CURA.

As technological discourse veers between utopian solutionism and apocalyptic paralysis, TECHNE Homecoming positions itself within technoculture as lived terrain. The exhibition approaches technology through its negotiated cultural character, attending to the ways it is shaped by collective intelligences. Technology appears here as a site where meaning is produced through practice. In this sense, techne is understood in its original register, as a situated form of knowing-through-making, in which craft and imagination participate in the production of worlds. This orientation reflects broader readings of technoculture that recognize how mythic structures continue to animate technological imaginaries.

Across installations and live activations, TECHNE Homecoming marks the newly opened Onassis ONX space as a networked environment, where identity and kinship emerge as ongoing entanglements of bodies and temporalities. Conceived as a transatlantic platform rooted in both Athens and New York, ONX functions as an infrastructure for process, supporting artists across the arc of creation, from experimentation to circulation.

This emphasis on technoculture as practice unfolds across the exhibition through a shared logic of transformation. In Damara Inglês’s N’Zinga Mbondo, this process takes the form of a cyber-spiritual fiction that reimagines the Angolan queen N’Zinga beyond death. Identity emerges as an ancestral network structured like an Mbondo tree, where AI-generated imagery articulates a collective ontology in which political struggle converges with spiritual continuity through digital mediation.

A similar movement animates Andrew Thomas Huang’s The Deer of Nine Colors, where metamorphosis unfolds through myth. Taking its cue from a Buddhist Jataka tale, the work follows a Thai trans woman who retraces a past life as a wild deer in order to name herself.

From mythic time, the exhibition shifts toward ecological embodiment in Miriam Simun’s Contact Zone (Level 2). Here, transformation operates across species, as the artist fuses the Swiss Alps with her body, following a lynx that moves fluidly through the forest.

Temporal scale expands further in Tamiko Thiel’s Atmos Sphaerae, which traces the composition of Earth’s atmosphere from before the Big Bang to the present through the visual language of Lewis structures. Scientific notation becomes a device, translating molecular bonds into a story of planetary precarity.

Beginning with a hat once worn by Bertolt Brecht, Sister Sylvester’s Drinking Brecht unfolds as a forensic and performative investigation using microbiology. Molecular traces establish a bodily connection, activating Brecht’s “scientific theatre” as a participatory mode of political consciousness, in which knowledge circulates through ingestion.

Natalia Manta and Aias Kokkalis’s MEMOS extends such a logic of reconfiguration to history itself. Through looping animations and digital tombs, the work commemorates beings present at pivotal historical moments yet absent from official narratives. Animals and peripheral lives emerge as protagonists of speculative genealogies, attending to what history leaves unrecorded.

Across its constellation of works, TECHNE Homecoming refers to technoculture as an improvisational realm where myth, memory, biology, and computation intersect. Thus, homecoming unfolds as an ongoing process of reassembly. It is an invitation to inhabit technological complexity with affect and to envision futures that remain plural and in constant motion.