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Lottie Sebes
Smooth Transitions
Maria Kobylenko
Yorgos Papafigos 
Lena Becerra
Xristina Sarli
Corázon De Robota

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Postnature
Season 4, Episode 7
Chromatic Wednesdays

29.07.2026 19:00 @top_ev_berlin
Industriestraße 38, 12099 Berlin
Free Entrance

in collaboration with Top e.V. and Xristina Sarli

19:00 Exhibition/Doors Opens 
19:30 Introduction by Xristina Sarli 
20:30 Live Performance “Air Liquide” by Lottie Sebes
21:15 Live Performance “The Heart of the Darkness Ocean” by Corazón de Robota

Exhibition 
Featuring works by Smooth Transitions, Maria Kobylenko, Yorgos Papafigos, and Lena Becerra

Post-Nature offers a multi-layered program to the question of conditions of vitality. The exhibition curated by Xristina Sarli refuses the comfort of the natural/artificial divide and opens ways where in a shifting ecosystem, new forms of agency emerge, and life begins to speak in other languages, including code.

In her installation “Postorganic Remains”, Maria Kobylenko reflects on how life persists through decomposition, suggesting that vitality is continuously reassembled by more-than-human agents. The work explores how a cluster of dead bumblebees, slowly being hollowed out by ants, become part of a living mycelium composite. Within the framework of Vitality, the installation reflects on how life persists through decomposition, suggesting that vitality is continuously reassembled by more-than-human agents. 

The installation “Gestational Interface” by Lena Becerra focuses on refining the relationship between body and apparatus, exploring how breath, gesture, and subtle movement can activate and modulate the system. Built through systems of circulation, pressure, and energetic exchange, the installation behaves as a permeable organism that leaks, pulses, condenses, and reacts to proximity.

“An Eye With No Irisˮ by Smooth Transitions is a documentary film revolving around the following questions: What does it mean to see the world through the lens of statistics and data science? When does this reductionist gaze reveal, and when does it distort? Can we separate the science from the scientist?

Yorgos Papafigos explores vitality in his CGI animation “Belongings” as something that can emerge beyond biological life. The work imagines a postorganic ecology where synthetic objects, environmental forces, and technological systems develop forms of agency, interaction, and interdependence.

Sound Performances

“Air Liquide” by Lottie Sebes  is a sonic performance built from breathing machines. Extending an existing practice with talk boxes and bellows, the piece works with recordings and parts of medical oxygen machines as well as a range of other and mechanical air pumps, using the performer’s mouth as a sonic filter. Incorporating glitching voice clones of the artist’s voice, the work traces how a machine becomes part of a body as it fails. Complicating narratives of technological salvation, it embraces the shared failure and fragility of bodies and machines. 

“The Heart of the Darkness Ocean” by Corazón de Robota tackles the question of how we might define life when it is composed of mineral resonance and synthetic sound. The work explores the sonic tension of a damaged territory nestled between the Pacific Ocean's white noise and the electromagnetic minerals of the Andean cordillera. The act presents water and stone not as inert matter, but as repositories of a 'dark vitality'—a self-sustaining, deep-time memory that persists from the intersection of geological history and technological artifice. The performance serves as an inquiry into how we might define life when it is composed of mineral resonance and synthetic sound. In the sound performance, supposedly inert components gain consciousness and begin to remember their own future.

THEME: VITALITY

The first episode under the theme “Vitality” will walk on the boundary of life and nonlife in three different steps: a small exhibition, lecture performance and two live performances. We will try to extend the definition of life, where it is not portrayed by human biology alone, but by relation, mutation, feedback and migration within networks of organic and non-organic elements. Concepts like synthetic ecosystems, statistics, hyper-digital aesthetics, data science, microbial simulations, and more-than-human agents will be building blocks for defining hybrid forms of emerging vitality.

Corazón de Robota
Chilean sound artist, focused on electronic experimentation. She explores noise as a sonic, political, spiritual, and cultural phenomenon, blending contemporary technologies with ancient techniques through speculative narratives. Active in the underground experimental music scene since 2010, she exclusively uses self-built DIY synthesizers. Her sound translates memories of living among Andean electromagnetic minerals and the Pacific Ocean, under the clear vision of the cosmos.

Lottie Sebes is a sound artist and researcher whose work enacts entanglements of humans, machines and power. Resisting the sleek fetishism of “high” tech, her performances and installations embrace the clunky aliveness of outmoded mechanisms. By building instruments with parts of old and new technologies, Sebes’s interfaces become performative tools intertwining body, mouth, voice and machine noise. The physicality of her performances are a laborious and erotic exercise — a dialogue that opens animistic, mechanical, and intensely techno-somatic possibilities.

Smooth Transitions is a collective of artists, creative technologists, community organizers and activists. Through curated events, multimedia performances, online projects, workshops and video releases, they attempt to piece together fragments of deconstructed physical and digital realities – only to deconstruct them once again.

Maria Kobylenko is a transdisciplinary artist and multimedia designer. Her work is located at the intersection of visual live performance, digital and bio art. She explores questions of how we occupy or share space and how stories can be told beyond human perspective. Using digital media as both material and method, she deconstructs anthropocentric power structures and activates collective forms of knowledge-making. Understanding the interdependence of the human and the more-than-human, physical and virtual, space and experience is crucial to her practice. Her practice is guided by the intelligence of fungal networks, systems that live in symbiosis, operate without waste and restore polluted environments. She explores these principles not only in a biological sense but as metaphors for rethinking society. 

Lena Becerra (b. 1994) is an artist and researcher working across multiple mediums whose practice explores prosthetic ecologies and speculative anatomies through hybrid installations at the intersection of art, philosophy, science, and technology. Working with prosthetic-grade silicone, blown glass, metal, and sensor-driven liquid systems, her work investigates how synthetic and organic matter form gestational ecosystems that challenge binary notions of body/machine, nature/technology, and subject/object. Becerra currently lives and works between Melbourne, Berlin and Buenos Aires.

Yorgos Papafigos (b. 1989, Greece) is a multidisciplinary artist based in Athens. He holds an MA in Contemporary Art Practice (Moving Image) from the Royal College of Art, London (2018), and a BA/MFA in Painting from the School of Visual and Applied Arts, Aristotle University of Thessaloniki (2015). His work has been presented in major international institutions and platforms, including ONASSIS ONX, the 19th WRO Media Art Biennale (Poland), Whitechapel Gallery (UK), the 58th Thessaloniki International Film Festival, and The Wrong Digital Art Biennale. Papafigos was awarded the Schilizzi Foundation Scholarship (UK, 2018) and received a Special Award in Video Art from the Premio Carlo Bonatto Minella (Italy, 2017). He currently serves as Adjunct Lecturer in the Department of Visual and Applied Arts at Aristotle University of Thessaloniki.