Taking place in a makeshift site with hallucinogenic effects and herbal odours, Herbary: Co-respiration aims to portray the inextricably entangled relationship between herbs and human political and cultural processes through the lens of pantheistic ritual. By examining and introducing folkloric herbs with potential healing powers for neurodegenerative diseases, the work links local (herbal) knowledge that resists forgetting to oral memory in the face of collective catastrophe. The throwing of the dregs of the medicine as a traditional ritual heralds the receding of the disease and the ability of the members of the community to bless each other, a ritual that brings with it an energy considered sufficient to dispel disease and evil spirits: the common breathing is given the energy to break out and re-inscribe itself in the public memory, the ritual as a recipe for collective healing that not only points to the receding of the plague, but also attempts to soothe the violent gestures of the ban on breathing and the enforced forgetting of the It also attempts to heal the lasting cultural trauma left behind by the ban on breathing and the violent gesture of forced forgetting.

​Herbary: Co-respiration reconstructs and highlights a series of botanical anthropological images of hybridity and symbiosis in a digital environment, directing participants' attention to the commonality and necessity of plant respiration. Inspired by Indigenous shamanic prayers about nature and plants, the artist has drafted an ode to the healing of forgotten herbs, complemented by meaningful atonal music, in an attempt to portray the pervasive power of herbs in human history. Participants are encouraged to rediscover the porous nature of the body by focusing on their own breath and the breath of others: the exchange of fluids brought about by breathing, together with atmospheric water, points to an entanglement based on the hydrocommons; a polytonal ecology that cuts across multiple senses, blurring the boundaries between the body's interior, exterior, and the atmosphere, signalling an an inseparable and interdependent cross-population alliance.

At the end of the last century, Detroit music producer team Drexciya fictionalized the underwater race Drexciyans, believed to be the descendants of "thousands of pregnant African slaves who were thrown into the water along with dangerous cargo due to illness on a ship bound for the United States" and eventually acquired the ability to live under the sea.

This film references and expands this imagination, envisioning a future of technological advancement supported by artificial intelligence. Here, Drexciyans and artificial intelligence re-examine the recent history of mankind and once again refer to the political economy and the politics of representation in digital infrastructure and images circulation.

AI assists in the more efficient exploitation of resources while using them to meet the expanding infrastructure (computer clusters, storage devices, cloud computing devices, etc.) behind which planetary resource consumption, unfair African digital labor, and loud noise are deliberately hidden, continuing to shape the transparent and sanitized public image of computing technology. On the other hand, the way the sensor samples and the circulation of the image bring noise, and the compression algorithm determines the "blackness" part of the sacrifice is greater, the lack of more information, more distortion.

In Africa, many black workers are being subjected to low wages and great emotional exploitation, removing sensitive, violent and illegal elements from AI algorithms. However, until it was exposed by the white Western media, no one mentioned this part of the group. These black laborers, like those black infrastructure, have their faces and voices deliberately hidden in order to satisfy the pure and transparent imagination of artificial intelligence (this description with clearly fascist characteristics).

Further, Drexciyans questions the contemporary human definition of "representation," which makes clear and unambiguous images more popular and unambiguous images aesthetically and morally disadvantageous. The contemporary image world excludes the representation of black people in the name of technology, on the one hand, the backwardness of the film production and projection system on the African continent, and on the other hand, the shooting technology has been aimed at white people from the beginning and has failed to solve the problem of black identification. Drexciyans suspects that the Western film festival system has played a role. For a long time, these festivals have disparaged images of black Africa and directors from black Africa in terms of visibility. The guests on the red carpet are always noble white people. AI seems to be able to produce scripts about black Africans, but in various ways it deepens the exploitation of black Africans, and fundamentally, AI only takes blacks to the opposite of high-profile film festivals: transparency.