Foto: Tanja Kanazir / Drugo more (Flickr galerija)

As a continuation of our practice to systematically present artistic installations and works that utilize digital technology, artificial intelligence and algorthims, with the aim to express critical perspective on contemporary events in the world, we invite you to visit Hipertèlia, solo exhibition by Mónica Rikić, new media artist and creative coder from Barcelona.

The exhibition will open at Filodrammatica Gallery (Korzo 28/1, Rijeka) on Thursday, May 9th at 8 p.m., remaining on view until May 31st.

Before the opening, at 7 p.m., Mónica Rikić will give an artist talk in the large hall of Filodrammatica.

Gallery opening hours:
MondayFriday 11 a.m. – 1 p.m. | 5 – 8 p.m.
Saturday 5 – 8 p.m.
– closed on Sundays and public holidays

Mónica Rikić SIMULACIONSIMULACION, courtesy of the artist

Mónica Rikić REVOLUCIONREVOLUCION, courtesy of the artist

Mónica Rikić focuses her artistic practice on creative coding and electronics, combining them with non-digital objects to craft interactive projects, robotic installations, and handmade electronic devices.

Audio guide by Mónica Rikić made for Kulturpunkt

Hipertèlia is the term used in Catalan to describe the enlargement of an organ to the extent that it no longer fulfills its function. Cognitive technologies have become an overdeveloped organ, generating anxiety and uncertainty about the future. What agency do we have in defining this future? This exhibition suggests possible alternatives for the evolution of artificial intelligences through handmade electronic devices.



Mónica Rikić EVOLUCIONEVOLUCION, courtesy of the artist

Hipertèlia stems from the intention of proposing alternative approaches to the futures of artificial intelligence as viewed from art and critical thinking. Unlike other proposals operating within the junctions of AI and art – generally focused on the creative possibilities of machines – this project revolves around questioning, researching and experimenting on the characteristics that artificial cognitive systems must have in order to be considered existing, sentient organisms. The proposal in fact argues that we can only talk about any kind of creativity in machines after this process of technical system autonomy (although this is another subject that is not dealt with here).

The main question behind this artistic research process would be as follows: Are we able to accept artificial inorganic systems as an independent, active part of shaping the world? And if so, what conditions must these systems fulfill?

This question should not be viewed as a comparison of ‘how human’ or ‘how natural’ an artificial cognitive system should be, but rather it should be understood as a window to the conception of non-conscious artificial cognitive systems as part of common existence in the world. At a time when the distinction between nature and culture has ceased to be sufficient to understand the present, multi-species coexistence no longer refers merely to the relationships between the human and the non-human. Hipertèlia suggests including technical objects in this sum.

Apart from questioning the technological resources required to develop artificial ‘consciousnesses,’ the proposal intends to argue that their possibilities of existence are also based on a question of philosophical attribution. AI has traditionally always been presented as a simulation of the human mind, and it has attempted to define itself through a set of philosophical assumptions claiming to be universal: rationalism, dualism, formalism and mechanicism. These assumptions create a specific perspective from which the problem of how to model a mind has been approached. The backdrop to this proposal is the premise that we must form partnerships with alternative philosophical traditions in order to articulate a viable alternative to the dominant AI computational metaphor.

Based on this, the project’s methodology has focused on suggesting a number of conditions that algorithmic systems must fulfill in order to be considered cognitive, based on alternative philosophical proposals. The main aim has been to form a practical symbiosis between technoscience and philosophy through art by creating a sensitive ecosystem of handcrafted electronic artifacts. These devices are situated away from the need for any functionality or productivity. They merely serve the purpose of free experimentation on non-conscious cognition.

Mónica Rikić GENESISGENESIS, courtesy of the artist

The whole re-enacts the evolution of technological systems into organic systems through the expository composition of the space, divided into six interrelated phases or installations: genesis, simulation, replication, creation, evolution and revolution. Visitors can find a brief summary of what inspires each of these phases or nodes on the walls of the exhibition. According to their basic physiognomy, code and emergent autonomous development, the devices use physical-digital behaviors to simulate processes that invite us to identify them as sentient organisms. The algorithmic, mechanical structure of the artistic object itself is offered to the public as a dramaturgical device that plays the role of expressing its own way of existing.

Hipertèlia aims to illustrate how artistic research plays a decisive role in developing technoscientific knowledge. Understanding technology as culture will help us to shatter the monolithic view of technological development and to accept the coexistence of technodiversities. This process harbors the hope that we will identify our agency and responsibility in the technological and cultural development that is in store for us.





Artificial cognitive systems can be considered technical objects that maintain and self-regulate themselves. Through the constant production and recursion of their own processes, these systems ensure that they remain balanced and evolve. They have their own form of existence that arises from their process of creation and manufacturing. Both life and machines, beings, and objects share the ability to constantly maintain and reproduce their internal processes and their relationship with the external world to sustain their existence.



Cognitive assemblages cohabit the materiality and virtuality of the world with humans, other organic beings, and diverse types of algorithmic systems in different stages of evolution. They belong to a multiple identity, their body is changeable, and their mode of existence does not correspond to that of bioconscious organisms. If we include them as an active part of the world’s configuration, we must consider that multispecies relationships are based on mutual trust. To build this trust, cognitive machines must be able to explain themselves, be accountable for their decisions, and transparent with their intentions.



Recursiveness is an essential process in cognition that enables the construction of complex patterns of thought and learning. Through repetition and feedback, cognitive structures are built and refined to generate new forms of knowledge. This process also facilitates adaptation to new and changing situations. It is not merely a mechanical loop, but a spiral, a reflective and introspective movement to gain a deeper understanding of personal experience and the world. By being aware of our own consciousness, we can analyze, evaluate, and modify our own patterns of thought and behavior.



Cognition has been presented as mechanical and objective, but it can also be seen as a creative process that arises from the organizing force of existence itself. It is not limited to problem-solving and adaptation to the environment, but can give rise to new ideas and possibilities. The bioconscious brain is capable of being creative, it admits contingency in its recursiveness to create new behaviors or innovate on acquired knowledge. Therefore, every return is not a return to the same place, but rather a reorganization of the organic and inorganic.



Evolution is creative. Understanding cognitive processes cannot be comprehended solely by analysis and reduction to their parts. It is not merely a mechanical process of adapting to the environment. It stems both from the capacities of the complex system that contains them and from other external structures, with their symbolic relationships or instruments associated with them. It is therefore an organising force that directly affects the internal or indirectly organises the external to make it part of itself. It is this organisational, creative force that drives evolution towards new forms and possibilities.



Spiritualities are channels of information transmission that have been maintained across generations and cultures. They are associated with transformative processes that lead to new states of consciousness. Their rituals shape collective narratives that define personal identities. They belong to both the social and individual realms. Spirituality and cognitive algorithms share a focus on transformation and openness to the other. Cognitive systems must be understood as a collective intelligence that will end up defining part of each individual’s identity. How are we going to connect with it?


Among the presented works in this exhibition is Hipèrbole (2023), a project made in collaboration with Gema FB Martín.

The overarching goal of this project is to challenge the prevailing role of spoken and written language in cognition expression and machine-human communication. It places a particular emphasis on embodied expression through its handcrafted robotics configuration. The main artistic strategy for experimentation involves designing various mechanical personalities that enable the devices to communicate and assume roles, fostering recognition by the audience as both similar and different, yet non-threatening. The ultimate goal is to evoke perceptions of existence and sentience in these mechanical organisms.



This work was realised within the framework of a European Media Art Platform residency at Hexagramco-funded by the European Union. 

This presentation was co-funded by m-cult.


Mónica Rikić _ EMAP-EU-Hexagram-Mcult


The exhibition is organized with the support of the Institut Ramon Llull.





Galerija Filodrammatica, Korzo 28/1, Rijeka

9 – 31 May, 2024

Thursday, 9 May, at 8 p.m.

Monday – Friday 11 a.m. – 1 p.m. | 5 – 8 p.m.
Saturday 5 – 8 p.m.
(closed on Sundays and public holidays; contact us to arrange another time of your visit)

Monica Rikić _ poster Rijeka





Mónica Rikić is an electronic artist and creative coder, born and based in Barcelona. The general interest of her artistic practice lies in the development of alternative technologies through creative coding and electronics. Her proposals merge technology and philosophy through art, creating technological artifacts far from the need of any functionality or productivity, just for the sake of building critical devices that trigger collective thinking and discussion. Formally, her practice is based in producing handmade electronics objects and robots, that perform different concepts of her research scope, presenting themselves as theatrical devices. With these devices, she offers experiences that propose alternative ways of thinking about technologies, robotics and hardware. Through this process, her works aim to ‘question if’ and ‘illustrate how’ artistic research is a valid way to rethink and collaborate with the advancement of techno-scientific knowledge, providing new perspectives and generating unknown paths of exploration. She wants to present a future where art is necessary to achieve a profound transformation of the technological world we inhabit, as a form of experimental thought between philosophy and engineering. (Photo: Agustina Isidori)
Mónica Rikić_foto Agustina Isidori

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