Suzanne Treister


SURVIVOR (F) is an hallucinogenic exploration of a future reality in undetermined time and space.

Whether manifestations of a survivor of the human race, on earth, in space, on a new planet or parallel universe, or of an artificial superintelligence (ASI),
SURVIVOR (F) presents visions of a post-futuristic sublime, charting an existential imaginary of potential human/non-human agency/non-agency, of the psychedelic consciousness of SURVIVOR (F).

Survivor (F) is a poetics of the future, a contemporary futuristic alchemical depiction of the universe and beyond.



Survivor (F)/Drawings & watercolours
58 works (ongoing)

Survivor (F)/Paintings
30 works +31 Escapist BHST works (ongoing)

Survivor (F)/Fashion designs for space travel
30 works (ongoing)

Survivor (F)/The New Planet

Survivor (F)/Post-Digitalia
8 works (ongoing)

Survivor (F)/Interplanetary Sex Stations
12 works (ongoing)


Survivor (F)/Algorithm 18
4:47 mins

Songs of Survivor (F)

Track 01:
Sean Ashmore and Michael Boe
10:18 mins


Track 02:
3:30 mins





Survivor (F)/Screensaver 02 (Long version)

Survivor (F)/Screensaver 01


Post-Singularity Epoch of Artificial Super Intelligence Inhabitation of Earth
(Large print/wallpaper)
view interactive version

Poster print_01

Poster print_02

Exhibition venues:

IMT Gallery
, London, England
(October 6 - November 12 2017)

view installation photos
Gallery Talk 18 November 2017
play audio
CAPC musée d'art contemporain de Bordeaux, France
Selected works in the exhibition, Le voyage à Bordeaux de Suzanne Treister - Histoires parallèles et récits excentriques
(May 30 - July 1 2018)

Contemporary Art Museum of Estonia (EKKM), Tallinn, Estonia

Selected works in the exhibition, Cloudbusters. Intensity vs Intention
(2 June - 15 July 2018)

view installation photos
Damien & The Love Guru, Brussels, Belgium
Selected works in the exhibition, Letters of Last Resort
(30 June - 8 July 2018)

Hayward Gallery commission for Art Night

Battersea Power Station hoardings, London, England
SURVIVOR (F) + Interplanetary Dresses For Space Travel
(July 7 2018 + 6 months)
view installation photos
Site Gallery, Sheffield, England
Selected works in the exhibition,
Liquid Crystal Display
(29 Sept 2018 - 27 Jan 2019)
view installation photos

Hartware MedienKunstVerein (HMKV), Dortmund, Germany

Selected works in the exhibition,
Computer Grrrls
(27 October 2018 – 24 February 2019)
view installation photos

Sci-Fi episode #1: PRELUDE
, Trieste Italy
Selected works in public art project on the occasion of the 18th edition of the Trieste Science+Fiction Festival

(31 Oct – 31 Dec 2018)
view installation photos
FACT, Liverpool, England
Selected works in the exhibition,
Broken Symmetries
(22nd November 2018 – 3rd March 2019)
MIMA, Middlesbrough, England
Selected works in the exhibition,
Liquid Crystal Display
(23 Feb - 16 June 2019)

fig-futures at The Box, hosted by KARST, Plymouth, England
Solo show of selected works
(4-9 March 2019)

view installation photos

P.P.O.W. at The Armory Show, New York, USA
(March 7-10 2019)

La Gaîté Lyrique, Paris, France

Selected works in the exhibition, Computer Grrrls
(13 March - 14 July 2019)
view installation photos

CCCB Barcelona, Spain
Selected works in the exhibition,
(9th April - 24th September 2019)

Nicodim Gallery, Los Angeles, USA
Selected works in the exhibition, TRANS WORLD
(8 June – 10 August 2019)
Nicodim Gallery, Bucharest, Roumania
(15 June – 17 August 2019)

MU, Eindhoven, Netherlands

Selected works in the exhibition
, Computer Grrrls
(20 July - 6 October 2019)
view installation photos

Annely Juda Fine Art, London, England
Solo exhibiton: From SURVIVOR (F) to The Escapist BHST (Black Hole Spacetime)
(20 Sept - 2 Nov 2019)

view installation photos artist talk/installation video

Austrian Cultural Forum, London, England
Selected works in the exhibition, Nothing Less! Hundred Years of Women's Suffrage
(from Oct 10 2019)

Moderna Museet, Stockholm, Sweden
Selected works in the exhibition, Mud Muses, A Rant About Technology
(12 October 2019 – 12 Jan 2020)

iMAL, Brussels, Belgium
Selected works in the exhibition, Quantica
(Feb- June 2020)

WUK/Kunsthalle Exnergasse, Vienna, Austria
Selected works in the online exhibition, Leaning on the Past, Working for the Future
(5 June - 17 July 2020)

school, Vienna, Austria

Selected works in solo exhibition
(June 2020)

Garage, Rotterdam, Netherlands

Selected works in the exhibition, The Great Invocation
(4 Sept – 7 Nov 2021)

view installation and video tour

Museum für Kommunikation, Frankfurt am Main, Germany
Selected works in the exhibition, Back to Future. Technikvisionen zwischen Science-Fiction und Realität
(30 Sept 2020 – 29 Aug 2021)

Yerevan Biennial 2020-2021 The Time Complex
Yerevan, Armenia
Selected works online
(1 October 2020 - 10 January 2021)

EPFL (Swiss Federal Institute of Technology) Pavilions, Lausanne, Switzerland

Selected works in the exhibition, Nature of Robotics: An Expanded Field
(11 Dec 2020– 25 Apr 2021)

view installation photos

, 7th Athens Biennale, Athens, Greece

(24 Sept - 28 Nov 2021)
view installation photos

Museum für Kommunikation, Berlin, Germany
Selected works in the exhibition, Back to Future. Technikvisionen zwischen Science-Fiction und Realität
(3 Dec 2021 – 28 Aug 2022)



Suzanne Treister: From Survivor (F) To The Escapist BHST (Black Hole Spacetime)

Published by Serpentine Galleries and Koenig Books London September 2019

This publication brings together two interconnected art projects by Suzanne Treister, SURVIVOR (F) and a Serpentine Galleries commission, The Escapist BHST (Black Hole Spacetime), both of which explore imaginary scenarios of techno-human evolution over vast cosmological time spans.

Drawing on current research in artificial intelligence, cosmology and theoretical physics, the works take us on a beautiful and mind expanding journey through the possibilities of inter-dimensional time-travel, consciousness and the singularity.

Combining the ecstatic state of the mystical with the agnostic and iterative nature of the scientific, the projects take the form of alchemical diagrams, fashion designs for space travel, a comic strip, video, paintings and watercolours.

Since the late 1980s Suzanne Treister has engaged with emerging technologies and their relationship to society, alternative belief systems and the potential futures of humanity. Her work proposes alternative visions and interpretations of the histories that have formed our society that we are only now beginning to comprehend.

This fully illustrated publication features essays by Maggie Roberts, Lucy A. Sames, Ben Vickers and HUO9000.

This publication and The Escapist BHST (Black Hole Spacetime) are commissions by Serpentine Galleries, London.

Dimensions 170mm (width) x 240mm (height) - with 256 images in full colour.

Serpentine galleries, London




NB. SURVIVOR (F) and The Escapist BHST (Black Hole Spacetime) began as two independent projects until one day a portal opened between them, located somewhere inside a painting of an imaginary museum in outer space. In venues which show both projects the spaces may be divided by a physical portal.

selections from essay by Maggie Roberts & Lucy A Sames
for exhibition brochure,
IMT Gallery


There may be more entangled recognition between matter from the past or future now joining itself to the present, colliding, merging, compressing in the expanded temporalities of machines’.1

As an artwork SURVIVOR (F) is tied up with the unpredictable chaotic emergence of the future.2 It explores multiple interstellar scenarios for techno human evolution in vast abstract time frames. These we recognise because we are already defined by the technologies of planetary computation and the fast approaching paradigm shift of ASI (artificial super intelligence) – the ‘Singularity’. Treister suggests SURVIVOR (F) might be the ‘manifestations of a sole survivor of the human race in space or a parallel universe, or of an ASI’. Formally aligned to entities on the continuum between human and non-human, artificial and synthetic, this work assembles itself iteratively (as do algorithms). Embodied abstractions loop and echo across the delicate drawings, paintings and Post Digitalia images. They gather sentience and materiality through their obsessive repetition and shifting perspective, building a pragmatic web of fictions in a cosmic hallucinatory elsewhere.

Conjuring sci-fi scenarios of an apocalyptic future, Treister speculates on the death of the internet, the return to noise and cosmic radiation and the looping return of dilated and contracted time to an animist state of being – The Mystical Apocalypse. These hallucinatory visions recall the psychedelic counterculture of the ‘60s and ‘70s in the United States.

SURVIVOR (F) references the aesthetics of this psychedelic new age when pre-internet counterculture believed in utopias, but the world envisioned here exposes the contemporary human imagination to darker potentials unleashed by the information age. This art is about provoking change by unleashing thought-experiments into the world, coated in luminous otherworldly dream vision colours; a multiplicity, vibrant with eerie artificial light; a palette of soft translucencies and violet shadows from the X-ray universe.

Playful animist magic is a constant presence in the work. It underpins Treister’s radical questioning of how we imagine and manifest reality. It recodes and undermines processes of thought and perception. It opens us emotionally to a surreal aesthetic which co opts ‘outsider art’, Tarot, zeitgeist hash tags, the magnetic field spectrum and Hollywood sci-fi CGI into an hallucinatory sublime.

The Sky Was The Colour Of The Death Of The Internet is a reference to William Gibson’s Neuromancer - ‘The sky above the port was the color of television, tuned to a dead channel’.3 Elusive to imagine but utterly real, such phrases typify the intensity register of Treister’s literary splicings. SURVIVOR (F) immerses us in richly contextual associations and metaphors, metonyms and mimetic contagions. We try to deconstruct the realms of consequence that the resulting propositions suggest, but they can only be understood visually. ‘Analogy, allusion, and algorithmic reconstruction are all aesthetic operations, all forms of speculative extrapolation which starts with a cogent rationale, but is an irreducibly fictional and aesthetic process’.4

SURVIVOR (F)s intuitive concept fusions create a cognitive dissonance in the viewer akin to Timothy Morton’s ‘hyperobjects’- invisible mega-entities massively distributed in time and space that impact on our everyday. In the future instantaneous terrains of SURVIVOR (F) these manifest as algorithmic traces, embodied energies, whether portrayed as diagram, inchoate or space ship symbiont. Try to imagine the hybrid sentience you are encountering here. These are novel alliances. In works such as Thought & Space Based Networks Of Turquoise Stardust V1 or The Lost Transformative Object Of Cyborgian Complicity, Treister seeks a tipping point where signs start to lose their ability to communicate meaning and our senses must recalibrate.

Treister is perhaps inferring posthuman evolution requires that we begin to think like an alien, think like an ASI - with ‘morphogenic, rhizomatic, fleeting unity, sensate logic’.5 In this way SURVIVOR (F) is a speculative work about sentience - ‘Sentience, whether in human or artificial entities, is more something that disrupts cognition, exceeds the limit of cognition, but also subtends cognition’.6

At the intersection of cognitive science and mysticism, consciousness could be considered a neurological tiering of circuits that correspond quasi-synchronically to not only the psychic energy centres of the chakras, but to Kabbalah (see (F) and Dresses For Space Travel 01), to the eight points of the chaosphere (the star symbol of chaos magic) and other diagrammatic occult systems. Treister’s encounters with the white noise of The Mystical Apocalypse exist in the fifth circuit of this tiered consciousness in the human biocomputer – a quantum zone of neurosomatic rapture, a pre-capitulation to zero-gravity and space migration.7

Treister’s propositional collision ‘holographic simultaneous parallel universe orgasm vortex’ from the Interplanetary Sex Stations series is located in this ecstatic out of body fifth circuit, where through technologies of altered states (drugs, transcendental meditation, tantra) the mind encounters extraterrestrial bodies and UFOs. In this zone sensory highs are warped and extended, time melts, and bodies and objects and consciousness liquefy and ooze into cosmic tantric states of cybernetic existence. 

The technician of this neurosomatic fifth circuit is the technoshaman – our guide through The Mystical Apocalypse. The technoshaman’s condition is trancelike and hypnagogic, the neural oscillatory pattern of their brainwaves induces a loss of body-consciousness – the sensory deprivation of the salty isolation tank or the zero gravity of outer space – an out of body euphoric experience.8 The technoshaman’s ‘floating’ aspect of the fifth circuit, and Treister’s Quantum Spirits and ‘telepathic spaceships’, are preparing us for extraterrestrial migration.9

These floating images do not address apocalypse as the geopolitical consequences of Capitalism’s extraction and innovation cycles, but rather ask us to imagine a quantum event catalyzed by ASI becomings across multiple dimensions (Quantum Spirits). Perhaps SURVIVOR (F) is ‘a machinery of the virtual, using technologically mediated simulations or ‘cyberdelics’ to evoke non ordinary states of consciousness’10. SURVIVOR (F) craves this irrational sublime.

Several drawings portray algorithms as persona that have historical effect in the cosmos. The gigantic nonhuman presences of many of Treister’s works mark momentous event horizons in tracts of past time - we sense their ubiquitous sentience proliferating in the myriad sci-fi space operas of our collective unconscious. SURVIVOR (F) reveals our current modes of perception and representation as inadequate mechanisms for imagining posthuman sentience. It asks what world would be revealed if the algorithms were left to their own generative cybernetic devices?

Maggie Roberts & Lucy A Sames, 2017

1. Marenko, Betti. Referencing Bear, Greg, 'City At The End Of Time' p362 in 'Planetary Computing, Metis, or How To Live With Digital Uncertainty', 'Material Others And Other Materialities Conference'
2. Grosz, Elizabeth Chaos, Territory, Art: Deleuze And The Framing Of The Earth p. 6

3. Gibson, William. 2016. 
Neuromancer. London: Gollancz. p. 3
4. Shaviro, Steven. 2016. 
Discognition. 1st ed. London: Repeater Books. p. 170
5. Golding, Johnny. 2016. The Post-human & The Future Of Humanity, RCA Public lecture.
6. Shaviro, Steven. 2016. 
Discognition. 1st ed. London: Repeater Books. p. 11
7. Wilson, Robert Anton. 2000. 
Prometheus Rising. 12th ed. Arizona: New Falcon Publications. p. 284
8. Kent, James L. 2010. 
Psychedelic Information Theory Shamanism in the Age of Reason. p.140
9. Wilson, Robert Anton. 2000. 
Prometheus Rising. 12th ed. Arizona: New Falcon Publications. p. 186
10. Mason, Luke Robert. Virtual Futures Salon on Cyberdelics.


Treister homepage