Here, the “like” ceases to be an ephemeral gesture and becomes an absolute state: a total like that overflows the virtual space and materializes in the physical environment. Screens are pierced and transformed, remaining as vulnerable bodies that carry a post-digital energy. In this performative action Image Hunting¨ the gesture of shooting arrows at screens becomes an act of liberation: a physical attempt to perforate the perfect surface of the image and restore its body.

HYPER LIKE emerges as a mutation of the project Image Hunting, first presented on February 13, 2025, at Sala Amadís (INJUVE, Madrid). The work reflects on hyperconnectivity and the desire for digital approval.

The installation operates as a phygital ecosystem, where the digital and the material merge until they become indistinguishable. The hyper-like is not merely affirmation: it is excess, collapse, and fracture. In its saturation, the image ceases to represent and becomes presence. The gesture of “liking” is radicalized until it breaks the interface and reveals its internal structure: cables, light, electricity, noise.

From a low-tech sensibility, Leo Pum proposes a reappropriation of technology: dismantling it, manipulating it, and returning it to its tactile dimension. In contrast to the polished immediacy of the digital, error, residue, and friction emerge as new forms of sensitivity.

HYPER LIKE proposes a space of contemplation after overexposure, a zone where digital desire is embodied, eroded, and transformed into matter. A contemporary ritual that observes how, in attempting to touch the image, we ultimately dissolve into it.

— Diego Iglesias