Zentrum für Netzkunst Berlin

@zfn.bsky.social

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http://netzkunst.berlin ➠ reconstructing, archiving and exhibiting pioneering and contemporary net art & culture · /rosa project space w/ @pankegallery.bsky.social · Heidelberger Str. 28, 12059 Berlin Neukölln/Alt-Treptow

A close-up photograph of the spine of a silver-gray hardcover book held between thumb and fingers. The title AKRIBIE is printed vertically in large gray letters. The top corner of the cover is slightly bumped and worn. In the blurred background is a weathered metal surface with raised diamond tread and scattered dry leaves, creating an industrial setting.
Open book spread showing a scholarly article about the East German educational toy "KYBERNET." The left page contains dense German text and a large reproduction of the original toy packaging, featuring a red-and-white toy car, the blue word "KYBERNET," the PIKO Spielwaren logo, and the label "AB 5 JAHREN" ("Ages 5 and up"). The right page continues the article with footnotes and a partial illustration of a yellow package printed with a red driving track. The pages discuss cybernetics, education, and programming toys in the former GDR.
Fotografie einer aufgeschlagenen Buchdoppelseite mit dem Inhaltsverzeichnis. Links steht die Überschrift „Einleitung“, darunter folgen Beiträge von Birgit Schneider, Francis Hunger, Wolfgang Ernst, Alexander Amberger und Oliver Sukrow mit Seitenzahlen und mehrzeiligen Titeln zu Themen wie Schreibmaschinen, Kybernetik, Bürokratie, Medienarchäologie und Organisationswissenschaft. Rechts sind weitere Beiträge von Katharina Loeber, Christian Booss, Martin Supper, Roland Kayn, Michaela Wünsch und Maroš Krivý aufgeführt, unter anderem zu Cybersyn, Kybernetik, Fernsehen, Psychoanalyse und Stadtplanung. Am unteren rechten Seitenrand befinden sich die Einträge „Biografien“, „Anmerkungen“, „Bildnachweise“ und „Impressum“ mit römischen Seitenzahlen. Die Gestaltung ist typografisch klar, mit schwarzen und hellrosa Überschriften auf weißem Papier. Oben rechts ist die Seitenzahl 73 sichtbar.
A group of people sit in a bright studio-like room during a reading group or workshop. Some are seated on chairs, others on beanbags or a sofa, arranged in a loose circle. One participant in the center gestures while speaking from printed notes as the others listen attentively. In the foreground, a participant reads from a tablet beside an open laptop on a low pink table cluttered with glasses, bowls, bottles, cables, and backpacks. Large windows reveal a street outside with parked bicycles, cars, and a visible "Heidelberger Str." street sign. Wooden floors, white walls, and books displayed on a small shelf create an informal, collaborative atmosphere.
A person with long dark hair tied in a bun sits on a dark beanbag in a bright gallery space, working on a laptop balanced on their lap. They wear a vivid blue overshirt over a light blue T-shirt, dark blue track pants with blue side stripes, white sneakers, and red socks. One hand rests on the computer while the other is raised with an extended finger, as if making a point during a presentation. In front of them, a large monitor placed directly on the wooden floor displays a blue slide titled "Power of Maps" with a world map. Behind them, a large abstract artwork of dense horizontal multicolored stripes hangs on a textured white wall. The open gallery space features wooden floors, white walls, and scattered furniture, creating an informal workshop atmosphere.
A close-up photo of several books spread across a bright green fabric surface. Visible book covers include Uncomputable and other publications related to digital culture and media theory. Overlaid in the center is bold white text with a black outline announcing: “48h Reading Group ‘Mapping the Internet’ 3–5 July at /rosa with !Mediengruppe Bitnik, eeefff, Evan Roth, Simon Weckert.” The image has an informal, documentary feel, with the books partially overlapping and serving as a backdrop for the event information.
A surreal digital artwork showing the interior of an empty house transformed into a dreamlike landscape. The walls and ceiling are covered with a bright blue sky and white clouds, while the entire floor is densely filled with orange flowers resembling California poppies. Several doorways create a recursive view into more rooms with the same sky-and-flower environment. On the right is a white-curtained window and a white brick fireplace. Across the center of the image, large bold pink capital letters spell “ROTBOTS.” The overall palette is vivid blue, orange, white, and pink, creating a striking contrast between domestic architecture and an endless flowering field.
Poster with a pink background overlaid by a pixelated, glitch-like black-and-white abstract pattern resembling fragmented maps, pathways, or digital circuitry. Large light blue text near the upper left reads: "48 STUNDEN", with the number 48 much larger than the word STUNDEN. Below it, centered, the same light blue text reads: "READING GROUP". In the lower half, the title "MAPPING THE INTERNET" appears in three lines, split as "MAPPING", "THE INTER", and "NET", with the word "INTERNET" visually broken across two lines. The overall aesthetic evokes early digital graphics, low-resolution computer imagery, and internet glitch art.
A close-up photograph shows several books and publications arranged on a bright green fabric surface with visible folds and wrinkles. The books overlap each other and are partly obscured by large promotional text placed in the centre of the image. On the left side, a publication with a purple and grey cover featuring a geometric pattern is partially visible. Fragments of white text can be read, including "...L VOI" near the top and "...idopolit..." and "...del Ver..." lower down. In front of it lies a white book with the title "UNCOMPUTABLE" printed in dark blue capital letters along the top edge. The lower part of its cover shows an abstract black-and-white illustration and the partial text "R. G..." near the bottom. To the right is another book with a predominantly dark blue and turquoise cover featuring rows of small white text resembling computer code or data tables, overlaid with abstract streaks of cyan, purple, and pink. A cream-coloured page or book edge peeks out from behind it on the far right. Superimposed over the books is large, bold white text with a thick black outline that reads: "48h Reading Group "Mapping the Internet", 3-5 July at /rosa, with !Mediengruppe Bitnik, eeefff, Evan Roth, Simon Weckert". The overall impression is of an announcement for a reading group focused on internet culture, media art, and digital practices, presented against a vivid green textile background.
Surreal digital collage of an empty house interior transformed into an outdoor landscape. The walls and ceiling are covered with a bright blue sky and white clouds, while the entire floor is densely filled with blooming orange flowers stretching through multiple connected rooms. Several doorways create a recursive view into repeating spaces lined with the same sky imagery and flower-covered floors. A large window with sheer white curtains stands on the right, next to a white-painted brick fireplace. Across the foreground, oversized bold pink capital letters spell “ROTBOTS,” partially obscuring the flowers. The scene combines domestic architecture with an impossible natural environment, creating a dreamlike, immersive atmosphere.
A group of people gathers around a rectangular table in a bright workshop or meeting space with white walls and large windows. Several participants work on laptops while a bearded man in a light grey short-sleeved shirt stands beside a monitor, appearing to lead a discussion. The monitor displays a green presentation slide with a circular portrait and text, alongside a small video-conference window showing remote participants. In the foreground, a person wearing a black sweatshirt with a large white circuit-like graphic on the back sits facing away from the camera. Another participant wears a blue-and-white jersey-style shirt with a large gold “10” on the back and a beige cap marked “POLO.” Power strips, cables, glasses of water, and laptops are scattered across the table. Sunlight enters through tall windows on the left, revealing parked cars and neighbouring buildings outside. A yellow shelving unit and a translucent ribbed partition stand on the right side of the room.
A group of people sits around tables and benches in a bright corner room with large windows facing the street. A man stands near the doorway speaking to the group while holding a drink and gesturing with one hand. Several people listen attentively, some seated at the tables with glasses, coffee cups, and plates of pastries in front of them. Daylight fills the minimalist space with white walls, wooden floors, and large street-facing windows showing trees, bicycles, and parked cars outside.
Poster for “ROTBOTS: Building Content Machines, Artistic Brainrot Workshops.” The design features a dark, collage-like background with multiple AI-generated imagery panels: close-up hands with long purple nails touching a red object under microphones, a large cartoonish monkey face in the center, black-and-white cinematic street scenes, surveillance-style graphics, and repeated portraits of two men in a warm orange-toned studio setting. Across the middle, the word “ROTBOTS” appears in huge white block letters outlined in bright pink. Below it reads: “Building Content Machines” and “Artistic Brainrot Workshops.” Event dates listed are 16 May, 5 June, 13 June, and 2 July at Zentrum für Netzkunst Berlin. Additional text says “more info distant.gallery.” The overall aesthetic combines internet culture, AI imagery, media overload, and cyber-surveillance visuals.
A layered collage-style image. In the background, a large close-up of an animated elderly monkey’s face with white hair and a stern expression fills the frame. Across the center, bold white capital letters outlined in bright pink spell “ROTBOTS.” At the top left, a close-up shows strawberries shaped like small mice being sliced with a knife on a wooden surface, with red juice spread like liquid. At the top right, a small inset shows hands with painted nails tapping or pressing on an object in an ASMR-style setup with microphones nearby. At the bottom right, another inset shows a person wearing a head-mounted device and holding a microphone near a window, while smaller fragmented video clips appear to the left, including a performer speaking and abstract digital imagery. The overall composition mixes playful, unsettling, and media-art elements.
Audience members converse between sessions in a blue-seated auditorium during a digital art symposium. In the foreground, two people face each other in conversation, one with bright red braided hair and a pale scarf, the other wearing a yellow striped shirt and glasses while holding a drink. Around them, people sit scattered across the rows, chatting, checking phones, or watching the room. The image captures an informal social moment during the event.
Poster with a light grey background filled with abstract, organic, puzzle-like shapes in neon yellow and pale purple, outlined in dark lines. Centered in bold, rounded dark purple lettering is the title “Transformotion Digital.” Below and around it, the shapes repeat in varying sizes, creating a dynamic, flowing pattern. On the left, the date reads “26 & 27 March 2026.” On the right, smaller text states: “Annual international symposium on digital art preservation.” At the bottom left, the location is listed: “LI-MA, Arie Biemondstraat 111, Amsterdam.” The overall design is modern and playful, with high contrast between the dark text and bright accent colors.
A woman stands at the front of a conference room giving a presentation to a seated audience. She faces a projected slide on a screen that reads “Zentrum für Netzkunst (DE)” with the “ZfN” logo. The audience, seen mostly from behind, sits in rows of wooden desks with laptops, notebooks, and drinks on the tables. A lectern with a laptop stands beside the presenter, and a ceiling projector displays the slide. The room is bright and modern, with white walls and overhead lighting, suggesting a formal meeting or workshop setting.
A nighttime indoor scene showing a small media setup on a table in front of large glass patio doors. In the foreground, an open laptop displays a solid bright blue screen. To its right sits a second open laptop (partially visible), a black external hard drive with a glowing blue indicator light, a power adapter, a white power strip, and a clear drinking glass with water. In the background, a flat-screen TV placed on a transparent tabletop supported by red trestle legs also shows the same blue screen. Reflections of streetlights and nearby buildings are visible through the window panes behind the TV. The room lighting casts warm pinkish tones on the walls, contrasting with the cool blue screens.
Book cover on a white background. At the top, black uppercase text reads “CHIARA PASSA.” Below it, the title “IDEASONAIR” appears in large bold letters: “IDEAS” in red, “ON” in green, and “AIR” in yellow. Under the title, black text reads “Blogging as an Open Art Project.” The illustration is a minimalist black line drawing of a person sitting at a desk, working on a computer inside an open room. A potted plant stands nearby, and shelves on the right hold small bottles with green, yellow, and red labels. Above the room, a cloud-like line suspends bottle-shaped objects, suggesting ideas floating down. Near the bottom, black text reads: “Finally, ideas have found a place!” At the very bottom is “SilvanaEditoriale.”
An exhibition space with people viewing digital works. In the foreground, printed images or artworks are laid out on a table. In the background, visitors sit on simple cube stools and stand near a window, looking at a laptop placed on a narrow table.
A dense abstract digital collage filling the entire frame. Fragmented photographs of forest elements, tree trunks, roots, branches, rocks, and foliage are layered and torn into irregular shapes. Between these fragments are bold, flat areas of saturated color, including red, green, blue, yellow, purple, and rainbow gradients. The composition feels chaotic and dynamic, with no clear horizon or single focal point, blending natural textures with artificial, vividly colored shapes in a visually overwhelming mosaic.
A digital collage on a white background showing fragmented product-style images arranged in a loose grid. Objects include a silver five-arm candelabrum with white candles, a clear glass goblet, a human skull viewed from the side, a brown leather-bound book, several walnuts, and three black feathers. Each object appears sliced into rectangular tiles, slightly misaligned. File-name fragments in black text are visible around the objects, such as “orechy_1.jpg,” “brk_1,” “brk_2,” “brk_3,” and partial words like “sv” and “svi,” giving the image a technical, archival feel.
An immersive, abstract digital scene with fragmented, colorful surfaces resembling walls and a floor. Bright blocks of blue, green, yellow, red, and purple mix with distorted landscape textures and broken image pieces. Two white, human-like virtual hands appear in the foreground, as if the viewer is inside a glitchy, computer-generated space.
A group of people sit closely together on wooden benches in a gallery space, facing a large screen on a stand. The screen shows a software interface with an image framed in gold. A laptop on the table is connected to the screen. The room has wooden floors, white walls, and large grid windows, with nighttime street reflections visible outside. Everyone is focused on the presentation.
Close-up of gray archival boxes arranged on a dark tabletop. A printed document lies beside them, along with a round sticker showing a crossed-out camera symbol indicating no photography. The wooden floor is visible in the background, emphasizing the exhibition setting.
Black-and-white photo of a modern bathroom. On the left is a rectangular white bathtub with a dark faucet and controls, set into dark tiled walls. On the right, a small white sink is mounted into the same dark tile, with a handheld shower hose draped over its edge. Toiletry items, including bottles and a sponge, sit on the sink ledge. The right side of the image fades into a transparent, checkerboard background, suggesting the photo is partially cropped or in the process of editing.
Black-and-white photo of a modern bathroom. On the left is a rectangular white bathtub with a dark faucet and controls, set into dark tiled walls. On the right, a small white sink is mounted into the same dark tile, with a handheld shower hose draped over its edge. Toiletry items, including bottles and a sponge, sit on the sink ledge. The right side of the image fades into a transparent, checkerboard background, suggesting the photo is partially cropped or in the process of editing.
Side-by-side portrait of two people against a neutral, softly lit background. On the left, a woman with short, curly light-brown hair and glasses looks at the camera with a calm expression, wearing a light blue shirt over a dark top and a pearl necklace. On the right, a man with short gray hair and glasses smiles slightly, wearing a dark, striped button-up shirt, his arms loosely crossed. Both are shown from the chest up.
Book cover on a dark gray background. At the top is a stylized, geometric bird made of angular, folded shapes, resembling origami. The bird is rendered in a gradient of bright colors, including turquoise, purple, magenta, red, orange, and yellow, with its wings spread in flight. Below the bird, large turquoise text reads “Diversifying Open Source.” Underneath, in smaller orange text, the subtitle reads “An Open Standards Playbook for Inclusive and Equitable Tech Projects.” Below the subtitle is the author’s name, “Paloma Oliveira,” in orange. In the bottom right corner is the publisher’s logo and name, “apress,” in turquoise.
A minimalist New Year greeting illustration in a retro digital style. The image is vertically split into two halves. On the left, a teal background displays the lowercase white text "happy new year", stacked on three lines. On the right, on a very light mint background, the same phrase "happy new year" appears mirrored and reversed, as if reflected or flipped horizontally, in teal lettering. At the bottom center, overlapping both halves, is a pixel-art vintage desktop computer setup from the early 1990s, including a CRT monitor with a small webcam on top, a keyboard, a mouse, and two boxy external speakers. The overall color palette is teal, mint, gray, and white.
A minimalist web interface titled “cgi-bin/search.pl” showing a list of emotional categories with checkboxes, an input field for entering a personal experience, and a button labeled “em-search.” The design is simple, with gray text on a white background.
A bright red screen designed to look like an old computer virus interface. Lines of fake command-prompt code fill the left side, while the right side shows a box labeled 'loading virus...' with a red progress bar stuck at 25 percent. The word 'activated' appears in red below the progress bar.
A man sitting indoors holds a bright pink rectangular object close to his face, examining it carefully. The object has tactile Braille writing on its surface. He appears focused, wearing a light green jacket, and sitting near a window with a blurred street scene visible outside.
A group of people sit in a dimly lit room watching a projection on a wall that shows an animated figure with glowing eyes and yellow jewelry. Some people sit on chairs or a couch, while others sit on the floor. One person walks past, appearing blurred in motion. The space has wooden floors and translucent panels on the walls.
Five square red 3D reliefs arranged on a flat surface, each showing a bust of a human figure. The figures are stylized and vary in appearance, including one with a feathered headdress, one with a blindfold, and another with long hair. The sculptures are detailed and embossed from flat pink squares, creating a vibrant and tactile composition.
Close-up of a tactile print showing a pink and white lotus flower on a green lily pad. The image includes raised dots in Braille, allowing blind and visually impaired people to read the description through touch.
White banner with the title ‘distribution of the sensorial’ written in faint bold letters, overlaid by a braille transcription made of black dots. Underneath, the subtitle ‘an experiment in VR and accessibility’ written in a light grey seriffed font, followed by the visiting hours and the address of the project space. In the bottom, a logo bar in dark grey, featuring logos of the Social Sciences and Humanities Research Council of Canada, /rosa, and Connected Minds.
Black banner with the title ‘distribution of the sensorial’ written in faint bold letters, overlaid by a braille transcription made of white dots. Underneath, the subtitle ‘an experiment in VR and accessibility’ written in a light grey seriffed font, followed by the visiting hours and the address of the project space. In the bottom, a logo bar in dark grey, featuring logos of the Social Sciences and Humanities Research Council of Canada, /rosa, and Connected Minds.
Two people are standing at a small round table at a tech or culture exhibition inside an industrial-style building with large windows and exposed ductwork. The person on the left has short curly hair, glasses, and is wearing a white jacket over a green shirt with black pants and beige sneakers. They have a name badge hanging from a lanyard. The person on the right has a short white beard and is wearing a black jacket over a striped shirt, jeans, and beige sneakers. On the table are two open laptops, one displaying a webpage and the other showing a colorful screen with text. Behind them is a digital screen and a tall information board covered in a complex blue map design with highlighted texts. A large green sign overhead reads “Berlin. Gemeinsam. Digital” and “Senatsverwaltung für Kultur und Gesellschaftlichen Zusammenhalt” (Berlin. Together. Digital – Senate Department for Culture and Social Cohesion). The setting appears lively and interactive.
A digital flyer with a soft lavender background and mixed fonts promoting an upcoming event. Top left corner: “meet up on the couch!” in italic white text. Top right corner: white and red logo of kanapé kollektiv. Centered in red hand-drawn uppercase text: "MAINTENANCE PHONE COLLECTIVE / SOCIAL TECH SUPPORT" Below in white bold text: "in collab with Zentrum für Netzkunst", with a red hand-drawn arrow looping toward it from the left. Bottom of the flyer: "Tuesday 20.05 @ 19:00-21:00" in bold white text. The style is playful and DIY-inspired, suggesting a community-oriented tech support meetup.
Computer Lab Scene: A retro-style computer lab with several people working at old desktop computers. The room has a blue backdrop and white desks, with computers featuring CRT monitors and large keyboards. The environment gives an early internet-era feel, with users deeply engaged in their screens.
A table filled with books, papers, and folders is displayed in the image. The books are stacked in different orientations, with some lying flat and others standing upright. Many of them have academic or artistic-looking covers, featuring bold typography and abstract designs. A white book with the text "Ceci n'est pas une page Web." (French for "This is not a web page.") is prominent in the foreground. Another book titled "Lost and Living (in) Archives" has a modern design with blue, yellow, and gray elements. On top of it, there is a white paper with handwritten text "ZFN" in blue ink, accompanied by smaller printed text. In the background, additional books and a green folder are visible, along with a stone fireplace and a cardboard box, suggesting a workspace or library setting
A digital artwork with a distorted, glitchy black-and-white background that resembles a pixelated or liquid metal texture. Over this background, bold, bright cyan text is displayed in a slightly tilted, wavy arrangement. The text reads: "the internet is f@ck¡d... let's read books (about the internet)". Different words in the text vary slightly in size and distortion, adding to the chaotic, digital aesthetic. The overall design gives a futuristic, cyberpunk, or net-art feel.
A book cover with a gradient background shifting from green to light blue. The title reads "from Net City World to Cloud Market Sea" in elegant, serif-style red text. The words "from" and "to" are enclosed in small decorative symbols. Abstract pixelated and wave-like patterns in light green and white are scattered around the cover, adding a digital, network-like aesthetic. The publisher's name, "DISTANZ," appears in small white text at the bottom left. The design conveys a modern, tech-inspired theme.
A person is standing indoors in front of a screen, dressed in a futuristic black outfit with tech-inspired details. The outfit features a badge on the chest with glowing red text that reads "CODEC." The individual is wearing black cargo pants, heavy-duty black boots, and accessories on both wrists that resemble high-tech gadgets. Their headgear includes goggles with green-tinted lenses, a mouthpiece covering their lower face, and a helmet with antennas protruding from the top, creating a sci-fi aesthetic. The screen to their left shows a video with a dark background and a glowing, fuzzy pink orb in the center. Behind the orb, a faint red electrocardiogram line can be seen, giving the scene a medical or technological feel. The room has light-colored wooden flooring, white walls, and a translucent divider panel on the right. There is a small stack of beige cardboard-like boxes and a white mug on a table to the side.
The image features a jumbled array of characters, symbols, and diacritical marks arranged in irregular patterns across the frame. The text is black on a white background and includes a mix of Latin letters, numbers, and various accent marks. Some examples of the text include: "3 {´ólö 3 Żw´ù}óń] |{At* Ó;}dł dA P° _÷“ärùµ Uiť’L =îÇĆé ēś t’ś™Ý ´Ě5¸ŞĄ Ű_Ž ěd’u pŘ „ Řw] bůÝ« d}7»iú9f×Sî" The symbols and text appear disordered and lack coherence, creating a chaotic and abstract visual design.
A person wearing a futuristic, industrial-style outfit stands against a plain white wall. The outfit includes a metallic silver protective jumpsuit with black straps and patches, marked with the text "a=tF²" on the left leg. They wear black combat boots, black gloves, and a black helmet with antennas. The helmet features a small emblem in the center. The person's face is covered by a gas mask with dark round lenses and a filter system, while reflective blue-green glasses are visible behind the mask. Around their neck is a white badge with an illustration of a cartoon-style gas mask featuring blue eyes. To the left of the person, a block of cryptic, stylized text in black reads: **"×› lèßwp^Ú ßc W Ýc}= Ýl' đ +Î×Ö÷}=÷- čª 6P ÍŐ¦ sm }=ă( › ì ¬¹¹^º -ï ē-Ĺnß 3 ‹å !± Ý?" ¦ v3 ‘w ¨ J Ò: i%ªj afˊ hi)Á· þÕº¿² ‹aÄ !B± XÝ ?" %¦(v3 ‘ w`%‘, ²² ës” d û ìêê± Ø ¬Ù ÿ ëëm 0ñ-3 !é×F=Miá ¬°÷ xxắ¦õ 7"** The floor is plain gray concrete, emphasizing the minimalist and industrial aesthetic.
A composite image featuring two distinct elements. On the left, there is a white book titled "3¦×Fń–Qé3=Miá+" by Igor Štromajer, with additional text underneath that reads "-oµ4×". The publisher's name, KID KIBLA, is displayed at the bottom. The cover is minimalistic, with black text on a plain white background. On the right side of the image is the profile view of a person wearing a black military-style helmet with electronic components attached, including a small circuit board. They are also equipped with a black gas mask, and one eye is visible through a teal-colored lens. The background is plain white, creating a stark and contrasting visual composition.
Artist Kendal Beynon lectures in front of the TV screen at /rosa.
Kendal Beynon, is an online and inhabiting virtual worlds since 2004, is a Rotterdam-based artist and PhD researcher at CSNI in partnership with The Photographer’s Gallery, London. Her work is situated in the realm of experimental publishing and internet culture. She aims to rediscover an alternative online landscape through DIY ethos, computational publishing, and community building, while also examining the ruins of our digital past. She received an MA degree in experimental publishing from the Piet Zwart Institute, Rotterdam, with the thesis Cyberhotels and Other Tales of Forgotten Virtual Worlds. She is heavily engaged with the zine-making community, hosting workshops, co-organizing the Rotterdam-based zine festival Zine Camp, and creating a community of old web aficionados at Dead Web Club.
A smartphone is lying on a textured surface, partially lit by warm yellow and red tones. The screen of the phone displays the logo and text for "postmarketOS" near the center, featuring a triangular logo with green, blue, and white segments. The screen is heavily damaged, with a web of brightly colored vertical lines in blue, green, pink, and yellow distorting the display. A faint white triangle is visible beneath the colorful lines. The phone is connected to a white charging cable at the bottom right.
The image features two distinct browser window screenshots stacked vertically, each with a retro-futuristic color scheme dominated by shades of pink and light blue. Top Screenshot: A social media feed interface, resembling Twitter. The layout includes a vertical menu bar on the left with options such as "Home," "Explore," "Notifications," "Messages," and "Profile," all written in white. A pink "Tweet" button is at the bottom left. The feed displays two posts: The first post, by "Brie" (@Sketch_ComedyFan), reads: "Giving standup comedy a go. Open mic starts at 7, hit me up if you want a ticket #heregoesnothing" with 1 reply, 8 retweets, and 8 likes. The second post, by "Harold" (@h_wang88), says: "Vacation is going great!" accompanied by a vibrant pink and blue photo of an ocean sunset. It has 3 replies, 5 retweets, and 14 likes. Bottom Screenshot: A webpage with a retro design. The header displays "Dukem's First Home" in large pink text with a small pixelated cat icon to the left. The background features a soft pink sky with clouds. A retro-style "Live Update" media player, with icons like play, pause, and fast-forward, is visible in the upper left corner. The lower section of the webpage is partially cut off but includes a large pink block and an oversized "e" in light blue. The image evokes a nostalgic, Y2K-inspired aesthetic with its pastel tones, pixel art, and throwback internet graphics.
Illustration of multiple overlapping computer windows with a prominent message reading '404 Page not found. Go to archive?' Below the text is a button labeled 'OK,' with a cursor clicking on it. The design uses a minimalist color scheme of pastel pink and blue, with a clean, outlined style.
An illustration of a cozy porch on an autumn day, reminiscent of 1949. The wooden porch has pumpkins and scattered orange and brown leaves. A slice of steaming pie sits on a windowsill, hinting at warmth inside. The open door reveals a glimpse of a staircase in the house. Outside, the scene is filled with vibrant fall foliage and rolling hills under a partly cloudy sky. Falling leaves and a light breeze add to the tranquil ambiance. At the top of the image, the YouTube logo is visible on a white background, with a search bar beside it. At the bottom, text reads: '1949, sitting on a porch on an Autumn day (fall oldies playing in another room, birds) 11 Hours ASMR.' In the lower-right corner of the illustration, there’s a small logo that says 'Hemo's Dreamscapes' in script font.
A dimly lit room with a man wearing glasses and a scarf, sitting under a red-tinted lamp and reading from a tablet. A microphone is positioned nearby. Behind him, a large projection reads, "Love Is a City in Anguish" with the name "Omar Kasmani" displayed below the title. The audience is seated in shadowed silhouettes in the foreground. The atmosphere feels intimate and contemplative.
Omar Kasmani is a transdisciplinary thinker and writer based in Berlin. Across fields of cultural anthropology, affect theory, and queer-of-color critique, his research and writing tackle ideas of intimacy, post-migrant be/longing, and queer worldmaking. He is the author of Queer Companions: Religion, Public Intimacy and Saintly Affects in Pakistan published in 2022 by Duke University Press. His current book project turns to the self as a public archive of daily loves and migrant un/feeling in Berlin.
Artist Olia Lialina lectures and presents in front of a projection in a darkened gallery space full of visitors seated in chairs.
A retro-style webpage displayed in an early version of Internet Explorer, showcasing a pixel-art Victorian-style house. The house has pink and cream tones with green accents, featuring a detailed porch, arched windows, and a central door adorned with a decorative bow. The yard includes a fountain with a winged statue and flowing water, surrounded by potted flowers and manicured grass. On the left stands a vintage-style lamp post, and a white picket fence is partially visible on the right. The browser interface includes an address bar with a GeoCities URL, classic navigation buttons, and a Windows XP start menu at the bottom.
A close-up image of a marine environment showcasing a vibrant mix of tube-dwelling worms and coral-like formations. The scene is dominated by cream-colored, lattice-textured structures resembling coral alongside irregularly shaped tubes and encrusted surfaces in shades of brown and white. Fine details include delicate bristle-like appendages and the rough, porous texture of the biological growths. The setting appears to depict a natural underwater habitat or a preserved marine specimen.