At Kunstverein Göttingen in Germany, Mit Borrás presents NATORU ナとル — a conceptual interplay of film, 3D printing, and drone footage that paints a visually stunning vision of nature and technology in symbiosis.
The first solo exhibition of the 2026 programme, curated by Stephan Klee, is subtitled TRANSHUMAN. In a rare move for contemporary art, Borrás proposes an affirmative vision of the future — not scepticism but possibility. "Is the creation of a near-perfect universal utopia also one of the achievements of contemporary art?" the exhibition asks, and answers clearly: yes, with valid arguments.
Inspired by the Aokigahara forest at the base of Mount Fuji — a landscape where the boundary between living and non-living has become uncertain — Borrás creates an environment for the birth and presence of future creatures. The title's core, "nato," comes from Latin: to be born, to swim, to surge, to sway. The Japanese syllable "Ru" finalises verbs; NATORU could be loosely translated as "continuous creation." That meaning is no coincidence but underlines the deeper concept bridging Western and Far Eastern culture.
Three works interconnect within the exhibition space. The central projection HANABA 突変花 (ADAPTASI CYCLE 2022) invokes the essential significance of the forest for human existence. The video L.Y.R.A. — The Oracle (2025), with creative direction by Rachel Lamot and choreography by Ulrico, carries the directive power of prophecies. And a breathing sculpture — a new species — permeates the spaces, its presence tangible and strange. Film creative director Rachel Lamot, musician Daniel Vacas Peralta, and performers Weixin Quek Chong and Ulrico complete a collaboration that runs through CAVVE, Borrás's Madrid production studio.
The Madrid- and Berlin-based artist has been working systematically for years on elaborate video productions fused with immersive spatial settings. Influenced by the theories of Donna Haraway, Bruno Latour, and Gilles Deleuze, Borrás follows a cyclical, fluid, ecological worldview — reflected in works that refuse to separate technology from nature, the printed object from the organic form. These diverse variations explore new forms of cooperation and cohabitation, staging the boundaries of species and transcending the boundaries of animate and inanimate matter.
NATORU runs through April 22, 2026. It proposes no resolution, only the ongoing encounter with systems that outlast us — the forest that predates us, the 3D print that mimics us, the breathing sculpture that will remain when the walls go bare again.
