Nacoca Ko, an artist and curator based in Geneva, Switzerland, works across sculpture, moving image, performance, and virtual environments. Engaging with nonhuman and artificial intelligence, her work explores how technological systems reshape personal psyche, collective consciousness, and the environment.

Through her virtual practice, Ko creates immersive environments where digital and physical realities intersect. Using VR, AR, and online platforms, she explores how attention and perception shift within these hybrid spaces. Sculpting with polymers and concrete, she investigates the materials humans leave behind—those that persist long after our disappearance.

At the edge of Singularity—where prediction gives way to uncertainty—Ko turns to ritual and mythopoetic speculation as a way of grounding, positioning the human as a fragile conduit between the natural, the technological, and the unknown.

Nacoca Ko’s work has been exhibited internationally, most recently in Spinning in Fluid Dreams at Art Genève and Climaxx at Futuros Arte e Tecnologia in Rio de Janeiro. Other exhibitions include Espace_L and Andata/Ritorno (Geneva), Museu Eva Klabin / Tal Art (Rio de Janeiro), Espace Arlaud and En Suite / Lovay Fine Arts (Lausanne), New Currents Festival (Santa Fe), CADAF (Paris), Mock Jungle (Bologna), OXO Tower and Offsite Project (London), DA-Z Digital Arts Zurich (Zurich), Harddisk Museum / UltraSuperNew Gallery (Tokyo), Dock-Basel, and Photo Basel (Basel). Her work is also presented in the metaverse (sabl.live, Newart.city) and is held in private collections.

Nacoca Ko, an artist and curator based in Geneva, Switzerland, works across sculpture, moving image, performance, and virtual environments—shaping forms that move between the digital and the material. Engaging with nonhuman and artificial intelligence, her work explores how technological systems reshape the personal psyche, collective consciousness, and the environment.

Through immersive projects—including VR, AR, video, and online platforms—planes of reality begin to dissolve into one another, forming a haze where attention is recoded by machines and dreams are transcribed into language. These shifting boundaries are currents of uncertainty, desire, and adaptation—zones where consciousness itself becomes altered by contact with new media and synthetic environments.

Sculpting with polymers, concrete, styrofoam, and washed-up plastics, she digs into the sedimentary layer of waste humans leave as evidence of their time on the planet—fossils for the imagination of history. These anthropogenic samples of the Anthropocene reveal residual strata where synthetic and natural substances fuse into techno-fossils.

Ko’s works often inhabit shorelines, ruins, doors, data fields, and surveillance optics—zones that mark the passage between the organic and the artificial, the empirical and the virtual. She animates the anxiety of acceleration, where landscapes distort and the boundaries of the real blur, suggesting how contemporary culture seeps into the body and rewires attention.

Looping forward from futurism and back toward anthropology, she asks what the wise sages knew while looking out at unmapped stars—what new forms of perception might emerge in the aftermath of human-centered narratives. She explores the persistence of the archaic within the contemporary: fragments of ritual, myth, and dream that continue to structure how we experience the technological present, bringing with her some of the mystery, magic, and mutiny.

Drawing from both scientific and philosophical research, as well as intuitive experimentation, and influenced by theories of emergence, posthumanist thought, and Jungian psychology, Ko approaches art as a mode of translation—where invisible processes of transformation are rendered into sensory experience. Our oral histories, she suggests, are an intuitive mimicry of how DNA carries stories forward, an epigenetic incantation.

At the edge of Singularity—where prediction gives way to uncertainty—ritual and mythopoetic speculation become her way of grounding, positioning the human as a fragile conduit between the natural, the technological, and the unknown.