• Lately I have been thinking about exorcisms and Tik Tok

  Lately I have been thinking about exorcisms and Tik Tok, 2021. Part of Net//Work Digital Art Residency, Wysing Arts Center and British Council.

• Simon Speiser, ‘Piña Why is the Sky Blue?’, 2022, in collaboration with Stephanie Comilang, still image.

  Simon Speiser, ‘Piña Why is the Sky Blue?’, 2022, in collaboration with Stephanie Comilang, still image.

• Gabriella Hirst, Force Majeure, 2016. Single channel video, 15 minutes. Film still.

  Gabriella Hirst, Vigilance, 2018. 16 mm film, ceramic vessels, Queen of the Night Plants. Photo: Gabriella Hirst.

  Gabriella Hirst, Vigilance, 2018. 16 mm film, ceramic vessels, Queen of the Night Plants. Photo: Gabriella Hirst.

• Dennis Dizon. hotboxx. 2023

  Dennis Dizon, Hotboxx, 2023. Installation view from CARPARK. Berlin, Germany.

• Doreen Chan,  HalfDream, Dream Time.

  Doreen Chan,  HalfDream, Dream Time, installation shot at UCCA Beijing, 2024.

• Anna Costa e Silva, Tamagotchi Balé

  Anna Costa e Silva, Tamagotchi_Balé, 2021. Photo: Fabian Alvarez

• Xin Liu, The Cradle, 2024, Silicone, bronze, aluminium, customized cooling system, 133.3 × 97.8 × 11.4 cm_1

  Xin Liu, The Cradle, 2024, silicone, bronze, aluminium, customized cooling system, 133.3 × 97.8 × 11.4 cm

• Picture1

  ‘Higher Resolution’, 2019, Tate Exchange, Tate Modern. Image Courtesy of Hyphen-Labs.

• Mad World

  Mad World: The Politics of Mental Health, 2023. Part of Outspoken by Pluto Press. Image courtesy of Edi McGurk.

• War List CODEX

  Web Interface view, War List CODEX, 2023, Online Database and web-based installation. Cruel Radiance, Backlight Festival 2023, Tampere Art Museum, Galleria Saskia, Tampere, FI. Photo courtesy of the artist.

• 2

  Aracha Cholitgul, Moving Images of Stones on the Island_March2023, pencil and ink on paper, wooden frame, glass, 47.4 x 62.2 x 3.5 cm, 2023

Winter 2024

science_technology_society seeks to support contemporary interdisciplinary approaches that consider, intervene in, and speculate on the world in which we live and its possible futures.

The third season of science_technology_society explores how emergent technologies complicate our understanding of mental well-being. The season probes the potential for intersecting art, science, and technology to reimagine mental health support, justice, and pride.

We live in a time in which mental suffering appears to be both increasingly profound and ever-proliferating. It is common to hear arguments about how the development of digital technologies has exacerbated our mental health crisis — as they drastically shape our sense of self, social relationships, as well as living and labouring conditions. However, those same technological advances are often held up as offering solutions, including opening up new possibilities of forging connections, building support systems, and addressing marginalised needs.

Against this fast-evolving socio-political, technological, and discursive backdrop, the winter 2025 residency season at Delfina Foundation invites practitioners to depart from the following questions: how could we re-examine the conceptualisation of ‘mental health’ today? What new mental landscapes could we envision? What forms of radical Mad knowledge and structures of care could we produce?

International residents

UK associates