Gestational Interface
https://forecast-platform.com/mentee/lena-becerra/
https://youtu.be/HqSsMmd3_wk?si=C0a7bJzUesnTIdph
Lena Becerra is an artist and researcher working across media to explore prosthetic ecologies and speculative anatomies at the intersection of art, philosophy, science, and technology. She proposes an immersive installation composed of body-scale prosthetic ecosystems that circulate, leak, and respond to proximity. Wearable elements extend the body, linking sensation and movement to a larger responsive system. Through sensors and feedback loops, the work activates vibration, pressure, and shifting tensions. The installation evolves continuously, unfolding through activation and moments of choreographed engagement. It also foregrounds its mechanisms—tubing, fluids, and structure—thus inviting attunement to breath, gesture, and shared transformation within a permeable, living environment.
Saturday 11 April 2026
Sunday 3 May 2026
Blak Dot Gallery
33 Saxon StreetBrunswick, VIC, 3056 Australia
Opening event SATURDAY 11 april, 2pm
Xenobotany, a solo exhibition by Lena Becerra, unfolds as a speculative garden of hybrid organisms, an archive of forms that seem at once biological, prosthetic, and strangely familiar. Within the exhibition space, glass vessels, silicone membranes, metal structures, and circulating liquids compose an ecosystem in constant mutation. Tubes pulse softly, fluids travel through translucent organs, and sculptural bodies appear suspended between specimen, device, and anatomy.
Rather than presenting fixed objects, the installation behaves as a living system. Liquids circulate through glass capsules and prosthetic channels, forming loops that echo the cyclical metabolism of organic processes. These flows connect the sculptures into a network of exchanges where matter moves, transforms, and returns, suggesting that memory itself may operate like a fluid medium.
The work emerges from fragments of personal and collective archives: landscapes of insects and creatures from Mendoza in Argentina, intertwined with traces of a family history marked by exile and disappearance during the military dictatorship. These memories surface indirectly, translated into hybrid morphologies that resist clear classification. In this space, the botanical merges with the technological, the organic with the synthetic, the intimate with the speculative.
Xenobotany imagines a form of botany for unfamiliar futures, one that studies organisms not yet named, bodies that grow across porous boundaries between species, technologies, and environments. The installation proposes a cabinet of living anomalies where soft anatomies coexist with prosthetic structures, and where matter appears to be perpetually in the process of becoming something else.
Through this ecosystem of circulating fluids and speculative anatomies, the exhibition invites visitors to enter a territory where memory, biology, and machine intelligence intertwine. Here the archive loosens its rigid taxonomies, drifting away from inherited systems that once attempted to stabilize nature into categories. Instead, forms proliferate in ambiguity, suggesting that new forms of life may already be germinating within the ruins of the present.
https://blakdot.com.au/current-exhibitions/2026/3/17/xenobotany-lena-becerra
https://hipermedula.org/2026/04/exposicion-xenobotany-por-lena-becerra/
https://www.artshub.com.au/event/xenobotany-lena-becerra-2854460/
COAGVLA
2026
Solo exhibition at Galeria Acefala
https://www.ofluxo.net/coagvla-lena-becerra-acefala-gallery-buenos-aires/
Exhibition Title: “Weaving Black Nests Under The Skin”
Venue: Urban Nation Gallery
Bulowstrasse 97, Berlin, Germany
Dates: 06/11/2025 - 29/03/2026
Weaving black nests under the skin is a philosophical exploration of inter-beings, arthropod-like organisms, and their embryonic fluctuations. Blending scientific inquiry and hybridisation, Becerra’s research investigates intermediate states of existence: between gestation and decay.
Developed during her residency at Fresh A.I.R., Weaving black nests under the skin questions the illusion of separateness, embracing cyclicality as a fundamental condition of life. Within nature, this conceptual coordinate exists both in the gestational form of organisms and, on the other end of the spectrum, in the rotting stages of biological matter.
The installation unfolds as a suspended network of prosthetic beings composed of blown glass, steel, organic debris, silicone membranes, motors, threads, resin, and pigmented fluids. Arthropoidal and vessel-like morphologies emerge from these organic architectures: skeletal extensions intertwined with soft membranes and threadlike circuits carrying fluid through translucent bodies.
Encapsulated fragments of matter -trapped within resin or suspended in liquid- echo the notion of life within life, where remnants of existence persist and regenerate through new material configurations. These hybrid entities pulsate and circulate matter, embodying both decay and renewal. Their porous anatomies evoke a choreography of transformation, where the boundaries between organism and machine, matter and memory, begin to dissolve.
Through this project, Becerra reflects on the cyclical conditions of existence, proposing that gestation and decomposition are not antagonistic opposites but complementary forces within the same continuum. Emerging from these reflections, suspended prosthetic beings blur the borders between biological inevitability and speculative potential. By imagining new kin makings with the oddkin, Becerra seeks to inspire, at least for a while, alternative worldviews in which linear narratives of life, progress, and death yield to hybrid, cyclical forms of existence.
Weaving black nests under the skin invites viewers to consider life as a process of perpetual co-participation, where matter endlessly weaves itself into new forms of being.
Text: Lena Becerra
SomoS Gallery -
XX: Collapsed Cartilage conjures a space of infestation and interspecies entanglement, where parasitic organisms pulse with movement, pumping and expelling dark fluids through metastasized arteries.
Rooted in xenofeminist thought, the installation embraces the glitch as an opening for new narratives—where infestation is not just disruption but a rewriting of networks, a challenge to fixed structures of knowledge.
This piece reimagines ecologies through a speculative lens, inviting viewers into an alternate kinship with parasitic forms, where organic matter, fluids, and technology merge beyond the human.
