ONX.​Exhibition.​NY.​2026

The inaugural ONX.Exhibition.NY.2026 presents artists from the ONX community whose creative practices move fluidly between physical and digital worlds. In their work, technology appears not as a neutral tool, but as a material and cultural force that translates, distorts, and reanimates the worlds it encounters.

On view from September 25 to October 4, 2026, at the Onassis ONX studio in New York, the exhibition features the U.S. debut of Ugo Arsac’s “Katabasis,” winner of the Best Immersive Work Award at the 2026 Cannes Film Festival, alongside newly commissioned and recent works by Chloe Alexandra Thompson, Margarita Athanasiou, Alejandro Moreno Jashés, Jiabao Li, Huntrezz Janos, and Ashley Zelinskie.

Abandoned theaters are given a speculative digital afterlife. A sculpture attempts to translate itself into code. Ice forms, melts, and becomes language. Across “What Remains,” technology appears not as a neutral tool, but as a material and cultural force that translates, distorts, and reanimates the worlds it encounters. Such an elusive force can both bring us together and set us apart, connecting and separating in equal measure.

Ugo Arsac, “Katabasis”

Making its U.S. debut after winning Best Immersive Work at the 2026 Cannes Film Festival, “Katabasis” guides you into the city’s hidden veins—spaces known by people rarely seen: unhoused souls, unseen laborers, abyssal poets, seekers of the invisible. Ugo Arsac amplifies their raw, intimate voices, creating an immersive journey where poetic evocation and documentary truth intertwine—a story of escape, longing, and the urgent necessity to exist.

The presentation of this work in New York is supported by Villa Albertine’s 2026 French Immersion Exhibition Grant.

Margarita Athanasiou, “A Brief Introduction to Alchemy”

“A Brief Introduction to Alchemy” is a 12-minute sneak peek into what will become a feature-length video essay. Through a hyperlink-style narration, audiences will be taken on a journey through some of the work’s main themes: from the gendered history of alchemy to the women in Carl Jung’s transcendental psychoanalysis circles, and from archetypal fairytale evil to AI technofascism.

Jiabao Li, “Cryoscape”

Developed during Jiabao Li’s Arctic Circle residency in Svalbard, “Cryoscape” is a 3D ice printer that transforms water into shifting landscapes and microscopic forms. A camera and AI translate melting ice into haiku. Shaped by each site’s climate, the work links transformation, computation, and environmental cost in a self-destroying machine.

Huntrezz Janos, “Dis-ARMOUR-Machine”

“Dis-ARMOUR-Machine” is a wearable XR artwork centered on solar-fabricated biomechanical armor. Through 3D-printed sculpture, poetry, AR, game-space, posters, and digital archives, it transforms ideas of protection from militarized defense into an interface for survival, abolitionist imagination, ecological technology, public resistance, and speculation.

Alejandro Moreno Jashés, “Salón de Actos, Act I: The Benefits of Lime”

“Salón de Actos, Act I: The Benefits of Lime” transforms the abandoned Windsor Theatre in Chile’s Atacama Desert into a living archive. Moving between live-action footage, digital reconstruction, and photogrammetry, the work combines fables, voices, and desert mythologies to explore memory, ruin, fiction, and technological preservation across time and media.

Chloe Alexandra Thompson, “Untitling (field relations)”

“Untitling (field relations)” begins with a simple proposition: sound is our first sense. Through field recordings, voice transformed through playback, synthesis, and responsive spatial media, the installation invites listening as a practice of reciprocity. As sound, light, and image continually reorganize through collective presence, listening becomes a way of sensing relation, memory, and place beyond language—a practice of tending, remembrance, and return.

Ashley Zelinskie, “Reverse Abstraction”

This ongoing series of sculptures examines the different languages through which humans and computers perceive objects. Physical sculptures anchored along a long wall are covered in hexadecimal and binary code—allowing a computer to read that code and ‘see’ the object that humans see in physical space. At the far end, the generative piece runs the recursion loop in real time: scanning, encoding, embedding, re-scanning, endlessly. Each iteration drifts further from the original.