Mit Borrás | Visual Artist

Hermes. By Mit Borras. Adaptasi Cycle. Art Director Rachel Lamot. Perfomed by Elan Dorphium. 2025

Madrid-born artist and director Mit Borrás builds his practice around the multilayered intersections of body, technology, and mythology within a post-human reality. At his Berlin-based independent production space, CAVVE, he creates cinematic installations, performances, and video works shaped by media-driven rituals. Blending transhumanist theory with spiritual ergonomics and contemporary mythologies, Borrás develops a distinctive visual language that unites hyper-modern prosthetic aesthetics, shamanic narratives, and rave culture. Through his work, he explores human transformation — both technological and emotional.

As we wandered through the boundaries of his artistic practice, we spoke with Mit Borrás about his creative process, sources of inspiration, and vision for the future.

Interview: Onur Çoban

Who is Mit Borrás? Can you briefly tell us about yourself? 

I’m Mit Borrás, a visual artist based between Madrid and Berlin. My career started in the Netherlands and then I went to Berlin, where I eventually settled and shaped completely my artistic identity. Over time, I’ve realized that no matter where I am, Berlin remains my emotional and creative core. Clearly my practice revolves around video art, film, and performance, which I combine with installation, sculpture, and object design. I’ve always been fascinated by  cinema, design and music — since childhood — and that fascination naturally led me to create a language where video and performance merge as my primary forms of expression. I see video art as the most powerful medium to reflect our era, and combining it with performance gives me a complete, fluid way to communicate ideas.

The daily routine begins with yoga frequently, then I head to my studio, CAVVE, an independent space I founded, which functions both as a workspace and an institution. It’s like a sterile, futuristic cave — aseptic yet surreal — where I experiment surrounded by electronic music, screens and ergonomic and futuristic prosthetic objects. CAVVE is dedicated to the production of transdisciplinary contemporary art projects, focused on performance, media art, and film. My work often explores the connections between transhumanism, cyborg theory, and the evolving relationship between humans, nature, and technology — always with an anthropological approach.

Mit Borras. Cavve 2025

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"My body of work reflects on the symbolic and emotional structures of postmodernity: the rituals of progress, the role of technology, spirituality, and the dissolution of the human figure into the post human. I find deep joy in sublimating those ideas into immersive installations, audiovisual pieces, and performances."

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Beyond my artistic work, I also take on curatorial projects, collaborate with festivals, contribute as an art writer, and give masterclasses and talks. These parallel roles allow me to expand the dialogue around media art and its intersections with science and philosophy — and they also feed back into my own practice with greater freedom.

How would you describe your practice? 

I would describe my practice as surgical, ergonomic, futuristic, spiritual, postnatural, uncanny, techno, and monstrous. At its core, it functions as an anthropological study of human behavior — a radical sublimation of what I perceive to be the essence of who we are, what terrifies us, and what seduces us.

Hermes. By Mit Borras. Adaptasi Cycle. Art Director Rachel Lamot. Perfomed by Elan Dorphium. 2025

My work investigates the evolving relationship between humans, technology, and nature. I explore how we adapt, transform, and reinterpret reality in an era defined by acceleration and abstraction. This leads me to reflect on the symbolic systems we create — not just to understand the world, but to reprogram it.

My approach is deeply rooted in transhumanism and post-naturalism, which influence everything from conceptual research to the aesthetics and staging of my exhibitions. Some of the themes I explore include symbiosis (both ontological and anthropological), robotics, prosthetics, body modification, and the performative culture of wellness and mindfulness.

At the same time, my practice draws from botany, geology, and the spiritual links we maintain with nature — from animism, shamanism, and mysticism to contemporary rituals like yoga, electronic music, and rave culture. These forms, both ancient and hypermodern, often point to the same obsession: youth, transcendence, and the idea of eternity. Ultimately, my work seeks to build new mythologies — immersive, posthuman landscapes where technology and the body blur into one entity, reflecting the spiritual anxiety and ecstatic potential of our time. The entire body of work might embody a limbo—a pantheon radiating an atmosphere of uncertainty, suspended hope, unsettling beauty, and the presence of beings, monsters, and phantoms from both the past and the future.

The Media I Use: Video art, digital works, media installations, sculpture, and performance in a transdisciplinary manner. The Elements in My Work: Ergonomics forms, pastel colors, soft textures, natural and synthetic materials, elastic and sensual qualities, electronic music, techno, drone, dark ambient, and ASMR (sound is crucial to my work), smooth and perpetual motions, tracking shots, and choreographies inspired by geological tectonic shifts and spiritual dances. The landscapes I depict often feature dystopian settings, where natural elements are taken to the extreme of desolation, resembling structures of organic shapes—cozy yet sterile, with a distinctly antiseptic appearance, akin to soft caves. The goal is to create a portrait of the zeitgeist, the present, by investigating it, exploring the past through mythology and most importantly, while speculating on the future. My work is concerned with constructing a hypothetical and speculative folklore and mythology of the future—an alternative timeline and limbo.

Mit Borras. Adaptasi Cycle. Rave. 2024

Can you tell us a bit about the design and production process in your work? 

My work begins like a thesis — grounded in clear conceptual intentions. Each piece is the result of a dialectical process between research and creation, where I deepen an ongoing discourse rather than start from zero.

In the studio, I spend a lot of time collecting and archiving objects that resonate with my aesthetic and conceptual world: ergonomic designs from the wellness industry, sportswear, prosthetic devices, exoskeletal accessories, and also natural elements like bones, minerals, and plants. I build formal and symbolic relationships between them — and these become the physical vocabulary that later appears in my installations, videos, and performances.

Simultaneously, I work digitally: editing films, designing soundscapes, and staging sets in my studio or on-site. The production process is both cinematic and sculptural — a kind of ritual choreography involving electronics, lights, drones, synthetic fog, custom costumes, and performers. When I shoot outdoors, I often work alone in remote or extreme landscapes — volcanic zones, tropical forests, or abandoned technological facilities — places that blur the line between the natural and the posthuman.

Which of your works has excited you the most in terms of the design process and the final product?  

The project that has most excited and shaped me is Adaptasi Cycle, my most internationally exhibited and expansive body of work. I've been developing it over the past eight years with a growing circle of collaborators, including creative director Rachel Lamot, composer Daniel Vacas Peralta, and a powerful team of performers and technicians. We’ve worked with robotic animals, androids, drones — always pushing toward a new kind of cinematic ritual that merges body, technology, and myth.

Adaptasi Cycle. Mit Borras

Adaptasi premiered at the Centre Pompidou and has traveled widely, but more than any exhibition, what stays with me is how much I’ve learned from it — especially through collaboration. It’s a work that continues to grow, teach, and demand.

Can you tell us a little about the sources of inspiration behind your work? 

My work is deeply rooted in continuous curiosity and research. I draw inspiration from a wide range of fields — botany, biomechanics, robotics, and especially the transhumanist perspective that questions what it means to be human today.

I’m fascinated by the interplay between organic life and technology, and how this relationship shapes new forms of existence. This interest leads me to explore a dark, neo-romantic world of ghosts, monsters, and myths, where ergonomic prosthetics, techno music, and postnatural organic forms coexist.

Books on mythology, philosophy, anatomy, and science fiction fill my studio, alongside clinical synthetic objects, plants, minerals, and everyday consumer artifacts that map our contemporary reality. Spiritual practices such as Shintoism, Buddhism, Hinduism, and shamanism also inform my work, especially their rituals and symbolic connections to nature. A vital dimension of my research is the fluidity of gender identity and human perception, shaped by thinkers like Donna Haraway and Paul B. Preciado. Their work on cyborg theory and the social construction of identity feed directly into my artistic investigation.

TRAILER. Heavven. Adaptasi Cycle. Mit Borras

One of the most pivotal moments in my practice was discovering an Indonesian volcano, which inspired the project Adaptasi — meaning adaptation — where I encountered nature’s astonishing mechanisms of survival and transformation. Mycelium networks, symbiotic trees, mutant flowers, and insect metamorphosis became metaphors for resilience and change, perfectly illustrating the themes I explore.

All these influences converge in my work to create immersive experiences that challenge our understanding of identity, nature, and technology — inviting viewers to reconsider what it means to be human in a world constantly reshaped by adaptation and transformation.

Who are the names you follow with curiosity in this field or in different disciplines?  

I’m deeply fascinated by art in all its forms and consume a vast range of cultural expressions. In cinema, I’ve always been influenced by horror and sci-fi classics — from David Cronenberg and John Carpenter’s The Thing to Japanese cyberpunk like Tetsuo and Akira. Koyaanisqatsi and the mesmerizing compositions of Philip Glass profoundly changed my perception of audiovisual storytelling. 

In video art, Matthew Barney was a monumental figure for me — almost like a mentor — alongside Bill Viola. Of course Cremaster Cycle’s sound world by Jonathan Bepler is there. I continue to admire current Matthew Barney’s groundbreaking work, however, today I feel closely aligned with artists like Anne Imhof and Eliza Douglas, whose iconic practices continually challenge the world in a very precise form. Other contemporary artists I follow include Hito Steyerl, Jesper Just, Mariana Simnett, Stine Deja, Ivana Basic, Tian Mu, Wai Kin (aka Sinfor Victor), Klara Hosnedlova, Geumhyung Jeong, Cecile B Evans, Timur Si-Qin, Harriet Davey, Ayoung Kim, and Jordan Wolfson — a vibrant community of creators blending art, design, and performance.

Mit Borras. Lyra. The Oracle. by Mit Borras. Performed and Choreaogrtaphed by Ulrico. Installaiton Creative Director Rachel Lamot. 2025

Fashion also deeply influences me. Demna Gvasalia’s disruptive vision at Balenciaga is a game-changer in contemporary culture. I’m captivated by Gentle Monster, Craig Green, Rombaut, Éamonn Freely, Janine Grosche, Gozzilah Kyoyamyame, Vetements, Red Eye Magazine, Rains, Alessandro Michele’s work at Gucci, and the magical Rick Owens SS25 collection at Palais de Tokyo.

Among the most impactful moments in my artistic journey was the 2016 Berlin Biennale curated by the collective DIS — a true inflection point in contemporary art history for me. I’ve also been deeply moved by collaborations with musician and composer Keiichiro Shibuya, the contemporary dance group La Horde, as well as artists like Christiane Peschek, Sara Sadik, Lu Yang, Johanna Jaskowska, and Isabelle Andriessen. Music creators such as Helene Vogelsinger, Ernst Lima, and Loscil inspire me with their unique approaches to sound and object design.

Outside the arts, I find inspiration in science and philosophy: the biologist Merlin Sheldrake, roboticist Professor Hiroshi Ishiguro, and philosopher Judith Butler — all of whom shape how I think about life, identity, and technology.

Adaptasi Cycle.Mit Borras

Are you excited for the future? What are your plans? 

Yes, very much so. The future feels like a vast, open horizon full of creative possibilities. After nearly a decade, I’m putting the final touches on Adaptasi, preparing it for a grand premiere in cinemas and museums, with journeys to Japan and Seoul on the horizon. Alongside this, I’m completing a deeply personal and mysterious film/art piece shot in Japan with an extraordinary android named Alter4, and amidst the stark beauty of Iceland’s landscapes. Two years of post-production have shaped what I believe is the most beautiful and profound work of my career—soon, its story will be shared with the world.

Musically, I’m releasing an album of my electronic compositions, while Dani, the composer of Adaptasi, readies the Adaptasi Cycle soundtrack—music that pulses through our shared creative universe.

Currently, I’m immersed in writing and crafting new pieces in my Madrid studio, while winter calls me back to Iceland. There, I plan to film performances among towering icebergs and frozen fjords—an exploration of the raw, elemental forces that shape both nature and the human spirit. This journey will be an artistic pilgrimage into the sublime, where the fragile beauty of ice meets the eternal rhythms of adaptation and transformation. Right now I’m developing new work in my Studio, eager for the next creative chapter.The future is a luminous mystery, and I welcome it with open arms, a dark soul, curiosity, and unwavering passion.

Full Credits:

Works by Mit Borrás | Creative Director Rachel Lamot | Music Daniel Vacas Peralta | Written by Mit Borrás and Rachel Lamot | Performers Elan D’orphium, Weixin Quek Chong, Ray La’Vord, Marta Casado, Ana Calcedo, Rachel Lamot, Double Robot, A1 Robot, Oliver Robot, Juan Pérez, Mireia Ballesteros, Manuel Escorihuela, Rosa Alarcón, Warriors Cheerleaders | Ulrico | Photography Mit Borrás | Robotics Casual Robots | Special Fashion Design Path by Janine Grosche, Kim Rosario | Drone Yueqiang Liu Zhang | Make up FX Harpo, Eloy Noguera, Ana Cuéllar, Andrea Méndez, Andrea Sánchez | Prosthetics Mobilis, Ottobock | 3D Prosthetics Ayudame 3D | Robotics Design Unitree, Canbot | Special Architectures Zaha Hadid, Kathryn Findlay, Puerta de América, Sabrina Amrani Gallery, Exgirlfriend Gallery, Cavve Pavilion | Umbrales Dagoberto Rodríguez | Sound DJ Soviet Gym, Rachel Lamot | Birds Emociones al vuelo | Clinic Department Relevium, Gomez Bravo | Oracle Choreographed and Performed by Ulrico | Stiftung Kunstfonds Bonn Neustart Kultur | Produced by Cavve | © Mit Borrás. All rights reserved.