{"id":27,"date":"2021-11-08T12:46:27","date_gmt":"2021-11-08T11:46:27","guid":{"rendered":"https:\/\/www.hyperobjects-official.com\/w\/?page_id=27"},"modified":"2026-09-21T15:12:56","modified_gmt":"2026-09-21T13:12:56","slug":"projects","status":"publish","type":"page","link":"https:\/\/www.hyperobjects-official.com\/w\/projects\/","title":{"rendered":"Projects"},"content":{"rendered":"\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

\"Voided Presence and Its Cacophony\" a piece by Tania Daniel in collaboration with Miles Scharff <\/a><\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Hyperobjects is pleased to present VOIDED PRESENCE AND ITS CACOPHONY<\/strong><\/span>, a project in dialogue with Tania Daniel<\/span><\/a><\/strong> (aka tatiaumiel) in collaboration with Miles Scharff and <\/span><\/a><\/strong>Hyperobjects<\/span><\/strong>, with a text by Alyssa Soares<\/span><\/a><\/strong> and xcrystalfairyx<\/span><\/a><\/strong>. The project is hosted by Hembryo, a non-profit art gallery at Via Angelo Poliziano 59, Rome.<\/p>

The opening took place on Tuesday, April 29, 2026, from 6:00 PM.<\/p>

Working with ceramic, raku ashes, electromagnetic receivers, microphones, speakers, copper wire, steel, and linen, Daniel and Scharff construct a field of sonic and electromagnetic feedback loops that probe the material\u2013immaterial interplay between vessels, nature, and humans. Layered presences emerge as extensions of intra-action\u2014traces of droning resonances channelling collective experiences of the immaterial.<\/p>

Rather than a 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 encounters with sonic phenomena as they arise. Here, boundaries between matter and vibration dissolve through mutual influence, opening a shared space of becoming.<\/p>

“Natura abhorret a vacuo”<\/em> \u2014 nature abhors a vacuum, Aristotle wrote over two thousand years ago. Departing from this ancient intuition, Daniel’s ceramic vessels, surrounded by the ashes of their own firing, converse with the elements of an entangled nature through a custom electromagnetic receiver built by Miles Scharff. From acoustic resonances to electromagnetic fields, the work emits tangible frequency as language \u2014 a streamed, imperceptible flow through which the void becomes physically impossible.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t\t\t
\"Screenshot<\/figure><\/div>
\"HEMBRYO\"<\/figure><\/div>
\"Untitled<\/figure><\/div>
\"Screenshot<\/figure><\/div>
\"Screenshot<\/figure><\/div>
\"Screenshot<\/figure><\/div>
\"HEMBRYO<\/figure><\/div>
\"Screenshot<\/figure><\/div>\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/div>\n\t\t\t\t\t
\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

\"about 7 minutes of fame\" installation by Runa Rosgaard<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Hyperobjects presented \u201cabout 7 minutes of fame\u201d<\/strong>, an installation by\u00a0Runa Rosgaard<\/span><\/a> (they\/them)<\/strong>, curated by Hyperobjects with a text by the project\u2019s founder\u00a0<\/span><\/a>Gaia Lazzaro<\/span> (aka xcrystalfairyx)<\/strong>. The installation was hosted by Hembryo<\/strong><\/span>, no profit art gallery at Via Angelo Poliziano 59, Rome.<\/p>

The installation took place on Friday, February 13, 2026, from 6:00 to 9:00 PM, and remained open to the public through February 25<\/p>

At the core of the installation is\u00a0Celia<\/strong>, a site-specific work centered on a hyperrealistic 1:1 scale model of a\u00a0Pyrenean ibex kid<\/strong>, 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\u00a0seven minutes<\/strong>.<\/p>

Here,\u00a0sound functions as both a narrative and temporal device<\/strong>: a\u00a0seven-minute audio track<\/strong>, mirroring the lifespan of the clone, stages a dialogue between the cloned ibex and\u00a0Melissa Vandella<\/strong>, the alleged clone of Avril Lavigne. This juxtaposition shifts the focus from biological duplication to\u00a0cultural replication<\/strong>, interrogating the mechanisms through which life, identity, and meaning are reproduced\u2014and distorted\u2014across both scientific and popular imaginaries.<\/p>

Celia<\/em>\u00a0reflects on humanity\u2019s obsession with re-creation, revealing how attempts to control life\u2014whether biological or symbolic\u2014inevitably collapse under the weight of their own ambition.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t\t\t
\"IMG_2198\"<\/figure><\/div>
\"IMG_2199\"<\/figure><\/div>
\"IMG_2201\"<\/figure><\/div>
\"IMG_2208\"<\/figure><\/div>\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/div>\n\t\t\t\t\t
\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

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

\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u00a0<\/p>

\u00a0<\/p>

\u00a0<\/p>

Runa Rosgaard – I’m with you (Avril Lavigne Cover)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

MONUMENTAL ETHER. BODIES. \n\n- Hara Shin \ncurated by Camilla Giaccio Darias \n<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t\t\t
\"333\"<\/figure><\/div>
\"fgf\"<\/figure><\/div>
\"222\"<\/figure><\/div>
\"555\"<\/figure><\/div>
\"666\"<\/figure><\/div>
\"111\"<\/figure><\/div>
\"ggg\"<\/figure><\/div>\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/div>\n\t\t\t\t\t
\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Rome, December 6th, 2025. <\/span><\/i>Hyperobjects<\/b>, in collaboration with <\/span>Spazio<\/span> Supernova,<\/span> <\/b><\/a>presented<\/span><\/span>\u00a0<\/span>Monumental Ether. Bodies. <\/i><\/b>\u00a0<\/span><\/i>by South Korean artist <\/span>Hara Shin<\/b><\/span>, curated by <\/span>Camilla Giaccio Darias<\/b><\/span>. The exhibition was hosted from December 6th until the 21st<\/span>\u00a0at Spazio Supernova, Piazza Santa Maria in Trastevere 1\/a. The show marks the final event in the 2025 exhibition program of the non-profit gallery Hembryo, <\/span><\/span>To create a small flower<\/span><\/i><\/a>, born from the open call <\/span>The Anthropocene Will Collapse<\/span><\/i>.\u00a0<\/span><\/p>

Monumental Ether. Bodies. <\/i><\/b>is a multichannel video installation by Hara Shin exploring intertwined temporalities across historical sites marked by colonial and anthropocentric violence: the K\u00fcckenm\u00fchler Anstalten in Stettin, a former site of Nazi sterilization programs; the Tropical Botanical Garden in Lisbon, once a Colonial Garden; and the Tancheon Stream in Seoul, linked to the legend of the Taoist master Dongfang Shuo. In Shin\u2019s work, we see the performers\u2019 bodies traverse these places with inquisitive delicacy, seeking tactile connections with stories long forgotten. The recurring gesture of touching, as a means of engaging with the surrounding environment, becomes a way to relate to otherness\u2014a trans-corporeal proximity in which the memory of the dead is reactivated through the movement of the living. At the center of the work is MOANA (<\/span>Membrane; Outlander; Ancestor; Naming; <\/span><\/i><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u00a0<\/p>

On December 10th, Hyperobjects, hosted by Spazio Supernova, gave a public talk to foster a collective reflection on disrupting the colonial gaze and reclaiming silenced, embodied knowledge through queer, transfeminist, and transcultural practices rooted in Rome. Together with artists, researchers, and cultural practitioners moving through the thresholds of bodies and the environment, we ask:<\/p>

How does a body confront and reshape the world around it? How does it carry intergenerational memory, resist erasure, and reimagine the places it inhabits?<\/p>

Artists from the city of Rome were invited to open the Dialogue, the talk was moderatedby Camilla Giaccio Darias (@camgiaccio<\/a> )\u00a0<\/p>

Hara Shin (@shin_hara_<\/a>\u00a0),Francesca Pionati (@francesca.pionati<\/a>\u00a0), Akima Brackeen (@helloakima<\/a>\u00a0), Dani Martiri (@queeringrome<\/a>), Alice Minervini (@p.akkiana<\/a> ), Damiano Tata (@damianotata<\/a>)

<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

SHELLY WOUND\n\n- Linda Lach with a performance by Sofia Naglieri and \ncurated by Maddalena Iodice <\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t\t\t
\"L-2\"<\/figure><\/div>
\"L-1\"<\/figure><\/div>
\"linda-4\"<\/figure><\/div>
\"linda<\/figure><\/div>
\"linda<\/figure><\/div>\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/div>\n\t\t\t\t\t
\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Rome, 15th september 2025. Hyperobjects<\/strong> presented the exhibition Shelly Wound by Linda Lach<\/a><\/span><\/strong>, with the participation of the performer Sofia Naglieri<\/a><\/strong><\/span>, curated by Maddalena Iodice<\/a>,<\/span><\/strong> which opened to the public on 24th September , with a performance at 7pm, in the gallery Hembryo .<\/p>

\u201cIt drips, it has been dripping for hours, it has been dripping forever.<\/em><\/p>

Each drop feels like saliva, speaking the memories severed by the system.\u201d\u00a0<\/em><\/p>

Through Shelly Wound, Linda Lach evokes a space of tenderness, slowness, and remembrance. In an enclosed environment, time becomes a milky outflow, a drop marking the rhythm of thought. Reclaimed materials\u2014translucent and malleable like resin, latex, wax, and paper\u2014form the grammar through which the artist creates a series of layered presences, sculptures that surface like a forgotten past, revealing within the fabric of their surfaces material fragments and ephemeral fossils, in what seems like an attempt to give body to memories otherwise severed. Shelly Wound presents itself as an archival space that gathers everything forgotten, removed, distorted, remembered, recalled, and translated; and it reasserts the value of its existence in the essential gesture of performer Sofia Naglieri, a connective and pulsating organism, an agent of remembrance. Through the slow unfolding of presence and memory, Shelly Wound affirms the importance of the intimate archive within historical time and collective memory\u2014a poetic yet incisive act of resistance against the standardized capitalist historicization of reality.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t