Lena Bergmann is like a ghost.
The artist, better known by her artist name „Lichtgeist,“ was born in Leipzig in 1988. From an early age, she showed a fascination with light and technology, which she deepened during her studies in media art at the Academy of Visual Arts Leipzig. After graduating in 2012, Lena began creating guerrilla-style installations in abandoned industrial buildings and public spaces under the pseudonym „Lichtgeist.“
Her works, often combining light, electronics, and found objects, address the fusion of humans and technology as well as the effects of consumer behavior on our society.
One striking artwork, titled „Digitale Hüllen,“ serves as a powerful critique of modern consumer society and the increasing digitalization of our lives. The installation presents an oversized, luminous mannequin situated in a long corridor. Its upper body is clad in a tight-fitting, red top, while the lower body dramatically disappears into an expansive mass of fairy lights and electronic devices.
Lichtgeist’s work consistently comments on the intricate relationship between humans and technology. To me, the tight red top might represent how technology shapes our appearance and behavior. The large, glowing skirt, replete with embedded digital devices, could symbolize how digital elements have become an inextricable and significant part of our lives.
The corridor setting, with its repetitive lighting, suggests a structured, controlling environment that guides and potentially limits our movements. This may reflect how technology influences our daily paths and even our (non?)choices. Lena’s pieces invite viewers to consider how deeply technology has integrated into human existence, blurring the lines between the physical and digital worlds. It raises profound questions about identity and authenticity in an age of increasing technological dependence.
Or maybe it all doesn’t, because all of the above—plus the hypothetical photograph—were just a figment of my imagination. Because Lena Bergmann is a ghost.