Leo Kadele creates post-technological icons. His work unfolds as a sequence of collapsing transformations in which no form remains stable for long. Performance becomes data. Data seeks to become an object. The object dissolves into a signal. A human operator desperately attempts to stabilize the signal as a message, yet the message cannot be sustained in a world where shared truths have fragmented. It collapses again, reappearing as an image. Kadele operates within these transitions, navigating the unstable space between body, technology, memory, belief, and cultural collapse. For the viewer, the work resists definitive identification. The artifact can no longer be reduced to a single object. It exists across a chain of transformations that continues long after the event itself. Naturally, the viewer gravitates toward the painting, which appears to be a classical, stable art object, recognizing in it the familiar promise of permanence. Yet painting, performance, text, video, artificial intelligence, and digital traces do not function as separate media but as temporary states within the same process. Each form emerges from the failure of the previous one. Together, they construct a temporary belief system, a ceremony dedicated to a god that does not yet exist. The painting becomes a device for transmitting possibility into the future. Around it, the collapse of forms begins again as fragments of a ritual shaped by the uncertainty of what comes next. Kadele is interested in states in which reality is still being negotiated. Wars, political conflicts, technological transformations, illness, religious movements, digital networks, and transitional societies are not subjects of his work but zones in which new forms of belief emerge. Rather than the safety of stable systems, he chooses the edges. The Balkans, India, Colombia, the internet, the dark web, and other spaces where old realities dissolve before new ones acquire a final form. Long-term exposure to such transitional states has gradually transformed him into a system of translation. As a result, he can recognize the same processes in war, political conflict, an AI prompt, a chance encounter on the street, or a family dinner. By inhabiting these "zones of the future," he gathers their conflicts, energies, and projections. Ritual translates them into icons, and the icons are launched back into the world as gods of the time to come Leo Katunarić Kadele visual artist, theatre director, and author whose work moves fluidly across the fields of visual art, performance, and media theory. Educated as a theatre director at the Academy of Dramatic Art in Zagreb, he has developed a multidisciplinary practice that spans painting, performance, installation, and critical writing. His projects frequently address the convergence of technological systems, spiritual frameworks, and the post-human condition. Kadele’s installations and performances often take the form of conceptual environments—altars, temples, or sanctuaries—where digital, human, and ritualistic elements collide. He is particularly noted for his long-term exploration of "post-techno liturgies," ritual-based performances structured around machine-human interactions. These works feature hybrid figures, real-time data, and objects like 3D-printed godheads, forming a speculative vision of belief systems in the digital age. Kadele has realized numerous projects worldwide, with exhibitions and performances in Japan, China, India, South Korea, Colombia, the United States, Germany, Greece, and across the Balkans. His practice is also deeply embedded in cultural production and research. He is the founder of KantunArt and MaxArtFest, platforms for experimental and interdisciplinary arts, and has held leadership roles at the Zagreb Youth Theatre (ZKM). As a theorist, Kadele is the author of several publications, including Artistic Performance in the Digital Culture (2022), Medea95 (2000), and The Return of Europe, a Cow (2007). He holds a PhD in contemporary digital performance dramaturgy from the University of Zagreb. Education 2021. PhD. Zagreb University Croatia. Thesis: Digital performance. 2015. - 2020. University of Zagreb. Faculty of Humanities and Social Sciences. PhD candidate. 1986. - 1991. Academy of drama art. Zagreb University. Croatia. Theatre director. MA. 1989. - 1990. Rector's Award Zagreb University, Croatia. Selected Exhibitions & Projects (2005–2025): China, Dafen Biennale – Re-create! (2025) Greece, Paxos Biennale – Our hope: Unstable gods (2024) Germany, Bremen/Berlin/Oldenburg – Mit kunst zu Kant (2024) Croatia, Museum of Contemporary Art Zagreb – Cancelled / Machine loves you! (2023) South Korea, Seoul, Pasa Festival – Unstable gods, erase us, please! (2022) Colombia, Bogotá – Trilogy Desaparecido (2018) Italy, Rome, Artrooms – Digital family (2018) China, Beijing Biennial – Representative of Croatia (2017) Japan, Tottori – Constructing a re-death machine (2013) Japan, Hiroshima – Cancellation project (2013) India, New Delhi/Varanasi/Dharamshala/Hardwar – Trilogy: A map to lose yourself (2010) Syria, Damascus, AllArtNow Festival (2010) Bosnia and Herzegovina, Sarajevo, Mess Festival and IPC Gallery (2010) Japan, Tokyo, Tokyo Wonder Site (2009) Croatia, Zagreb, Mimara Museum and Music Biennale (2009) Colombia, Bogotá, National University Museum of Art – Art is War! (2008) Germany, Berlin, Machinehaus (2005)