Natan Berkowicz - Kinomural

Natan Berkowicz – visual artist, video designer, and digital creator. A graduate of the Leon Schiller National Film School in Łódź. A creator of dark, heavily processed "anti-realities." In his work, he primarily uses the technique of multilayered image blending and digital collages, achieving the effect of visual afterimages. He explores the staging possibilities of AI, generative art, 3D, film, and photography. He has created visual designs for over 70 theater productions staged on major Polish and European stages (including Odéon-Théâtre de l’Europe in Paris and the Salzburg Festival). He collaborates with prominent Polish directors, including Krystian Lupa (The Trial, Capri – The Island of Fugitives, Imagine, Les Émigrants, The Magic Mountain), Jan Klata (Lazarus, The Act of Killing, A Midsummer Night’s Dream, Liberation, The State, Romeo and Juliet), and Agnieszka Smoczyńska (Simon Boccanegra, A Monster Calls). He also works with artists and major music festivals, for whom he produces music videos and concert visuals.

Negative Assembly

Negative Assembly is a catastrophic digital composition depicting a collective war-torn body suspended between life and death. It presents the aftermath of a clash — a rubble field of bodies, fragments of equipment, containers, and devices. A crowd of people arranged in irregular layers evokes archival images of mass graves, evacuation documentation, and reports from areas cleared of ruins.

Negative Assembly is a report from the end of collectivity — a digital self-portrait after disintegration. The titular “negative assembly” is not so much an inverted community as a relic of a mechanical order that has outlasted humanity. Bodies are still present, but meaning is no longer there. What remains is only motion in a loop — illusory, as if assembled from leftover data fragments from a drone, a machine, an image database.

The camera does not empathize, does not narrate. It records from above — impersonally, with technological indifference.

The work poses a brutal question: What still exists “after the war”? Are today’s images of catastrophe nothing more than variations of the same loop, endlessly updated?

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