Installation by Vicente Yáñez Fuenzalida
20-22.03.2026
Virtual Eschatologies takes as its point of departure the Jesuit imaginaries of hell that accompanied the “spiritual conquest” of the Americas in the 16th century: a colonial eschatology exported as universal truth, deployed to overwrite existing cosmologies. Here, that historical inferno is reconfigured as a virtual dimension, governed by its own architectural laws and built on reflections of the actual world— yet constantly disguising its origins through reflection, refraction and jitter. The piece also brushes against the abstractions of techno-capitalist infrastructures—those self-sustaining circuits, floating between the immaterial and the brutally material, arise as metaphoric encounters within and among the erratic refractions, monumental architectures, and the tracings of light. Here, their persistence is not displayed as a data feed but as a question of duration: a sound device is deployed as a construct, an algorithm, that becomes present through sound detection and directionality. The listening device encodes positionality as an agent that affects a stream of synthesis, which is forwarded back into the space. A repeated strum marks time—a perpetual pulse that feeds on the actual while pushing toward self-transformation. Inferno stages the double bind: a space where colonial eschatologies and techno-capital architectures fold into one another, producing a continuously shifting elsewhere that is inseparable from the present. The accompanying sculptural piece, Temples, appears as a byproduct of the process. Its shapes—also visible on screen—emerge from a dialogue between field recordings of sites humanity has deemed “sacred” across the world, code, and 3D modelling.
Inferno (Virtual Eschatologies)
Videos: Fixed media Unreal Engine 5
Sound: Realtime DOA Ambisonics feedback system
Temples (Virtual Eschatologies)
3D printed stereophonic heatmaps