The 3D animation "Mercury & RH-Blood" represents a transhumanist journey into the identity of humans as biological-technological hybrids, rooted in a dynamic fusion of mythological origins and contemporary Anthropocene challenges. As an expression of postmedial aesthetics, the project explores heterogeneity as an aesthetic, narrative, and ontological principle, manifested in a multimedia dialogue between pulsating animations and upcycled material objects.
Pentarosa is an interdisciplinary artistic and research duo, founded by moRgan (Barbara Konopka) (multimedia, violin, viola, piano, vocals visualizations) and Weronika Kami (veriKami) (architectural engineering of the performance, VJ, technology, and programming). Pentarosa works within the framework of post-media, hybrid art, combining live music with visual arts and programming. It integrates research on acoustics and quantum mechanics.
“Trans-substantiation 2.0: a white woman forks herself into a black man”. Laser-exposed colour photograph on metallic paper, under acrylic glass on dibond, 125 × 170 cm. Large-format composite digital image, computer-manipulated. moRgan B. K. completely transforms her own body into the body of a black man. The transformation is carried out on two levels: analogue (covering the body with brown theatrical make-up) and digital (manual modelling of the body and all modifications in Photoshop). This is neither drag, costume nor
appropriation; it is an act of trans-substantiation 2.0. In the digital medium the artist `forks` her own identity source code (as one forks a repository) and creates a new, fully legitimate version: black, male, autonomous The red background with poinsettia leaves functions as a womb-screen: it symbolises the birth of a new posthuman subject – digitally engendered, trans-racial and trans-gender.
"NeurXXtasis" – large-format composite image (250 × 250 cm, 60 layers) laser-exposed colour photograph on metallic paper under acrylic glass created 2006–2007 as a reinterpretation of the Laocoön Group, where serpents are replaced by electric streams – symbols of data flow Three naked bodies – bound by electricity – no longer fight fate, but negotiate identity in a posthuman network. "XX" in the title is simultaneously female chromosomes and binary code: a conscious affirmation of the female origin of technology
(Sadie Plant, Zeroes + Ones). The central figure in transition, with a digitally borrowed vagina from another woman, opens the body on open-source principles. The black figure, transformed into the male silhouette of an "other", performs a gesture of radical empathy through transubstantiation.
The title Neurenica is a deliberate yet subtle linguistic and conceptual play that resonates on multiple levels with Pablo Picasso’s Guernica. This similarity is not merely phonetic — it carries a series of deeper intertextual and semantic references that can be read as a conscious artistic strategy.
«MALAVIDA» is an affirmation of cyberfeminist community that celebrates the multidimensionality of identity in the era of transhumanism. Through this perspective, moRgan B. Konopka explores emergent consciousness as a network of relations between human, technology, and nature.
The 3D animation "Mercury & RH-Blood" represents a transhumanist journey into the identity of humans as biological-technological hybrids, rooted in a dynamic fusion of mythological origins and contemporary Anthropocene challenges. As an expression of postmedial aesthetics, the project explores heterogeneity as an aesthetic, narrative, and ontological principle, manifested in a multimedia dialogue between pulsating animations and upcycled material objects.
Pentarosa is an interdisciplinary artistic and research duo, founded by moRgan (Barbara Konopka) (multimedia, violin, viola, piano, vocals visualizations) and Weronika Kami (veriKami) (architectural engineering of the performance, VJ, technology, and programming). Pentarosa works within the framework of post-media, hybrid art, combining live music with visual arts and programming. It integrates research on acoustics and quantum mechanics.
“Trans-substantiation 2.0: a white woman forks herself into a black man”. Laser-exposed colour photograph on metallic paper, under acrylic glass on dibond, 125 × 170 cm. Large-format composite digital image, computer-manipulated. moRgan B. K. completely transforms her own body into the body of a black man. The transformation is carried out on two levels: analogue (covering the body with brown theatrical make-up) and digital (manual modelling of the body and all modifications in Photoshop). This is neither drag, costume nor
appropriation; it is an act of trans-substantiation 2.0. In the digital medium the artist `forks` her own identity source code (as one forks a repository) and creates a new, fully legitimate version: black, male, autonomous The red background with poinsettia leaves functions as a womb-screen: it symbolises the birth of a new posthuman subject – digitally engendered, trans-racial and trans-gender.
"NeurXXtasis" – large-format composite image (250 × 250 cm, 60 layers) laser-exposed colour photograph on metallic paper under acrylic glass created 2006–2007 as a reinterpretation of the Laocoön Group, where serpents are replaced by electric streams – symbols of data flow Three naked bodies – bound by electricity – no longer fight fate, but negotiate identity in a posthuman network. "XX" in the title is simultaneously female chromosomes and binary code: a conscious affirmation of the female origin of technology
(Sadie Plant, Zeroes + Ones). The central figure in transition, with a digitally borrowed vagina from another woman, opens the body on open-source principles. The black figure, transformed into the male silhouette of an "other", performs a gesture of radical empathy through transubstantiation.
The title Neurenica is a deliberate yet subtle linguistic and conceptual play that resonates on multiple levels with Pablo Picasso’s Guernica. This similarity is not merely phonetic — it carries a series of deeper intertextual and semantic references that can be read as a conscious artistic strategy.
«MALAVIDA» is an affirmation of cyberfeminist community that celebrates the multidimensionality of identity in the era of transhumanism. Through this perspective, moRgan B. Konopka explores emergent consciousness as a network of relations between human, technology, and nature.