UBERMORGEN (AT/CH) · Kin>% / Cultura Plasmic INC (UK) · TZUSOO (KR) · Andrei Nacu (UK/RO) · Sillyconductor (RO)

 

Curated by Adrian Bojenoiu

 

12 September – 11 October 2026

CASA / Center for Arts and Science in Action, Tudor Arghezi 44, Bucharest

 

 

$350 billion pledged to AI, quantum computing and nuclear energy. A handful of founders described, without much irony, as running the world. Somewhere in there, the future stopped being a question and became a delivery schedule.

Xeno Futurism treats that closure as a hypothesis rather than a forecast. If hyperstition names fictions that make themselves real, the exhibition puts those fictions back on the bench — as operative prototypes, run in the open, watched for the moment they intervene in the present.

The paradox is simple and difficult: the more the future is computed, the more predictable it becomes, and the further it drifts from anything a person can actually live. Working across disciplines, five artists test the threshold between the human and the xenotic — that "alien" which turns out to issue from our own technology.

Call it an inverted archaeology of the future. Each work operates at once as simulacrum and as treasure, as system error and as encrypted message from a future already flooding the present. What remains, the exhibition asks, once every available future has been consumed? Not illustration, then, but infrastructure: art as a way of thinking the future as an emergent medium rather than a fixed destination.

UBERMORGEN (AT/CH) · Kin>% / Cultura Plasmic INC (UK) · TZUSOO (KR) · Andrei Nacu (UK/RO) · Sillyconductor (RO)

 

Curated by Adrian Bojenoiu

 

12 September – 11 October 2026

CASA / Center for Arts and Science in Action, Tudor Arghezi 44, Bucharest

 

 

$350 billion pledged to AI, quantum computing and nuclear energy. A handful of founders described, without much irony, as running the world. Somewhere in there, the future stopped being a question and became a delivery schedule.

Xeno Futurism treats that closure as a hypothesis rather than a forecast. If hyperstition names fictions that make themselves real, the exhibition puts those fictions back on the bench — as operative prototypes, run in the open, watched for the moment they intervene in the present.

The paradox is simple and difficult: the more the future is computed, the more predictable it becomes, and the further it drifts from anything a person can actually live. Working across disciplines, five artists test the threshold between the human and the xenotic — that "alien" which turns out to issue from our own technology.

Call it an inverted archaeology of the future. Each work operates at once as simulacrum and as treasure, as system error and as encrypted message from a future already flooding the present. What remains, the exhibition asks, once every available future has been consumed? Not illustration, then, but infrastructure: art as a way of thinking the future as an emergent medium rather than a fixed destination.