Kategorie: Ausstellung

TRANSHUMAN N°1
Mit Borrás
NATORU ナとル

curated by Stephan Klee

Vernissage
Saturday, 28 Feb 5 – 8 pm

Duration
1 Mar – 12 Apr 2026
Tue – Fri 2 – 6 pm
Sat – Sun 11 am – 5 pm

Location
Künstlerhaus Göttingen (1st floor)
Gotmarstraße 1
37073 Göttingen– Germany

INTRODUCTION
Is the creation of a near-perfect universal utopia, in which nature, technology and human existence have finally found a balanced and flourishing coexistence, also one of the achievements of contemporary art? At the start of the year, the Kunstverein Göttingen gives a clearly positive answer to this question and, in doing so, provides some valid arguments for not viewing transhumanist developments with scepticism alone.
The first solo exhibition of the new year’s programme, 2026 TRANSHUMAN, is organised by Spanish artist Mit Borrás and is entitled NATORU ナとル. In a conceptual interplay of different media, the Madrid-based artist paints a visually stunning, immersive vision of how great the future could be. Admittedly, this is a rather rare approach in our sceptical times, but precisely for this reason, it is perhaps a liberating concept and a good introduction to the topic of transhuman tendencies.

With a strong focus on new technologies such as computer renderings and digital filters, 3D printing, animated videos and drone camera flights in his expressive media, Mit Borrás has been working systematically for years on elaborate video productions, always appropriately fused with immersive spatial settings in a striking design with high recognition value. For these elaborate works, he runs the production company CAVVE in Madrid together with his art director and partner Rachel Lamot. As a congenial duo, they maintain very fruitful connections to the performance and video art scene, but also to related scientific disciplines such as philosophy, the biosciences and cybernetics.
The artist is strongly inspired by the post-structural dispositives of cyberfeminism, post-naturalism and transhumanism, which open his eyes to the possibilities of technology and species hybridity. At the same time, he also places himself firmly in the traditions of animism, shamanism, spiritualism and mysticism, some of which date back thousands of years, which stems from and further nourishes his deep connection to nature. Significantly influenced by the theories of Donna Haraway, Bruno Latour, Mark Fischer and Gilles Deleuze, Mit Borrás follows a cyclical, fluid, post-patriarchal and ecological worldview, which is also strongly reflected in his works. These are mostly characterised by a seductively fertile, effective and sometimes meditative fusion of technology, nature and humanity, which has defined all his recent work since 2017.

The core of the exhibition title ‘nato’ comes from Latin and has multiple meanings: e.g. ‘to be born’ or the first-person form of ‘to swim,’ ‘to surge,’ ‘to billow’ and ‘to sway’, or even just ‘the children.’ In Spanish, “nato” simply means ‘born.’ The Japanese syllable ‘Ru’ rounds off the title and not only refers to the Japanese inspiration in the exhibition, but also underlines the active character of the title, as “Ru” often finalises verbs in Japanese. “NATURO” could be loosely translated as ‘continuous creation’, for example.
This meaning and connection between Western and Far Eastern culture in the title is no coincidence, but underlines the deeper concept of the exhibition. Inspired by the mystical Aokigahara forest in Japan, Mit Borrás creates an environment for the birth and presence of future creatures in the Künstlerhaus. To this end, he combines the directive power of prophecies in the video L.Y.R.A.- The Oracle (2025) with the essential significance of the forest for human existence in the central projection HANABA 突变花 (ADAPTASI CYCLE 2022). And finally, the artist is already breathing life into a new species; the presence of this breathing sculpture permeates the spaces.
This interconnection of works in the exhibition space highlights variations in the exchange of impulses, information and materials. Staging the boundaries of species and transcending the boundaries of animate and inanimate matter, these diverse variations explore new forms of cooperation and cohabitation. The potentials on display reinforce the hope that mutual adaptation, proactive forms of empathy and cross-species fusions, combined with new technologies, could lead to a sustainable future for all. Providing a forum for this affirmative version of progress was not only necessary for artistic quality but also to balance the desired discursive exchange with a positive prognosis.

PROGRAMME
Sat, 28 Feb 5 – 8 pm
Vernissage
Welcome speeches and introduction to the exhibition
by curator Stephan Klee

Sun 8 Mar / Sun 15 Mar / Sun 29 Mar
at 3 pm each day
Sunday Guided Tour with Joos Ziegler

Sun, 12 Apr, 3–5 p.m.
Finissage
3 pm
Guided tour and discussion – ‘Walk and Talk’
through the exhibition with curator Stephan Klee in German and English
4 pm
Closure

Event Images:
Mit Borrás. Hanaba. Aadaptasi Cycle. Film. Installation | Performance. Work by MIt Borrás. Art Director Rachel Lamot, Music Daniel Vacas Peralta. With Weixin Quek Chong, Written by Mit Borrás & Rachel Lamot, Fashion Design Kim Rosario, Fashion Design Path by Janine Grosche, Drone Liu Zhang, Drone Field, Jesús Moreno, Clinical Department Gómez Bravo, Dental department Dentix, Relevium, Make Up Andréa Méndez, Eloy Noguera Atienza, Production Design Cavve. Images courtesy of the artist, 2023

ABOUT THE ARTIST
Mit Borrás (b. 1982, Madrid) is a Spanish visual artist based between Madrid and Berlin, recognized for his pioneering work and groundbreaking contributions to contemporary visual arts, videoart, media installation and digital art with performance. His transdisciplinary practice delves into the complex interplay between humanity, nature, and technology, frequently exploring themes such as adaptation, post-humanism, bioethics, and digital sensuality through immersive video installations, performances, and multimedia works. Borrás’s art is distinguished by its ability to merge the ancient with the futuristic, forging speculative mythologies that reflect profound societal transformations.

The central body of work Adaptasi, explores the artist’s personal worldview in his more recent oeuvre. Over the years, art director Rachel Lamot and many other contributors have created a multimedia cycle consisting of the following six parts: PHANTOM LIMB (ADAPTASI CYCLE 2021), HEAVVEN (ADAPTASI CYCLE 2021), EUPHORIA (ADAPTASI CYCLE 2022), HANABA 突变花 (ADAPTASI CYCLE 2022), YOKAI スワミ (ADAPTASI CYCLE 2022), HERMES (ADAPTASI CYCLE 2025). The title ‘Adaptasi’ refers to the ability to adapt, to adjust. With HANABA 突变花 as its central work, the Adaptasi cycle is also strongly represented in Göttingen, albeit as the basis for an independent artistic narrative strand.

more information >>https://mitborras.com

THE ANNUAL PROGRAMME

TRANSHUMAN (2026)
>POSTHUMAN (2027)

The Kunstverein Göttingen continues to follow the proven two-year biennial programme rhythm in order to enable the most in-depth examination possible of the programme’s overarching themes. After TERRA DISAPORA (2024–2025) explored contemporary phenomena, our current programme looks to the near and distant future.
The two-year programme TRANSHUMAN >POSTHUMAN (2026 > 2027) takes a critical look at the global transformation anticipated by some schools of thought: the transition from the anthropocentric humans of our time to the technically optimised transhumans of the near future and, even further into the future of our species, to posthumans. In short: the development of humanity from modern humanism to transhumanism to posthumanism.

The basic theme for the first year is TRANSHUMAN (2026) and includes four solo exhibitions and one group exhibition, bringing together artistic approaches and works to form a collection of perspectives and aspects of transhumanism. The formal and thematic basis of all exhibitions is the artistic exploration of the acceleration of technological development and capitalist growth, and the desired biotechnological optimisation of the human body and mind. The resulting social upheavals are already taking place in many ways in our present, with drastic consequences for coexistence within the span of a generation. These acute experiences flow into the visions of the approaching future and into the collective critical reflection of both the artists and our audience. With this in mind, a wide-ranging discourse and education programme is offered. We also aim to publish the annual programme again. The ideology of transhumanism should not be propagated uncritically, but rather deconstructed as critically as possible, collectively and on the basis of the works on display. We cordially invite all interested parties to join us.

We would like to thank our sponsors: Niedersächsisches Ministerium für Wissenschaft und Kultur, Stadt Göttingen, Sparkasse Göttingen und Landschaftsverband Südniedersachsen e.V.

TRANSHUMAN N°1
Mit Borrás
NATORU ナとル

curated by Stephan Klee

Vernissage
Saturday, 28 Feb 5 – 8 pm

Duration
1 Mar – 12 Apr 2026
Tue – Fri 2 – 6 pm
Sat – Sun 11 am – 5 pm

Location
Künstlerhaus Göttingen (1st floor)
Gotmarstraße 1
37073 Göttingen– Germany

INTRODUCTION
Is the creation of a near-perfect universal utopia, in which nature, technology and human existence have finally found a balanced and flourishing coexistence, also one of the achievements of contemporary art? At the start of the year, the Kunstverein Göttingen gives a clearly positive answer to this question and, in doing so, provides some valid arguments for not viewing transhumanist developments with scepticism alone.
The first solo exhibition of the new year’s programme, 2026 TRANSHUMAN, is organised by Spanish artist Mit Borrás and is entitled NATORU ナとル. In a conceptual interplay of different media, the Madrid-based artist paints a visually stunning, immersive vision of how great the future could be. Admittedly, this is a rather rare approach in our sceptical times, but precisely for this reason, it is perhaps a liberating concept and a good introduction to the topic of transhuman tendencies.

With a strong focus on new technologies such as computer renderings and digital filters, 3D printing, animated videos and drone camera flights in his expressive media, Mit Borrás has been working systematically for years on elaborate video productions, always appropriately fused with immersive spatial settings in a striking design with high recognition value. For these elaborate works, he runs the production company CAVVE in Madrid together with his art director and partner Rachel Lamot. As a congenial duo, they maintain very fruitful connections to the performance and video art scene, but also to related scientific disciplines such as philosophy, the biosciences and cybernetics.
The artist is strongly inspired by the post-structural dispositives of cyberfeminism, post-naturalism and transhumanism, which open his eyes to the possibilities of technology and species hybridity. At the same time, he also places himself firmly in the traditions of animism, shamanism, spiritualism and mysticism, some of which date back thousands of years, which stems from and further nourishes his deep connection to nature. Significantly influenced by the theories of Donna Haraway, Bruno Latour, Mark Fischer and Gilles Deleuze, Mit Borrás follows a cyclical, fluid, post-patriarchal and ecological worldview, which is also strongly reflected in his works. These are mostly characterised by a seductively fertile, effective and sometimes meditative fusion of technology, nature and humanity, which has defined all his recent work since 2017.

The core of the exhibition title ‘nato’ comes from Latin and has multiple meanings: e.g. ‘to be born’ or the first-person form of ‘to swim,’ ‘to surge,’ ‘to billow’ and ‘to sway’, or even just ‘the children.’ In Spanish, “nato” simply means ‘born.’ The Japanese syllable ‘Ru’ rounds off the title and not only refers to the Japanese inspiration in the exhibition, but also underlines the active character of the title, as “Ru” often finalises verbs in Japanese. “NATURO” could be loosely translated as ‘continuous creation’, for example.
This meaning and connection between Western and Far Eastern culture in the title is no coincidence, but underlines the deeper concept of the exhibition. Inspired by the mystical Aokigahara forest in Japan, Mit Borrás creates an environment for the birth and presence of future creatures in the Künstlerhaus. To this end, he combines the directive power of prophecies in the video L.Y.R.A.- The Oracle (2025) with the essential significance of the forest for human existence in the central projection HANABA 突变花 (ADAPTASI CYCLE 2022). And finally, the artist is already breathing life into a new species; the presence of this breathing sculpture permeates the spaces.
This interconnection of works in the exhibition space highlights variations in the exchange of impulses, information and materials. Staging the boundaries of species and transcending the boundaries of animate and inanimate matter, these diverse variations explore new forms of cooperation and cohabitation. The potentials on display reinforce the hope that mutual adaptation, proactive forms of empathy and cross-species fusions, combined with new technologies, could lead to a sustainable future for all. Providing a forum for this affirmative version of progress was not only necessary for artistic quality but also to balance the desired discursive exchange with a positive prognosis.

PROGRAMME
Sat, 28 Feb 5 – 8 pm
Vernissage
Welcome speeches and introduction to the exhibition
by curator Stephan Klee

Sun 8 Mar / Sun 15 Mar / Sun 29 Mar
at 3 pm each day
Sunday Guided Tour with Joos Ziegler

Sun, 12 Apr, 3–5 p.m.
Finissage
3 pm
Guided tour and discussion – ‘Walk and Talk’
through the exhibition with curator Stephan Klee in German and English
4 pm
Closure

Event Images:
Mit Borrás. Hanaba. Aadaptasi Cycle. Film. Installation | Performance. Work by MIt Borrás. Art Director Rachel Lamot, Music Daniel Vacas Peralta. With Weixin Quek Chong, Written by Mit Borrás & Rachel Lamot, Fashion Design Kim Rosario, Fashion Design Path by Janine Grosche, Drone Liu Zhang, Drone Field, Jesús Moreno, Clinical Department Gómez Bravo, Dental department Dentix, Relevium, Make Up Andréa Méndez, Eloy Noguera Atienza, Production Design Cavve. Images courtesy of the artist, 2023

ABOUT THE ARTIST
Mit Borrás (b. 1982, Madrid) is a Spanish visual artist based between Madrid and Berlin, recognized for his pioneering work and groundbreaking contributions to contemporary visual arts, videoart, media installation and digital art with performance. His transdisciplinary practice delves into the complex interplay between humanity, nature, and technology, frequently exploring themes such as adaptation, post-humanism, bioethics, and digital sensuality through immersive video installations, performances, and multimedia works. Borrás’s art is distinguished by its ability to merge the ancient with the futuristic, forging speculative mythologies that reflect profound societal transformations.

The central body of work Adaptasi, explores the artist’s personal worldview in his more recent oeuvre. Over the years, art director Rachel Lamot and many other contributors have created a multimedia cycle consisting of the following six parts: PHANTOM LIMB (ADAPTASI CYCLE 2021), HEAVVEN (ADAPTASI CYCLE 2021), EUPHORIA (ADAPTASI CYCLE 2022), HANABA 突变花 (ADAPTASI CYCLE 2022), YOKAI スワミ (ADAPTASI CYCLE 2022), HERMES (ADAPTASI CYCLE 2025). The title ‘Adaptasi’ refers to the ability to adapt, to adjust. With HANABA 突变花 as its central work, the Adaptasi cycle is also strongly represented in Göttingen, albeit as the basis for an independent artistic narrative strand.

more information >>https://mitborras.com

THE ANNUAL PROGRAMME

TRANSHUMAN (2026)
>POSTHUMAN (2027)

The Kunstverein Göttingen continues to follow the proven two-year biennial programme rhythm in order to enable the most in-depth examination possible of the programme’s overarching themes. After TERRA DISAPORA (2024–2025) explored contemporary phenomena, our current programme looks to the near and distant future.
The two-year programme TRANSHUMAN >POSTHUMAN (2026 > 2027) takes a critical look at the global transformation anticipated by some schools of thought: the transition from the anthropocentric humans of our time to the technically optimised transhumans of the near future and, even further into the future of our species, to posthumans. In short: the development of humanity from modern humanism to transhumanism to posthumanism.

The basic theme for the first year is TRANSHUMAN (2026) and includes four solo exhibitions and one group exhibition, bringing together artistic approaches and works to form a collection of perspectives and aspects of transhumanism. The formal and thematic basis of all exhibitions is the artistic exploration of the acceleration of technological development and capitalist growth, and the desired biotechnological optimisation of the human body and mind. The resulting social upheavals are already taking place in many ways in our present, with drastic consequences for coexistence within the span of a generation. These acute experiences flow into the visions of the approaching future and into the collective critical reflection of both the artists and our audience. With this in mind, a wide-ranging discourse and education programme is offered. We also aim to publish the annual programme again. The ideology of transhumanism should not be propagated uncritically, but rather deconstructed as critically as possible, collectively and on the basis of the works on display. We cordially invite all interested parties to join us.

We would like to thank our sponsors: Niedersächsisches Ministerium für Wissenschaft und Kultur, Stadt Göttingen, Sparkasse Göttingen und Landschaftsverband Südniedersachsen e.V.