Bunny Rogers Turns Memory, Gaming and Identity Into an Immersive Exhibition in Berlin

This spring, Bunny Rogers returns to SOCIÉTÉ with a new solo exhibition that blurs the boundaries between autobiography, digital culture and psychological space.

Titled My Original Friend, the exhibition opens on 12 March and runs until 18 April 2026 in Berlin, marking Rogers’ fourth solo presentation with the gallery. Known for her deeply introspective and often emotionally charged work, Rogers has built a practice that draws from personal memory, internet culture and fragments of pop mythology to explore questions of identity, loneliness and connection.

Rather than separating imagination from reality, Rogers treats them as parallel systems. Her work often focuses on overlooked objects and symbolic fragments, items that quietly hold emotional weight and personal history. In My Original Friend, this sensibility expands into a fully immersive environment that draws visual inspiration from the structure of video game quests.

Inside the gallery, visitors enter a dimly lit installation of grey brick surfaces, pseudo classical columns and flickering torchlight. The setting resembles a suspended game level, a space that feels both architectural and digital.

At the centre of the exhibition are a series of self portraits in the form of Joan of Arc, the animated character from the cult early 2000s MTV series Clone High. Rogers adopts Joan as a surrogate figure, using the character as a mask through which autobiography can be displaced and reframed.

Each image features Joan holding a different key. These are not fictional objects but drawings based on actual keys belonging to people close to the artist. In the language of gaming, keys function as quest objects, tools that unlock new spaces or hidden passages. In Rogers’ work, they become something more intimate.

They operate simultaneously as personal relics and symbolic devices. Each key suggests access, protection and emotional vulnerability. Within the installation, they stand at the threshold between the artist’s inner life and the coded visual language of digital worlds.

Small shifts in gesture and posture transform these images into quiet psychological scenes. The relationship between key and lock becomes a metaphor for trust, attachment and the fragile boundaries that define intimacy.

Throughout the exhibition, Rogers continues her long running exploration of how identity is shaped by cultural memory and mediated experience. By weaving together early internet nostalgia, pop animation and deeply personal symbolism, My Original Friend situates emotional experience within the visual vocabulary of contemporary media.

The result is an exhibition that feels both playful and haunting, one that invites viewers to step inside a world where personal history, virtual imagery and collective memory quietly overlap.