On the other hand, there is Opera Medica, a three-channel installation presenting a splatter-style video set in an operating room. This time, however, the work becomes a kind of liberatory exercise, a queer inversion of the oppressive medical dynamics to which a trans body is socially and bureaucratically subjected. Agnes Questionmark emphasizes that transhumanism has a negative connotation, as it tends to uphold the idea of a healthy, white, affluent body, excluding—and failing to tolerate—non-conforming bodies. According to the artist, technology and transmedicine, while ostensibly enabling trans individuals to achieve their identity, become systems of control reinforcing exclusionary and discriminatory dynamics. In the video, Questionmark assumes the role of a physician, reclaiming the scientific narrative through sci-fi.

From this perspective, the surgical scene is not merely an image of violence or domination but also a potent metaphor for resilience and liberation, where the gaze becomes an act of symbolic rebellion. The transgender body thus becomes an emblem of a relational ecology that challenges oppressive logics. It is not merely an object of scientific control but an active subject reaffirming its place within a network of shared meanings. This exhibition is not just an exploration of power but an invitation to rethink relationships, identities, and the possibilities of the body, embracing a radically interconnected vision of the world.