Laser, pvc panels, 2026

Chyron is part of a series of works investigating a speculative afterlife, first presented in 2026 in the solo show Obol at the Fondation d’entreprise Hermès in Tokyo. The piece functions as an electronic advertisement for the underworld. Its script scrolls like a news ticker from a kingdom of the dead: announcements, edicts, weather reports, and market updates. Hell, it turns out, has an economy—souls hyperinflate, grave goods are grossly overvalued, the End of Times has its own special discount. Ads, political slogans, and pop-culture narratives intertwine into a futurologic vision of the afterlife, in which capital has survived death.

Every civilisation produces ways of governing both present and otherworldly lives—through rites, myths, and iconographies. Chyron imagines the underworld as a contemporary, very-much-alive place, its broadcast both playful and solemn. Bitumen—a highly viscous petroleum substance once central to ancient funerary practice, now more commonly known for sealing ships—renders the mirrors into dark, reflective thresholds. The work becomes a passage between the worlds of the living and the dead, treating time as a viscous, hypnotic force.

The inflation of Hell Money is reaching new records.
Even God is suffering.

In today’s news, there has been no news.

Weather announcements: hot as hell.

12.000 civilian protesters are about to enter the underworld.
Please consider appropriate welcoming ceremonies.

Those who disappeared will reappear again.
Hungry for the recognition of their thirst.

The Office of the Missing Body Parts is currently on a sabbatical.
Please hold.