99) ,hosted by @hembryo_ , Via Angelo Poliziano 59, Rome.

The opening will take place on the 29th of April, from 6PM.

“TRACES” uses sonic and electromagnetic feedback loops to explore the material–immaterial interplay between vessels, nature, and humans.

Layered presences emerge as extensions of intra-action, traces of droning resonances channelling our experiences of the immaterial.

Rather than fixed composition, the work unfolds as a field of relations in flux, activated by contact, proximity, and attention. Listening and tactile cues invite co-creation, guiding collective encounters with sonic phenomena as they arise.

In TRACES, boundaries between matter and vibration dissolve through mutual influence, a shared space of becoming. #hyperobjects

Ancient echoes, reimagined.
Hyperobjects inspired by Ziggurat architecture, engraved with Sumerian poems in cuneiform script.
A raw cube of pyrite rests on brutalist forms — where past and future collide.
𒂖 “To purify” whispers from the base of the ring.
Entirely hand-crafted in Italy. #hyperobjects

Ancient echoes, reimagined.
Hyperobjects inspired by Ziggurat architecture, engraved with Sumerian poems in cuneiform script.
A raw cube of pyrite rests on brutalist forms — where past and future collide.
𒂖 “To purify” whispers from the base of the ring.
Entirely hand-crafted in Italy. #hyperobjects

OOB hosts @hyperobjects__
17.04-26

Hyperobjects, un progetto ibrido tra arte e design fondato a Milano nel 2019 dal dialogo tra la designer biomorfica Gaia Lazzaro @xcrystalfairyx e il filosofo Timothy Morton. Hyperobjects promuove una riflessione sull’Antropocene e sulle sue criticità, favorendo la creazione di legami organici tra arte, moda, design e i loro agenti umani, con l’obiettivo di generare nuovi sincretismi ideologici.

Valerio Volpato
h22:30 - 23:00
Live

@valeriovolpato_ , artista visivo con base a Roma.
La sua ricerca attraversa immagine e dimensione sonora, dando forma a ambienti percettivi e interventi site-specific.

Tati au Miel
h23:30 - 01:00
Dj set

@tatiaumiel è il progetto dell’artista di Montréal Tania Daniel. La sua pratica combima elementi performativi e ricerca sonora, muovendosi tra improvvisazione, percezione e fisicità.
​Il suo lavoro attraversa musique concrète, sperimentazione
e spiralismo haitiano.

BIUZ
h01:00 - till late
DJ set

@claudiobiuz Musicologo, giornalista e radio host, è stato head of music di Rolling Stone Italia. Collabora con Red Bull, Rolling Stone, GQ, RSI e LOST Festival.

Venerdì 17 aprile 2026 @out_of_bla
At Arsenale Cenci @arsenalecenci
Doors open
h22:00

OOB hosts @hyperobjects__
17.04-26

Hyperobjects, un progetto ibrido tra arte e design fondato a Milano nel 2019 dal dialogo tra la designer biomorfica Gaia Lazzaro @xcrystalfairyx e il filosofo Timothy Morton. Hyperobjects promuove una riflessione sull’Antropocene e sulle sue criticità, favorendo la creazione di legami organici tra arte, moda, design e i loro agenti umani, con l’obiettivo di generare nuovi sincretismi ideologici.

Valerio Volpato
h22:30 - 23:00
Live

@valeriovolpato_ , artista visivo con base a Roma.
La sua ricerca attraversa immagine e dimensione sonora, dando forma a ambienti percettivi e interventi site-specific.

Tati au Miel
h23:30 - 01:00
Dj set

@tatiaumiel è il progetto dell’artista di Montréal Tania Daniel. La sua pratica combima elementi performativi e ricerca sonora, muovendosi tra improvvisazione, percezione e fisicità.
​Il suo lavoro attraversa musique concrète, sperimentazione
e spiralismo haitiano.

BIUZ
h01:00 - till late
DJ set

@claudiobiuz Musicologo, giornalista e radio host, è stato head of music di Rolling Stone Italia. Collabora con Red Bull, Rolling Stone, GQ, RSI e LOST Festival.

Venerdì 17 aprile 2026 @out_of_bla
At Arsenale Cenci @arsenalecenci
Doors open
h22:00

OOB hosts @hyperobjects__
17.04-26

Hyperobjects, un progetto ibrido tra arte e design fondato a Milano nel 2019 dal dialogo tra la designer biomorfica Gaia Lazzaro @xcrystalfairyx e il filosofo Timothy Morton. Hyperobjects promuove una riflessione sull’Antropocene e sulle sue criticità, favorendo la creazione di legami organici tra arte, moda, design e i loro agenti umani, con l’obiettivo di generare nuovi sincretismi ideologici.

Valerio Volpato
h22:30 - 23:00
Live

@valeriovolpato_ , artista visivo con base a Roma.
La sua ricerca attraversa immagine e dimensione sonora, dando forma a ambienti percettivi e interventi site-specific.

Tati au Miel
h23:30 - 01:00
Dj set

@tatiaumiel è il progetto dell’artista di Montréal Tania Daniel. La sua pratica combima elementi performativi e ricerca sonora, muovendosi tra improvvisazione, percezione e fisicità.
​Il suo lavoro attraversa musique concrète, sperimentazione
e spiralismo haitiano.

BIUZ
h01:00 - till late
DJ set

@claudiobiuz Musicologo, giornalista e radio host, è stato head of music di Rolling Stone Italia. Collabora con Red Bull, Rolling Stone, GQ, RSI e LOST Festival.

Venerdì 17 aprile 2026 @out_of_bla
At Arsenale Cenci @arsenalecenci
Doors open
h22:00

We are pleased to present Tania Daniel ( @tatiaumiel )our artist in residence for April 2026.
Tania Daniel, also known as Tati au Miel, is an artist of Haitian descent from Montreal. Their practice draws from improvisation and collaboration as crucial entry points into their worlds of sound, performance, and installation. Through each manifestation of their work, they aspire to shape intimate experiences engaging with the philosophies of quantum thinking in relation to metaphysical perspectives. In dialogue with the lineages of musique concrète, experimentation, and Haitian spiralism, their work unfolds as an ever-evolving proposition of perception and encounter.

During their residency in April, a series of encounters and moments of exchange will take place. Their research will be presented at @hembryo_ Gallery, soon more informations will be released.

We are pleased to present Tania Daniel ( @tatiaumiel )our artist in residence for April 2026.
Tania Daniel, also known as Tati au Miel, is an artist of Haitian descent from Montreal. Their practice draws from improvisation and collaboration as crucial entry points into their worlds of sound, performance, and installation. Through each manifestation of their work, they aspire to shape intimate experiences engaging with the philosophies of quantum thinking in relation to metaphysical perspectives. In dialogue with the lineages of musique concrète, experimentation, and Haitian spiralism, their work unfolds as an ever-evolving proposition of perception and encounter.

During their residency in April, a series of encounters and moments of exchange will take place. Their research will be presented at @hembryo_ Gallery, soon more informations will be released.

Work in progress for @shejtano head piece prototype #hyperobjects

Work in progress for @shejtano head piece prototype #hyperobjects

“about 7 minutes of fame” was the installation by @runa_rosgaard curated by Hyperobjects with a text by the project’s founder @xcrystalfairyx . The installation was hosted by @hembryo_ , no profit art gallery at Via Angelo Poliziano 59, Rome.
At the core of the installation is Celia, a site-specific work centered on a hyperrealistic 1:1 scale model of a Pyrenean ibex kid, the only animal species to have gone extinct twice. After being hunted to extinction, the species was temporarily brought back through cloning: in 2003, scientists produced a clone named Celia, who died after approximately seven minutes.

Here, sound functions as both a narrative and temporal device: a seven-minute audio track, mirroring the lifespan of the clone, stages a dialogue between the cloned ibex and Melissa Vandella, the alleged clone of Avril Lavigne. This juxtaposition shifts the focus from biological duplication to cultural replication, interrogating the mechanisms through which life, identity, and meaning are reproduced—and distorted—across both scientific and popular imaginaries.

Celia reflects on humanity’s obsession with re-creation, revealing how attempts to control life—whether biological or symbolic—inevitably collapse under the weight of their own ambition.

“about 7 minutes of fame” was the installation by @runa_rosgaard curated by Hyperobjects with a text by the project’s founder @xcrystalfairyx . The installation was hosted by @hembryo_ , no profit art gallery at Via Angelo Poliziano 59, Rome.
At the core of the installation is Celia, a site-specific work centered on a hyperrealistic 1:1 scale model of a Pyrenean ibex kid, the only animal species to have gone extinct twice. After being hunted to extinction, the species was temporarily brought back through cloning: in 2003, scientists produced a clone named Celia, who died after approximately seven minutes.

Here, sound functions as both a narrative and temporal device: a seven-minute audio track, mirroring the lifespan of the clone, stages a dialogue between the cloned ibex and Melissa Vandella, the alleged clone of Avril Lavigne. This juxtaposition shifts the focus from biological duplication to cultural replication, interrogating the mechanisms through which life, identity, and meaning are reproduced—and distorted—across both scientific and popular imaginaries.

Celia reflects on humanity’s obsession with re-creation, revealing how attempts to control life—whether biological or symbolic—inevitably collapse under the weight of their own ambition.

“about 7 minutes of fame” was the installation by @runa_rosgaard curated by Hyperobjects with a text by the project’s founder @xcrystalfairyx . The installation was hosted by @hembryo_ , no profit art gallery at Via Angelo Poliziano 59, Rome.
At the core of the installation is Celia, a site-specific work centered on a hyperrealistic 1:1 scale model of a Pyrenean ibex kid, the only animal species to have gone extinct twice. After being hunted to extinction, the species was temporarily brought back through cloning: in 2003, scientists produced a clone named Celia, who died after approximately seven minutes.

Here, sound functions as both a narrative and temporal device: a seven-minute audio track, mirroring the lifespan of the clone, stages a dialogue between the cloned ibex and Melissa Vandella, the alleged clone of Avril Lavigne. This juxtaposition shifts the focus from biological duplication to cultural replication, interrogating the mechanisms through which life, identity, and meaning are reproduced—and distorted—across both scientific and popular imaginaries.

Celia reflects on humanity’s obsession with re-creation, revealing how attempts to control life—whether biological or symbolic—inevitably collapse under the weight of their own ambition.

I was born into milky gloves
like a mother_like a lie
sterile neon reflected in the eyes
whispering to my soft Engine_
Failed Architecture_failed Flesh Marionette
unable to keep together the broken shell
for counted minutes I was allowed to stay_
minutes of fame
Is this life mine?
_was it borrowed_ was it on display_was it a play
test-tube daughter of Amputated Angels
Finely perforated by the cult of Ozempic & nuclear transfer_
I will be your Marionette,
pull me by the cables , I will not resist
I will be your Marionette in Formaldehyde
if you want me to exist_seven minutes only

This poem written by @xcrystalfairyx inspired by About 7 Minutes of Fame, @runa_rosgaard site-specific installation featuring Celia, a clone of the last Pyrenean Ibex — the only species to have gone extinct twice. After being briefly revived through cloning in 2003, Celia survived only seven minutes.

Using sound as a narrative device, the work places Celia in dialogue with Melissa Vandella, alleged clone of Avril Lavigne, shifting the focus from biological to cultural replication. Through this contrast, the poem reflects on humanity’s obsession with re-creation and the inevitable failure of attempts to control life, identity, and meaning.

I was born into milky gloves
like a mother_like a lie
sterile neon reflected in the eyes
whispering to my soft Engine_
Failed Architecture_failed Flesh Marionette
unable to keep together the broken shell
for counted minutes I was allowed to stay_
minutes of fame
Is this life mine?
_was it borrowed_ was it on display_was it a play
test-tube daughter of Amputated Angels
Finely perforated by the cult of Ozempic & nuclear transfer_
I will be your Marionette,
pull me by the cables , I will not resist
I will be your Marionette in Formaldehyde
if you want me to exist_seven minutes only

This poem written by @xcrystalfairyx inspired by About 7 Minutes of Fame, @runa_rosgaard site-specific installation featuring Celia, a clone of the last Pyrenean Ibex — the only species to have gone extinct twice. After being briefly revived through cloning in 2003, Celia survived only seven minutes.

Using sound as a narrative device, the work places Celia in dialogue with Melissa Vandella, alleged clone of Avril Lavigne, shifting the focus from biological to cultural replication. Through this contrast, the poem reflects on humanity’s obsession with re-creation and the inevitable failure of attempts to control life, identity, and meaning.

I was born into milky gloves
like a mother_like a lie
sterile neon reflected in the eyes
whispering to my soft Engine_
Failed Architecture_failed Flesh Marionette
unable to keep together the broken shell
for counted minutes I was allowed to stay_
minutes of fame
Is this life mine?
_was it borrowed_ was it on display_was it a play
test-tube daughter of Amputated Angels
Finely perforated by the cult of Ozempic & nuclear transfer_
I will be your Marionette,
pull me by the cables , I will not resist
I will be your Marionette in Formaldehyde
if you want me to exist_seven minutes only

This poem written by @xcrystalfairyx inspired by About 7 Minutes of Fame, @runa_rosgaard site-specific installation featuring Celia, a clone of the last Pyrenean Ibex — the only species to have gone extinct twice. After being briefly revived through cloning in 2003, Celia survived only seven minutes.

Using sound as a narrative device, the work places Celia in dialogue with Melissa Vandella, alleged clone of Avril Lavigne, shifting the focus from biological to cultural replication. Through this contrast, the poem reflects on humanity’s obsession with re-creation and the inevitable failure of attempts to control life, identity, and meaning.

13th of February @hembryo_is delighted to host a show of @runa_rosgaard . Runa is a Danish artist living and working in Gothenburg, Sweden. They hold a Bachelor’s degree in Fine Arts from HDK-Valand (2023). Their practice explores the intersections of fiction, science, and religion, with a focus on escapism and the ever widening gap between humans and nature.

Rosgaard’s work spans sculpture, painting, moving image, and installation, reflecting their interest in how religions and multimedia franchises construct immersive and emotionally engaging worlds using a wide range of mediums.

Their work has been exhibited in Copenhagen, Stockholm, Vienna, London and Bucharest. In 2025, they were highlighted by the Vienna-based art platform Munchies Art Club as an artist to watch.

Hyperobjects is pleased to present “about 7 minutes of fame”, an installation by @runa_rosgaard (they/them), with a text by @xcrystalfairyx and hosted by @hembryo_ , Via Angelo Poliziano 59, Rome.

The opening will take place on Friday, February 13, 2026, from 6:00 to 9:00 PM.

At the center of the installation is a site-specific work featuring a hyperrealistic 1:1 scale model of Celia, the clone of the last Pyrenean ibex and the only animal species to have gone extinct twice.

After being extinct through hunting and loss of habitat, the species was briefly brought back; in 2003, scientists produced a clone, who died after approximately seven minutes. The installation employs a narrative device, placing the cloned ibex in dialogue with Melissa Vandella, the alleged clone of Avril Lavigne. This juxtaposition shifts the focus from biological duplication to cultural replication, highlighting the processes through which life, identity, and meaning are reproduced — and distorted — across scientific and popular imaginaries.

Celia reflects on humanity’s obsession with re-creation, revealing how attempts to control life — whether biological or symbolic — inevitably collapse under the weight of their own ambition. #hyperobjects

Hyperobjects is pleased to present “about 7 minutes of fame”, an installation by @runa_rosgaard (they/them), with a text by @xcrystalfairyx and hosted by @hembryo_ , Via Angelo Poliziano 59, Rome.

The opening will take place on Friday, February 13, 2026, from 6:00 to 9:00 PM.

At the center of the installation is a site-specific work featuring a hyperrealistic 1:1 scale model of Celia, the clone of the last Pyrenean ibex and the only animal species to have gone extinct twice.

After being extinct through hunting and loss of habitat, the species was briefly brought back; in 2003, scientists produced a clone, who died after approximately seven minutes. The installation employs a narrative device, placing the cloned ibex in dialogue with Melissa Vandella, the alleged clone of Avril Lavigne. This juxtaposition shifts the focus from biological duplication to cultural replication, highlighting the processes through which life, identity, and meaning are reproduced — and distorted — across scientific and popular imaginaries.

Celia reflects on humanity’s obsession with re-creation, revealing how attempts to control life — whether biological or symbolic — inevitably collapse under the weight of their own ambition. #hyperobjects

Flashback to building Hy-Men shoes with @roxyceron____ for @aunhelden's performance FENÔMENO. Thanks again to @umanesimo.artificiale and @transmediaresearch.institute for the collaboration. “I had this dream that I was a phenomenon, and suddenly all my feelings became a language I could speak. Like fireworks knocking down my human architecture.”

Flashback to building Hy-Men shoes with @roxyceron____ for @aunhelden's performance FENÔMENO. Thanks again to @umanesimo.artificiale and @transmediaresearch.institute for the collaboration. “I had this dream that I was a phenomenon, and suddenly all my feelings became a language I could speak. Like fireworks knocking down my human architecture.”

Flashback to building Hy-Men shoes with @roxyceron____ for @aunhelden's performance FENÔMENO. Thanks again to @umanesimo.artificiale and @transmediaresearch.institute for the collaboration. “I had this dream that I was a phenomenon, and suddenly all my feelings became a language I could speak. Like fireworks knocking down my human architecture.”

Flashback to building Hy-Men shoes with @roxyceron____ for @aunhelden's performance FENÔMENO. Thanks again to @umanesimo.artificiale and @transmediaresearch.institute for the collaboration. “I had this dream that I was a phenomenon, and suddenly all my feelings became a language I could speak. Like fireworks knocking down my human architecture.”

@moarquechraul contribution to ISSUE_0 @o__mag__

Shifting Interethnic Territories of Knowledge
Translated in Italian by Camilla Giaccio Darias ( @camgiaccio )

“Many of us, trained at Western educational institutions, have learned to negate the power of the erotic inscribed in our grandparents’ ancestral memories because their spiritual presence is conceived as brujeria, witchcraft. I/We have been falsely taught that connecting the body to heteronormative religious patriarchal fundamentalism could help avoid homophobic violence.
[...]
If we understand how subjective experiences are immersed—always connected—within systems of knowledge and ancestral memories territories—the world of Iku, Hupia, Yuum Kimil, Égungun, the dead—one can perceive how corporeal Aesthesis provides an awareness of being a cosmic sensing-thought decolonial subject.”

Full article in bio

bio. Raúl Moarquech Ferrera-Balanquet is an interdisciplinary artist, writer, curator, Fulbright scholar, and community activist born in Havana, Cuba, with a Ph.D. from Duke University and an MFA from the University of Iowa. A member of the Mariel Generation, he serves as Co-Executive Director of the Howard University Gallery of Art and is a founding member of the Latino Midwest Video Collective, Laboratorio Cartodigital, and Afroyucatecxs Collective.

He is the author of Aestesis Decolonial Transmoderna Latinx_MX and editor of Andar Erótico Decolonial, with publications in Transfers, Latino Book Review, Social Text, and the Bienal de La Habana. His work has been exhibited at the American Academy in Rome, the XIII Bienal de La Habana, Galería ASAB in Bogotá, Ballhaus Naunynstraße in Berlin, and CCCB Barcelona.

Photo Credit: ©️ Raúl Moarquech Ferrera-Balanquet
1. Noj Kairibe Map
2. Vevé Drawings
3. Performance Yemaya Olukun at the Sea
4. Kairibe Constellations Drawings

@moarquechraul contribution to ISSUE_0 @o__mag__

Shifting Interethnic Territories of Knowledge
Translated in Italian by Camilla Giaccio Darias ( @camgiaccio )

“Many of us, trained at Western educational institutions, have learned to negate the power of the erotic inscribed in our grandparents’ ancestral memories because their spiritual presence is conceived as brujeria, witchcraft. I/We have been falsely taught that connecting the body to heteronormative religious patriarchal fundamentalism could help avoid homophobic violence.
[...]
If we understand how subjective experiences are immersed—always connected—within systems of knowledge and ancestral memories territories—the world of Iku, Hupia, Yuum Kimil, Égungun, the dead—one can perceive how corporeal Aesthesis provides an awareness of being a cosmic sensing-thought decolonial subject.”

Full article in bio

bio. Raúl Moarquech Ferrera-Balanquet is an interdisciplinary artist, writer, curator, Fulbright scholar, and community activist born in Havana, Cuba, with a Ph.D. from Duke University and an MFA from the University of Iowa. A member of the Mariel Generation, he serves as Co-Executive Director of the Howard University Gallery of Art and is a founding member of the Latino Midwest Video Collective, Laboratorio Cartodigital, and Afroyucatecxs Collective.

He is the author of Aestesis Decolonial Transmoderna Latinx_MX and editor of Andar Erótico Decolonial, with publications in Transfers, Latino Book Review, Social Text, and the Bienal de La Habana. His work has been exhibited at the American Academy in Rome, the XIII Bienal de La Habana, Galería ASAB in Bogotá, Ballhaus Naunynstraße in Berlin, and CCCB Barcelona.

Photo Credit: ©️ Raúl Moarquech Ferrera-Balanquet
1. Noj Kairibe Map
2. Vevé Drawings
3. Performance Yemaya Olukun at the Sea
4. Kairibe Constellations Drawings

@moarquechraul contribution to ISSUE_0 @o__mag__

Shifting Interethnic Territories of Knowledge
Translated in Italian by Camilla Giaccio Darias ( @camgiaccio )

“Many of us, trained at Western educational institutions, have learned to negate the power of the erotic inscribed in our grandparents’ ancestral memories because their spiritual presence is conceived as brujeria, witchcraft. I/We have been falsely taught that connecting the body to heteronormative religious patriarchal fundamentalism could help avoid homophobic violence.
[...]
If we understand how subjective experiences are immersed—always connected—within systems of knowledge and ancestral memories territories—the world of Iku, Hupia, Yuum Kimil, Égungun, the dead—one can perceive how corporeal Aesthesis provides an awareness of being a cosmic sensing-thought decolonial subject.”

Full article in bio

bio. Raúl Moarquech Ferrera-Balanquet is an interdisciplinary artist, writer, curator, Fulbright scholar, and community activist born in Havana, Cuba, with a Ph.D. from Duke University and an MFA from the University of Iowa. A member of the Mariel Generation, he serves as Co-Executive Director of the Howard University Gallery of Art and is a founding member of the Latino Midwest Video Collective, Laboratorio Cartodigital, and Afroyucatecxs Collective.

He is the author of Aestesis Decolonial Transmoderna Latinx_MX and editor of Andar Erótico Decolonial, with publications in Transfers, Latino Book Review, Social Text, and the Bienal de La Habana. His work has been exhibited at the American Academy in Rome, the XIII Bienal de La Habana, Galería ASAB in Bogotá, Ballhaus Naunynstraße in Berlin, and CCCB Barcelona.

Photo Credit: ©️ Raúl Moarquech Ferrera-Balanquet
1. Noj Kairibe Map
2. Vevé Drawings
3. Performance Yemaya Olukun at the Sea
4. Kairibe Constellations Drawings

@moarquechraul contribution to ISSUE_0 @o__mag__

Shifting Interethnic Territories of Knowledge
Translated in Italian by Camilla Giaccio Darias ( @camgiaccio )

“Many of us, trained at Western educational institutions, have learned to negate the power of the erotic inscribed in our grandparents’ ancestral memories because their spiritual presence is conceived as brujeria, witchcraft. I/We have been falsely taught that connecting the body to heteronormative religious patriarchal fundamentalism could help avoid homophobic violence.
[...]
If we understand how subjective experiences are immersed—always connected—within systems of knowledge and ancestral memories territories—the world of Iku, Hupia, Yuum Kimil, Égungun, the dead—one can perceive how corporeal Aesthesis provides an awareness of being a cosmic sensing-thought decolonial subject.”

Full article in bio

bio. Raúl Moarquech Ferrera-Balanquet is an interdisciplinary artist, writer, curator, Fulbright scholar, and community activist born in Havana, Cuba, with a Ph.D. from Duke University and an MFA from the University of Iowa. A member of the Mariel Generation, he serves as Co-Executive Director of the Howard University Gallery of Art and is a founding member of the Latino Midwest Video Collective, Laboratorio Cartodigital, and Afroyucatecxs Collective.

He is the author of Aestesis Decolonial Transmoderna Latinx_MX and editor of Andar Erótico Decolonial, with publications in Transfers, Latino Book Review, Social Text, and the Bienal de La Habana. His work has been exhibited at the American Academy in Rome, the XIII Bienal de La Habana, Galería ASAB in Bogotá, Ballhaus Naunynstraße in Berlin, and CCCB Barcelona.

Photo Credit: ©️ Raúl Moarquech Ferrera-Balanquet
1. Noj Kairibe Map
2. Vevé Drawings
3. Performance Yemaya Olukun at the Sea
4. Kairibe Constellations Drawings

@moarquechraul contribution to ISSUE_0 @o__mag__

Shifting Interethnic Territories of Knowledge
Translated in Italian by Camilla Giaccio Darias ( @camgiaccio )

“Many of us, trained at Western educational institutions, have learned to negate the power of the erotic inscribed in our grandparents’ ancestral memories because their spiritual presence is conceived as brujeria, witchcraft. I/We have been falsely taught that connecting the body to heteronormative religious patriarchal fundamentalism could help avoid homophobic violence.
[...]
If we understand how subjective experiences are immersed—always connected—within systems of knowledge and ancestral memories territories—the world of Iku, Hupia, Yuum Kimil, Égungun, the dead—one can perceive how corporeal Aesthesis provides an awareness of being a cosmic sensing-thought decolonial subject.”

Full article in bio

bio. Raúl Moarquech Ferrera-Balanquet is an interdisciplinary artist, writer, curator, Fulbright scholar, and community activist born in Havana, Cuba, with a Ph.D. from Duke University and an MFA from the University of Iowa. A member of the Mariel Generation, he serves as Co-Executive Director of the Howard University Gallery of Art and is a founding member of the Latino Midwest Video Collective, Laboratorio Cartodigital, and Afroyucatecxs Collective.

He is the author of Aestesis Decolonial Transmoderna Latinx_MX and editor of Andar Erótico Decolonial, with publications in Transfers, Latino Book Review, Social Text, and the Bienal de La Habana. His work has been exhibited at the American Academy in Rome, the XIII Bienal de La Habana, Galería ASAB in Bogotá, Ballhaus Naunynstraße in Berlin, and CCCB Barcelona.

Photo Credit: ©️ Raúl Moarquech Ferrera-Balanquet
1. Noj Kairibe Map
2. Vevé Drawings
3. Performance Yemaya Olukun at the Sea
4. Kairibe Constellations Drawings

@moarquechraul contribution to ISSUE_0 @o__mag__

Shifting Interethnic Territories of Knowledge
Translated in Italian by Camilla Giaccio Darias ( @camgiaccio )

“Many of us, trained at Western educational institutions, have learned to negate the power of the erotic inscribed in our grandparents’ ancestral memories because their spiritual presence is conceived as brujeria, witchcraft. I/We have been falsely taught that connecting the body to heteronormative religious patriarchal fundamentalism could help avoid homophobic violence.
[...]
If we understand how subjective experiences are immersed—always connected—within systems of knowledge and ancestral memories territories—the world of Iku, Hupia, Yuum Kimil, Égungun, the dead—one can perceive how corporeal Aesthesis provides an awareness of being a cosmic sensing-thought decolonial subject.”

Full article in bio

bio. Raúl Moarquech Ferrera-Balanquet is an interdisciplinary artist, writer, curator, Fulbright scholar, and community activist born in Havana, Cuba, with a Ph.D. from Duke University and an MFA from the University of Iowa. A member of the Mariel Generation, he serves as Co-Executive Director of the Howard University Gallery of Art and is a founding member of the Latino Midwest Video Collective, Laboratorio Cartodigital, and Afroyucatecxs Collective.

He is the author of Aestesis Decolonial Transmoderna Latinx_MX and editor of Andar Erótico Decolonial, with publications in Transfers, Latino Book Review, Social Text, and the Bienal de La Habana. His work has been exhibited at the American Academy in Rome, the XIII Bienal de La Habana, Galería ASAB in Bogotá, Ballhaus Naunynstraße in Berlin, and CCCB Barcelona.

Photo Credit: ©️ Raúl Moarquech Ferrera-Balanquet
1. Noj Kairibe Map
2. Vevé Drawings
3. Performance Yemaya Olukun at the Sea
4. Kairibe Constellations Drawings

@moarquechraul contribution to ISSUE_0 @o__mag__

Shifting Interethnic Territories of Knowledge
Translated in Italian by Camilla Giaccio Darias ( @camgiaccio )

“Many of us, trained at Western educational institutions, have learned to negate the power of the erotic inscribed in our grandparents’ ancestral memories because their spiritual presence is conceived as brujeria, witchcraft. I/We have been falsely taught that connecting the body to heteronormative religious patriarchal fundamentalism could help avoid homophobic violence.
[...]
If we understand how subjective experiences are immersed—always connected—within systems of knowledge and ancestral memories territories—the world of Iku, Hupia, Yuum Kimil, Égungun, the dead—one can perceive how corporeal Aesthesis provides an awareness of being a cosmic sensing-thought decolonial subject.”

Full article in bio

bio. Raúl Moarquech Ferrera-Balanquet is an interdisciplinary artist, writer, curator, Fulbright scholar, and community activist born in Havana, Cuba, with a Ph.D. from Duke University and an MFA from the University of Iowa. A member of the Mariel Generation, he serves as Co-Executive Director of the Howard University Gallery of Art and is a founding member of the Latino Midwest Video Collective, Laboratorio Cartodigital, and Afroyucatecxs Collective.

He is the author of Aestesis Decolonial Transmoderna Latinx_MX and editor of Andar Erótico Decolonial, with publications in Transfers, Latino Book Review, Social Text, and the Bienal de La Habana. His work has been exhibited at the American Academy in Rome, the XIII Bienal de La Habana, Galería ASAB in Bogotá, Ballhaus Naunynstraße in Berlin, and CCCB Barcelona.

Photo Credit: ©️ Raúl Moarquech Ferrera-Balanquet
1. Noj Kairibe Map
2. Vevé Drawings
3. Performance Yemaya Olukun at the Sea
4. Kairibe Constellations Drawings

@moarquechraul contribution to ISSUE_0 @o__mag__

Shifting Interethnic Territories of Knowledge
Translated in Italian by Camilla Giaccio Darias ( @camgiaccio )

“Many of us, trained at Western educational institutions, have learned to negate the power of the erotic inscribed in our grandparents’ ancestral memories because their spiritual presence is conceived as brujeria, witchcraft. I/We have been falsely taught that connecting the body to heteronormative religious patriarchal fundamentalism could help avoid homophobic violence.
[...]
If we understand how subjective experiences are immersed—always connected—within systems of knowledge and ancestral memories territories—the world of Iku, Hupia, Yuum Kimil, Égungun, the dead—one can perceive how corporeal Aesthesis provides an awareness of being a cosmic sensing-thought decolonial subject.”

Full article in bio

bio. Raúl Moarquech Ferrera-Balanquet is an interdisciplinary artist, writer, curator, Fulbright scholar, and community activist born in Havana, Cuba, with a Ph.D. from Duke University and an MFA from the University of Iowa. A member of the Mariel Generation, he serves as Co-Executive Director of the Howard University Gallery of Art and is a founding member of the Latino Midwest Video Collective, Laboratorio Cartodigital, and Afroyucatecxs Collective.

He is the author of Aestesis Decolonial Transmoderna Latinx_MX and editor of Andar Erótico Decolonial, with publications in Transfers, Latino Book Review, Social Text, and the Bienal de La Habana. His work has been exhibited at the American Academy in Rome, the XIII Bienal de La Habana, Galería ASAB in Bogotá, Ballhaus Naunynstraße in Berlin, and CCCB Barcelona.

Photo Credit: ©️ Raúl Moarquech Ferrera-Balanquet
1. Noj Kairibe Map
2. Vevé Drawings
3. Performance Yemaya Olukun at the Sea
4. Kairibe Constellations Drawings

Monumental Ether. Bodies
By Hara Shin (@shin_hara_ )
Curated by Camilla Giaccio (@camgiaccio )

Installation views across the two floors of Spazio Supernova (@spazio.supernova ) , in collaboration with Hyperobject @hyperobjects__ @hembryo_ .
6–21 December 2025

Monumental Ether. Bodies
By Hara Shin (@shin_hara_ )
Curated by Camilla Giaccio (@camgiaccio )

Installation views across the two floors of Spazio Supernova (@spazio.supernova ) , in collaboration with Hyperobject @hyperobjects__ @hembryo_ .
6–21 December 2025

Monumental Ether. Bodies
By Hara Shin (@shin_hara_ )
Curated by Camilla Giaccio (@camgiaccio )

Installation views across the two floors of Spazio Supernova (@spazio.supernova ) , in collaboration with Hyperobject @hyperobjects__ @hembryo_ .
6–21 December 2025

Monumental Ether. Bodies
By Hara Shin (@shin_hara_ )
Curated by Camilla Giaccio (@camgiaccio )

Installation views across the two floors of Spazio Supernova (@spazio.supernova ) , in collaboration with Hyperobject @hyperobjects__ @hembryo_ .
6–21 December 2025

Monumental Ether. Bodies
By Hara Shin (@shin_hara_ )
Curated by Camilla Giaccio (@camgiaccio )

Installation views across the two floors of Spazio Supernova (@spazio.supernova ) , in collaboration with Hyperobject @hyperobjects__ @hembryo_ .
6–21 December 2025

Monumental Ether. Bodies
By Hara Shin (@shin_hara_ )
Curated by Camilla Giaccio (@camgiaccio )

Installation views across the two floors of Spazio Supernova (@spazio.supernova ) , in collaboration with Hyperobject @hyperobjects__ @hembryo_ .
6–21 December 2025