Worlds where you don’t just watch, but take part
During BredaPhoto 2026 , we spoke to Hana Omori, co-founder of Keiken. She founded Keiken with a number of fellow students more than ten years ago. The collective now creates immersive installations and digital worlds where technology, gaming and art come together.
Cherishing who we are
In Morphogenic Angels: Chapter 1, Keiken takes you into a post-human future. In this world, humanity has evolved so far that it no longer resembles the humans we know. As a participant, you move through this world and gradually discover more about the beings who inhabit it. In this radically transformed world, the characters are searching for something fundamental: who they are.
“We must always evolve and change, which is why we must remember carefully what we want to cherish.” - Hana
That is how the work connects with Our Songs Came Through, the theme of the twelfth edition of BredaPhoto 2026 , Hana explains. This year, the festival explores how people deal with change and difficult circumstances, and where resilience, comfort and hope come from.
Don’t just look, experience it
“Those who visit our work do not remain at a distance. You literally step inside the installation and become part of the world.” That is no coincidence. The name Keiken comes from the Japanese word for ‘experience’, and that idea forms the basis of their work.
The collective is constantly looking for new ways to allow visitors not merely to see something, but to experience something. Gaming fits into that almost naturally. A player decides for themselves where to go, what to discover and how to relate to a digital world.
This way of working makes the boundary between artwork and game increasingly smaller. “It would certainly be one of our dreams to make a game, so that people can experience our art at home. Not only as part of an exhibition or festival, but simply at home too.”
From digital worlds to the Mastbos
For now, Morphogenic Angels is still part of BredaPhoto. And it is precisely the way the festival spreads throughout Breda that appeals to Keiken. “It is wonderful to see that art is not confined to a single exhibition space.”
Hana herself has since explored more of Breda. One place in particular made an impression: the Mastbos. She was especially surprised that such a large natural area lies so close to the city. A place that feels almost like a safe space to her.
It forms a striking contrast with the futuristic, digital world she has brought to Breda herself. But perhaps that is precisely what makes it fit: stepping outside your own surroundings for a while, discovering another world and then going back outside with a different perspective.
