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Collection of artists of the New Art Collection, collection art, art electronic, coleccion beep, arte electronico, wort art, new art foundation, new art, collection, coleccion, artist, artists Artist Antoni Abad Mark America Eugenio Ampudia Marcel·lí Antúnez Marcela Armas Keith Armstrong Manu Arregui Waldo Balart Albert Barqué Duran & Marc Marzenit Albert.DATA Josè Manuel Berenguer Darya von Berner Julius von Bismarck & Benjamin Maus Christophe Bruno Daniel Canogar Paolo Cirio Analivia Cordeiro Alba G. Corral Lúa Coderch,Julia Múgica, Lluís Nacenta and Iván Paz Fabrizio Corneli James Clar Evelina Domnicht & Dmitry Gelfand Kenneth Dow Felicie d’Estienne d’Orves Etoy Evru (Zush) FakeShop Manuel Fernández Joan Fontcuberta & Pilar Rosado JoseCarlos Flórez Anaisa Franco Paul Friedlander Andy Gracie Davide Grassi Peter Halley Ricardo Iglesias y Gerald Kogler Concha Jerez & José Iges Eduardo Kac Shona Kitchen Sachiko Kodama LIA Libres Para Siempre Rafael Lozano-Hemmer Luis Lugán Chico MacMurtrie–ARW Óscar Martin Ken Matsubara Anthoni McCall Ulrich Muchenberger Antoni Muntadas Marnix de Nijs Marina Núñez Josè Antonio Orts Andrés Pachón Roc Parés Alex Posada Monica Rikić Patricio Rivera Charles Sandison Mariano Sardón & Mariano Sigman Robertina Sebjanic Christa Sommerer & Laurent Mignonneau Spéculaire (Flavien Théry & Fred Murie) Stefan Tiefengraber Paul Thomas TopLap Patrick Tresset Hong SungChul Yolanda Uriz Ubermorgen.com Eric Vernhes Marie-France Veyrat Marie-France Veyrat & Jaime de los Rios Santi Vilanova Peter Weibel Weidi Zhang

Alex Posada, Santander, 1976. Alex Posada is a digital creator, teacher and researcher in the field of interactivity, digital art and new media. He is a multidisciplinary artist who works at the intersection between art, science and technology through research and the constant development of his own systems and tools. He is also dedicated to teaching in different higher education, masters and postgraduate studies and has led several workshops dedicated to art and interactive technologies in different countries. After finishing his studies in Telecommunications Engineering at the University of Cantabria, he moved to Barcelona in 2002, where he trained in multimedia art and started working on interactive design and electronic art projects. He spent time at Hangar as director of the interactive lab between 2006 and 2015. He currently directs MID Studio. Founded in 2012, it is one of the pioneering studios in electronic art projects in Barcelona in the last 10 years. Its projects have been exhibited at the Olympic Games in Brazil, Phaeno Science Center, Ars Electronica, Kinetica Arte Fair in London, Kernel Festival in Milan, Mapping Festival, LEV Festival, Sonar Festival and Art Rock Festival among others. The studio has also developed projects for museums and cultural centers such as the Picasso Museum, CCCB or MNAC in Barcelona, Círculo de Bellas Artes in Madrid or Roca Gallery Barcelona. He is also an active entrepreneur and co-founder of some start-ups in the technological field such as Smart Citizen, OvalSound and Broomx Technologies. In parallel, he develops projects as an independent multimedia producer and collaborates with other artists and collectives. Work at the collection: “The Particle v2” Alex Posada, Santander, 1976. Alex Posada is a digital creator, teacher and researcher in the field of interactivity, digital art and new media. He is a multidisciplinary artist who works at the intersection between art, science and technology through research and the constant development of his own systems and tools. He is also dedicated to teaching in different higher education, masters and postgraduate studies and has led several workshops dedicated to art and interactive technologies in different countries. After finishing his studies in Telecommunications Engineering at the University of Cantabria, he moved to Barcelona in 2002, where he trained in multimedia art and started working on interactive design and electronic art projects. He spent time at Hangar as director of the interactive lab between 2006 and 2015. He currently directs MID Studio. Founded in 2012, it is one of the pioneering studios in electronic art projects in Barcelona in the last 10 years. Its projects have been exhibited at the Olympic Games in Brazil, Phaeno Science Center, Ars Electronica, Kinetica Arte Fair in London, Kernel Festival in Milan, Mapping Festival, LEV Festival, Sonar Festival and Art Rock Festival among others. The studio has also developed projects for museums and cultural centers such as the Picasso Museum, CCCB or MNAC in Barcelona, Círculo de Bellas Artes in Madrid or Roca Gallery Barcelona. He is also an active entrepreneur and co-founder of some start-ups in the technological field such as Smart Citizen, OvalSound and Broomx Technologies. In parallel, he develops projects as an independent multimedia producer and collaborates with other artists and collectives. Work at the collection: “The Particle v2” https://thecreative.net/alex-posada# <<-- Back “The Particle v2”, 2022 It is a kinetic sculpture that experiments with light, sound and movement. Formally, the piece is a work of generative art, abstracting algorithms and mathematical functions that are interpreted and visualized through light and sound modulating in space and continuously changing the atmosphere and perception of space. The translucent skin created from the moving light becomes visible, creating form and volume supported by visual effects that define the spatial structure of the object. The light form emerges from the movements of each of its 4 rings, rotating at high speed, and the sound is born from the same laws that govern these behaviors. The result is the creation of three-dimensional structures of light and sound. These forms can stop, rotate and move faster or slower creating beautiful synaesthetic effects. The technique used is the perception of apparent motion, that is, the one obtained from the observation of sequences of still images projected successively. This visual effect, also called persistence of vision (POV), is the theoretical capacity of the eye (or retina) to retain the last image that reaches it, making an object continue to be perceived even when it is no longer physically there. Following the evolution of the artist's work in the field of kinetic light and sound sculptures, and the research work in the field of synaesthesia, light, music, technologies free and the creation of generative audiovisual content; this new evolved version of a previous existing prototype of the artist, such as "The Particle" (2010), is presented. The object is at the same time a space for sensory and synaesthetic experience, an organ with its own internal resonance that does not leave the visitor indifferent. https://www.youtube.com/watch?v=ND5VeRpkP78

Shona Kitchen, Ceres, 1968. Shona Kitchen is an internationally recognized artist, designer and educator based in Providence, Rhode Island. Since graduating from the Royal College of Art with a MFA in Architecture, she has divided her time between creative practice and teaching. Her practice is frequently collaborative, research based and site-specific. Using digital, analog and biological elements, Kitchen’s work provides ground for physical and virtual, natural and artificial, and real and imagined to playfully coexist. Throughout her practice, she explores the psychological, social and environmental consequences of technological advancement and failure. Kitchen frequently collaborates with scientists, engineers, writers and software developers. Her work has been exhibited internationally at such venues as the Victoria and Albert Museum, the Kelvingrove Museum, Vitra Museum, Montalvo Arts Center, Center for Contemporary Art (Warsaw), Zero1 San Jose and the International Symposium on Electronic Art, among others. ​ Work at the collection: Other Days, Other Eyes Shona Kitchen, Ceres, 1968. Shona Kitchen is an internationally recognized artist, designer and educator based in Providence, Rhode Island. Since graduating from the Royal College of Art with a MFA in Architecture, she has divided her time between creative practice and teaching. Her practice is frequently collaborative, research based and site-specific. Using digital, analog and biological elements, Kitchen’s work provides ground for physical and virtual, natural and artificial, and real and imagined to playfully coexist. Throughout her practice, she explores the psychological, social and environmental consequences of technological advancement and failure. Kitchen frequently collaborates with scientists, engineers, writers and software developers. Her work has been exhibited internationally at such venues as the Victoria and Albert Museum, the Kelvingrove Museum, Vitra Museum, Montalvo Arts Center, Center for Contemporary Art (Warsaw), Zero1 San Jose and the International Symposium on Electronic Art, among others. Work at the collection: Other Days, Other Eyes http://www.shonakitchen.com/ <<-- Back Other Days, Other Eyes, 2019 “Other Days, Other Eyes” refers to the evolution of the ubiquitous recording infrastructures that surround us and reflects on the generation and transmission of that information as well as society’s growing abundance of cotidian and banal information. Kitchen combines live footage from cameras with varying curiosities of the everyday, archived elements, and analog glass blobs laden with the weight of the collected digital content. Smaller blobs seep out of the walls, evoking budding newcomers that may very well grow up to become a camera one day speculating on the evolution of live architectural organisms. The work captures the coexistence of the physical and thevirtual, the natural and artificial, the real and imagined and the absurd. This project grew out of IMAGEOBJECTLANDSCAPEEVENT a research project by longtime collaborative team Kitchen-Hooker. Much of Kitchen's work is inspired by the writings of J G Ballard, in this instance a short story called “Sound-Sweep” wherein a passage reads, “the sonic strata of everyday urban life ....is so without respite that it is literally embedded within walls and surfaces”. In Ballard’s book, a sound-sweep is the equivalent of a trash man, collecting the abundance of everyday sounds absorbed into the architecture. The project title is borrowed from another 70s science fiction writer, Bob Shaw. This work has been done in collaboration with glass artist Evan Voelbel.

Manu Arregui, Santander, 1970. Pioneer in the application of 3D animation to his work, Manu Arregui's work focuses on reflection on body policies and the commitment to "non-normative" identities.Always from a critical questioning, his pieces, full of lyricism, fuse virtuosity and experimentation. At the same time, without neglecting irony, the artist analyzes the progressive virtualization of our lives and the future of art in this post-contemporary era. He has a degree in Fine Arts from the University of the Basque Country. His works have been included in important exhibitions such as Trans-sexual Express International curated by Xabier Arakistain and Rosa Martínez, Bad Boys project by Agustín Pérez Rubio made on the occasion of the 50th Venice Biennale, Single Channel Video: 1996-2002 curated by Juan Antonio Álvarez -Reyes and Berta Sichel for the National Museum Reina Sofía Art Center, Animated Sessions project by Juan Antonio Álvarez-Reyes for the same museum and the Atlantic Center for Modern Art in Las Palmas, Chacun à son Goût curated by Rosa Martínez for the commemoration of the tenth anniversary of the Guggenheim Museum in Bilbao. Spanish Art 1957-2007 at the Palazzo Sant’Elia in Palermo. He has participated in important international fairs of Contemporary Art such as ARCO (Madrid), ART BASEL MIAMI BEACH (Miami), or FRIEZE (London). In 2002 he obtained the Plastic Arts Scholarship from the Marcelino Botín Foundation, with which he completed his training at the ISCP in New York. In 2004 he won the First Prize for Video Creation and Digital Formats Caixa Galicia and in 2007 the Altadis Prize for Visual Arts. His work is represented, among others, in the collections of the ARTIUM museums in Vitoria, the Guggenheim in Bilbao, the MUSAC in León and the Reina Sofía National Art Center Museum in Madrid. His work “Ejercicios de medición sobre el movimiento amanerado de las manos” won the 9th edition of the ARCO-BEEP Electronic Art Award ​ Work at the collection: Ejercicios de medición sobre el movimiento amanerado de las manos Manu Arregui, Santander, 1970. Pioneer in the application of 3D animation to his work, Manu Arregui's work focuses on reflection on body policies and the commitment to "non-normative" identities.Always from a critical questioning, his pieces, full of lyricism, fuse virtuosity and experimentation. At the same time, without neglecting irony, the artist analyzes the progressive virtualization of our lives and the future of art in this post-contemporary era. He has a degree in Fine Arts from the University of the Basque Country. His works have been included in important exhibitions such as Trans-sexual Express International curated by Xabier Arakistain and Rosa Martínez, Bad Boys project by Agustín Pérez Rubio made on the occasion of the 50th Venice Biennale, Single Channel Video: 1996-2002 curated by Juan Antonio Álvarez -Reyes and Berta Sichel for the National Museum Reina Sofía Art Center, Animated Sessions project by Juan Antonio Álvarez-Reyes for the same museum and the Atlantic Center for Modern Art in Las Palmas, Chacun à son Goût curated by Rosa Martínez for the commemoration of the tenth anniversary of the Guggenheim Museum in Bilbao. Spanish Art 1957-2007 at the Palazzo Sant’Elia in Palermo. He has participated in important international fairs of Contemporary Art such as ARCO (Madrid), ART BASEL MIAMI BEACH (Miami), or FRIEZE (London). In 2002 he obtained the Plastic Arts Scholarship from the Marcelino Botín Foundation, with which he completed his training at the ISCP in New York. In 2004 he won the First Prize for Video Creation and Digital Formats Caixa Galicia and in 2007 the Altadis Prize for Visual Arts. His work is represented, among others, in the collections of the ARTIUM museums in Vitoria, the Guggenheim in Bilbao, the MUSAC in León and the Reina Sofía National Art Center Museum in Madrid. His work “Ejercicios de medición sobre el movimiento amanerado de las manos” won the 9th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Ejercicios de medición sobre el movimiento amanerado de las manos http://manuarregui.com/ <<-- Back Ejercicios de medición sobre el movimiento amanerado de las manos, 2014 This video of 6’30” duration that uses time, passing in a linear way, to give form to an investigation into codes and connotations linked to gestures. Using as a starting point a recording of hands of various professional dancers in movement and an example of 3D modelling software to replicate those movements and obtain the corresponding positioning and rotation data, the piece uses the theme of dance to reflect upon topics such as the phobia of effeminacy and masculinisation.

Dmitry Gelfand, St. Petersburg, 1974 and Evelina Domnitch Minsk, 1972. The duo creates installations and performances that merge physical phenomena with uncanny philosophical practices. Current findings, particularly regarding wave phenomena, are employed by the artists to investigate questions of perception and perpetuity. Such investigations are salient because the scientific picture of the world, which serves as the basis for contemporary thought, still cannot encompass the unrecordable workings of consciousness. Having dismissed the use of recording and fixative media, Domnitch and Gelfand's installations exist as ever-transforming phenomena offered for observation. Because these rarely seen phenomena take place directly in front of the observer without being intermediated, they often serve to vastly extend the observer's sensory envelope. The immediacy of this experience allows the observer to transcend the illusory distinction between scientific discovery and perceptual expansion.​ Dmitry Gelfand, St. Petersburg, 1974 and Evelina Domnitch Minsk, 1972. The duo creates installations and performances that merge physical phenomena with uncanny philosophical practices. Current findings, particularly regarding wave phenomena, are employed by the artists to investigate questions of perception and perpetuity. Such investigations are salient because the scientific picture of the world, which serves as the basis for contemporary thought, still cannot encompass the unrecordable workings of consciousness. Having dismissed the use of recording and fixative media, Domnitch and Gelfand's installations exist as ever-transforming phenomena offered for observation. Because these rarely seen phenomena take place directly in front of the observer without being intermediated, they often serve to vastly extend the observer's sensory envelope. The immediacy of this experience allows the observer to transcend the illusory distinction between scientific discovery and perceptual expansion. http://portablepalace.com/ <<-- Back Orbihedron, 2017 Installation in collaboration with LIGO and William Basinski. A dark vortex in the middle of a water-filled basin emits prismatic bursts of rotating light. Akin to a radiant ergosphere surrounding a spinning black hole, Orbihedron evokes the relativistic as well as quantum interpretation of gravity – the reconciliation of which is essential for unraveling black hole behaviour and the origins of the cosmos. Descending into the eye of the vortex, a white laser beam reaches an impassible singularity that casts a whirling circular shadow on the basin’s floor. The singularity lies at the bottom of a dimple on the water’s surface, the crown of the vortex, which acts as a concave lens focussing the laser beam along the horizon of the “black hole” shadow. Light is seemingly swallowed by the black hole in accordance with general relativity, yet leaks out as quantum theory predicts. With the generous support of LIGO, Isabel De Sena and Fulcrum Arts. https://vimeo.com/310659758/

Lluis Barba (Barcelona, ​​1952). Photographer Multidisciplinary artist. He studied at “Llotja” – University Degree in Arts and Design – and Massana School. Barcelona. His work is based on a critical and social sense, which contrasts with the language used by the author of the masterpiece. He makes a subjective review of the art of the past and structures an interrelation between historical figures and contemporary personalities. His works have a great visual density, characterized by having a critical-conceptual will. His work is part of both public and private collections internationally. Lluis Barba (Barcelona, 1952). Photographer Multidisciplinary artist. He studied at “Llotja” – University Degree in Arts and Design – and Massana School. Barcelona. His work is based on a critical and social sense, which contrasts with the language used by the author of the masterpiece. He makes a subjective review of the art of the past and structures an interrelation between historical figures and contemporary personalities. His works have a great visual density, characterized by having a critical-conceptual will. His work is part of both public and private collections internationally. https://lluisbarba.com/ <<-- Back

Chico MacMurtrie, New Mexico, 1961. AmorphicRobotWorks, Red Hook NYC, 1991. Since the late 1980s, Chico MacMurtrie has explored the intersection of robotic sculpture, new media installation, and performance. MacMurtrie’s work investigates organic life from deep within, finding geometry in all living systems. Chico MacMurtrie and his interdisciplinary collective Amorphic Robot Works/ARW have received numerous awards for their experimental new media artworks, including five grants from the National Endowment for the Arts, the Andy Warhol Foundation Grant, the Rockefeller Foundation Fellowship, VIDA Life 11.0, and Prix Ars Electronica. Chico MacMurtrie was awarded the Guggenheim Fellowship in Fine Arts in 2016 and the Map Fund Grant in 2019. Inspired by his 1987–89 residency at the Exploratorium, a museum of science and art in San Francisco, Chico founded Amorphic Robot Works (ARW) in 1991. It grew into an ever-changing collective of artists, engineers and scientists, devoted to exploring the potentials of machine movement, intelligence and responsiveness. What they shared was a desire to make robotic and interactive sculpture as a reflection on the human condition. While ARW’s output over our first decade comprised largely metal machines and robotic sculptures defined by structure, Chico has focused since 2006 on developing organic “soft machines” based on inflatable components. Designed and built at increasingly large scales, these ephemeral bodies, either freestanding or suspended in mid-air, use air pressure/vacuum to inflate and deflate through various states of articulation. They exhibit the phenomena of gradual metamorphosis, growth, decay, and interaction. Since 1991, over 60 crew-members from ten countries have participated in creating ARW’s robotic sculptures and installations. Without the help of their talented and hardworking collaborators the complex, large-scale endeavors of Amorphic Robot Works would not be possible. ARW would also like to thank the many interns from academic institutions, and those at-large, who have made lasting contributions, or who have remained involved. MacMurtrie/ARW’s works have been presented in major museums and cultural institutions around the world including the National Art Museum of China (NAMOC), Beijing; Hayward Gallery, London; Museo de la Reina Sofia, Madrid; Cité des Sciences et de l’Industrie, Paris; Museo Universitario de Arte Contemporaneo (MUAC), Mexico City; Pioneer Works, Brooklyn, NY; Shanghai Biennale; Tri Postal, Lille, (retrospective exhibition), Muffatwerk, Munich (Pneuma World); Ex-Dogana, Rome, and ZHI Art Museum, Chengdu. Their work at the collection: Border Crossers Chico MacMurtrie, New Mexico, 1961. AmorphicRobotWorks, Red Hook NYC, 1991. Since the late 1980s, Chico MacMurtrie has explored the intersection of robotic sculpture, new media installation, and performance. MacMurtrie’s work investigates organic life from deep within, finding geometry in all living systems. Chico MacMurtrie and his interdisciplinary collective Amorphic Robot Works/ARW have received numerous awards for their experimental new media artworks, including five grants from the National Endowment for the Arts, the Andy Warhol Foundation Grant, the Rockefeller Foundation Fellowship, VIDA Life 11.0, and Prix Ars Electronica. Chico MacMurtrie was awarded the Guggenheim Fellowship in Fine Arts in 2016 and the Map Fund Grant in 2019. Inspired by his 1987–89 residency at the Exploratorium, a museum of science and art in San Francisco, Chico founded Amorphic Robot Works (ARW) in 1991. It grew into an ever-changing collective of artists, engineers and scientists, devoted to exploring the potentials of machine movement, intelligence and responsiveness. What they shared was a desire to make robotic and interactive sculpture as a reflection on the human condition. While ARW’s output over our first decade comprised largely metal machines and robotic sculptures defined by structure, Chico has focused since 2006 on developing organic “soft machines” based on inflatable components. Designed and built at increasingly large scales, these ephemeral bodies, either freestanding or suspended in mid-air, use air pressure/vacuum to inflate and deflate through various states of articulation. They exhibit the phenomena of gradual metamorphosis, growth, decay, and interaction. Since 1991, over 60 crew-members from ten countries have participated in creating ARW’s robotic sculptures and installations. Without the help of their talented and hardworking collaborators the complex, large-scale endeavors of Amorphic Robot Works would not be possible. ARW would also like to thank the many interns from academic institutions, and those at-large, who have made lasting contributions, or who have remained involved. MacMurtrie/ARW’s works have been presented in major museums and cultural institutions around the world including the National Art Museum of China (NAMOC), Beijing; Hayward Gallery, London; Museo de la Reina Sofia, Madrid; Cité des Sciences et de l’Industrie, Paris; Museo Universitario de Arte Contemporaneo (MUAC), Mexico City; Pioneer Works, Brooklyn, NY; Shanghai Biennale; Tri Postal, Lille, (retrospective exhibition), Muffatwerk, Munich (Pneuma World); Ex-Dogana, Rome, and ZHI Art Museum, Chengdu. Their work at the collection: Border Crossers http://amorphicrobotworks.org <<-- Back Border Crossers, 2017 Border Crossers comprise a series of lightweight robotic sculptures that poetically explore the notion of borders and boundary conditions. The inflatable sculptures rise up to several stories high and extend across a given threshold. Their choreographed performance, originating on both sides of the border, would stage a symbolic connection. The project treats the border as a physical condition that can be temporarily transcended by technological proxies. It offers a critique of militarized geopolitical borders, and a metaphorical suspension of those borders in the form of temporary arches. Border Crossers invites the public to rethink the notion of borders in a globalized world. Technology currently helps to overcome cultural and economic borders, but is also frequently used to maintain and reinforce physical borders. This project envisions technology as a positive tool to establish dialogues beyond borders, to question borders, and to create a symbolic suspension and transcendence of borders. Their actions allude to the equality of humanity against a backdrop of tensions and conflicts over national and cultural identity. This “gesture” could reinforce the hope for peace in location where reconciliation is thought to be impossible. The Border Crossers project has received significant financial support from .BEEP { collection;} in 2017 and through the Guggenheim Fellowship. MacMurtrie was invited to conduct a Border Crosser building workshop as a visiting professor and artist in residency at the U-M Institute for the Humanities in 2018 and at the University of Applied Arts (Angewandte) in Vienna in 2018/2019. https://vimeo.com/236778608

Fabrizio Corneli, Florencia, 1958. ​The work of poses above all surprise, provokes mystery and astonishment, turning the experience of visuality into an authentic adventure of perception. His works radically transform the space, but with a very slight impact on it: when activated by light, they reveal drawings of shadows, figures of faces, buildings or bodies suspended in mid-flight. In the absence of this activating light, the space of the walls where the forms and drawings appear is almost empty and naked. Only metal slats, combs or other materials protrude from the plane of the wall. As long as there is no light shining on these obstacles, the forms are not "activated". This device, based on the relationship between light and shadow, can be understood as a mechanism of polysemic metaphors that ultimately places the perceptual experience in the foreground. Stories about shadows have fed the imagination since antiquity. The fantastic literature of romanticism has connected the shadow with a certain idea or representation of the soul. So it happens in the well-known story of Adelbert von Chamisso, Peter Schlemihl or the man who lost his shadow, in whose pages echoes Goethe's Faust, and also, although in a different way, in Andersen's tale, entitled precisely The Shadow. This path of imagination, however, also leads us to the shadows of Plato's cave, to his metaphors on knowledge, and also to the myth that Pliny the Elder recounts in his Natural History, to explain the birth of painting. ​The legend tells that the daughter of Butades, a potter from Sicyon, it is not known if it was in this city or in the neighboring Corinth, would have drawn a line on a wall, tracing the silhouette of the shadow of the head of the beloved man, the night before he left the city, in order to remember the features of his face. Shadow and painting establish from this moment on a paradoxical connection, while light assumes the role of illuminating by darkening. 
In this sense, Corneli's work becomes painting without painting and sculpture without volume that transforms the space, forcing a permanent interaction. The form is the shadow. The image is constructed through darkness that comes from light. The procedure is very simple, but involves a complex process of conception and realization. Fabrizio Corneli uses light as matter and his tool is the trigonometric calculation directed towards the activation of games of perception through a very precise use of perspective that in turn works with shadows and reflections. Mathematics and calculus become a methodology of systematic dematerialization of the work. It brings together optical research and the various traditions of perspective, used since the Renaissance but reinterpreted from the contemporary for an open visuality. The shadow thus functions as an expanded extension of geometry. Corneli's work echoes all these paradoxes and resonances, placing itself outside of any current, but at the core of experimentation on visual perception. Although in the international art scene light and shadow have been worked from a wide variety of perspectives, it is difficult to find a project as coherent and rigorous as Corneli's, which is unique in linking a handmade manufacture with mathematical calculations, where the role of technology is minimal and is generally confined to optics. Fabrizio Corneli, Florencia, 1958. The work of poses above all surprise, provokes mystery and astonishment, turning the experience of visuality into an authentic adventure of perception. His works radically transform the space, but with a very slight impact on it: when activated by light, they reveal drawings of shadows, figures of faces, buildings or bodies suspended in mid-flight. In the absence of this activating light, the space of the walls where the forms and drawings appear is almost empty and naked. Only metal slats, combs or other materials protrude from the plane of the wall. As long as there is no light shining on these obstacles, the forms are not "activated". This device, based on the relationship between light and shadow, can be understood as a mechanism of polysemic metaphors that ultimately places the perceptual experience in the foreground. Stories about shadows have fed the imagination since antiquity. The fantastic literature of romanticism has connected the shadow with a certain idea or representation of the soul. So it happens in the well-known story of Adelbert von Chamisso, Peter Schlemihl or the man who lost his shadow, in whose pages echoes Goethe's Faust, and also, although in a different way, in Andersen's tale, entitled precisely The Shadow. This path of imagination, however, also leads us to the shadows of Plato's cave, to his metaphors on knowledge, and also to the myth that Pliny the Elder recounts in his Natural History, to explain the birth of painting. The legend tells that the daughter of Butades, a potter from Sicyon, it is not known if it was in this city or in the neighboring Corinth, would have drawn a line on a wall, tracing the silhouette of the shadow of the head of the beloved man, the night before he left the city, in order to remember the features of his face. Shadow and painting establish from this moment on a paradoxical connection, while light assumes the role of illuminating by darkening. 
In this sense, Corneli's work becomes painting without painting and sculpture without volume that transforms the space, forcing a permanent interaction. The form is the shadow. The image is constructed through darkness that comes from light. The procedure is very simple, but involves a complex process of conception and realization. Fabrizio Corneli uses light as matter and his tool is the trigonometric calculation directed towards the activation of games of perception through a very precise use of perspective that in turn works with shadows and reflections. Mathematics and calculus become a methodology of systematic dematerialization of the work. It brings together optical research and the various traditions of perspective, used since the Renaissance but reinterpreted from the contemporary for an open visuality. The shadow thus functions as an expanded extension of geometry. Corneli's work echoes all these paradoxes and resonances, placing itself outside of any current, but at the core of experimentation on visual perception. Although in the international art scene light and shadow have been worked from a wide variety of perspectives, it is difficult to find a project as coherent and rigorous as Corneli's, which is unique in linking a handmade manufacture with mathematical calculations, where the role of technology is minimal and is generally confined to optics. http://fabriziocorneli.net/ <<-- Back Halo, 2013 "If we understand white as light and black as shadow, we could say that in my works there is neither light nor shadow, but a continuum of grays. The ambiguity of perception is a fundamental concept to understand the poetics of Corneli, who adds: "Although the approach of my modus operandi is rational and mathematical, the result in the best cases is difficult to focus. The image as meaning wants to be elusive and in any case to refer to a universe, that of shadows, fluid and unreliable.

Albert.DATA is the new artistic identity of Albert Barqué-Duran, Lleida 1989. Albert is an artist and a researcher in Creative Technologies and Digital Art, currently based in Barcelona. ​Albert, the human one, earned a PhD and a Postdoc in Cognitive Science from the Centre for Mathematical Neuroscience at City, University of London (UK) and have been a Visiting Postgraduate Researcher at Harvard University (USA) and University of Oxford (UK). Albert's artistic research focuses on: (1) human-machine interaction during artistic and creative processes, (2) Artificial Intelligence's (AI) aesthetic artifacts, (3) perception and aesthetics under sensory conflicts, and (4) experimental formats and aesthetics in virtual environments using game engines. ​They have exhibited and performed at Sonar+D (Barcelona, Spain), Ars Electronica (Linz, Austria), ZKM (Karlsruhe, Germany), Creative Reactions (London, UK), Cricoteka (Krakow, Poland), Albumarte (Rome, Italy), SciArt Center (New York, USA), IGNITE Fest (Medellin, Colombia), Nuits Sonores (Lyon, France), Mobile World Congress (Barcelona, Spain), Ming Contemporary Art Museum (Shanghai, China), DMA (Daejon, South Korea), and more. Albert was awarded with the Artist Residency at Sonar+D x Factory Berlin in 2020 and received an award from "We Are Europe" (Creative Europe Programme of the European Union), which endowed him as one of the 64 young "Culture Activists" in Europe in 2019. Further, they have been internationally awarded by the "Re:Humanism Prize" for work on the relationship between AI and Art; by "We Are Equals-MUTEK Music Academy"; by "Art of Neuroscience" award for bridging science and art; and by the Catalan Government with the "International Award City of Lleida" for the significant cultural impact of their projects. Website: ww.albert-data.com Instagram: @albert_data Twitter: @Albert_DATA TikTok: @albert.data YouTube: Albert_DATA Albert.DATA is the new artistic identity of Albert Barqué-Duran, Lleida 1989. Albert is an artist and a researcher in Creative Technologies and Digital Art, currently based in Barcelona. Albert, the human one, earned a PhD and a Postdoc in Cognitive Science from the Centre for Mathematical Neuroscience at City, University of London (UK) and have been a Visiting Postgraduate Researcher at Harvard University (USA) and University of Oxford (UK). Albert's artistic research focuses on: (1) human-machine interaction during artistic and creative processes, (2) Artificial Intelligence's (AI) aesthetic artifacts, (3) perception and aesthetics under sensory conflicts, and (4) experimental formats and aesthetics in virtual environments using game engines. They have exhibited and performed at Sonar+D (Barcelona, Spain), Ars Electronica (Linz, Austria), ZKM (Karlsruhe, Germany), Creative Reactions (London, UK), Cricoteka (Krakow, Poland), Albumarte (Rome, Italy), SciArt Center (New York, USA), IGNITE Fest (Medellin, Colombia), Nuits Sonores (Lyon, France), Mobile World Congress (Barcelona, Spain), Ming Contemporary Art Museum (Shanghai, China), DMA (Daejon, South Korea), and more. Albert was awarded with the Artist Residency at Sonar+D x Factory Berlin in 2020 and received an award from "We Are Europe" (Creative Europe Programme of the European Union), which endowed him as one of the 64 young "Culture Activists" in Europe in 2019. Further, they have been internationally awarded by the "Re:Humanism Prize" for work on the relationship between AI and Art; by "We Are Equals-MUTEK Music Academy"; by "Art of Neuroscience" award for bridging science and art; and by the Catalan Government with the "International Award City of Lleida" for the significant cultural impact of their projects. Website: ww.albert-data.com Instagram: @albert_data Twitter: @Albert_DATA TikTok: @albert.data YouTube: Albert_DATA https://albert-data.com <<-- Back S.F.I.D. Slowly Fading into Data, 2023 SUMMARY: ‘Slowly Fading into Data’ is a speculative audiovisual project expressed in multiple artistic formats: a retro- game & arcade installation, a conceptual music album, a live a/v performance, and a film. These audiovisual experiences are the results from Albert.DATA’s artistic research on disembodiment, extended cognition, hybrid beings, and synthetic identities. An avant-garde, ambient, and contemplative story of a human, slowly mutating into data: A transformative journey about non-human forms, the boundaries and extensions of experience, existence, and identity. The creation of new audiovisual instruments to interpret the last human reverberations. A step forward for the disintegration of the self. THE PROJECT: The Retro-Game & Arcade Installation is based on a narrative-driven, interactive-storytelling, action-adventure experience. It is designed to be played more than once to discover all its hidden secrets, choices, easter eggs, and alternative endings. An intense cinematographic audiovisual experience that pushes your 8-bit perception and puts into test your exploration and philosophical skills. The project’s goal is to challenge standard audiovisual production methods by combining "low-tech" (8-bit retro console) with "high-tech" (artificial intelligence and procedural sound design) using game engine technologies. In specific, the experience presents 8-bit artistic game assets designed and produced using artificial intelligence techniques (machine learning applied to visual arts); and it also features 8-bit procedural music and sound design that experiments with and exploits the sound hardware of this iconic family of consoles. The Music Album is a conceptual sonic project that delves into the past to peer into the future. Using research on 8-bit music and neural audio synthesis, Albert.DATA proposes an avant-garde ambient, and ominous experience that feels completely out of time. The creation of new digital instruments to interpret the last human reverberations. A memory trip based on contemplation and ecstasy. A step forward for the disintegration of the self. The Live A/V Performance (45 min.) is an experimental narrative-driven, interactive-storytelling audiovisual show implementing 8-bit sound technologies with neural audio synthesis in real-time. The live show invites us into an ambient, ethereal, abstract and contemplative story of a human, slowly mutating into data: A transformative journey about the meaning of transfiguring into a non-human form, the boundaries and extensions of experience, existence and identity. The Film (45 min.) is an experimental cinematography project that aims at merging all the other expressions of the ‘Slowly Fading into Data’ project into one single audiovisual experience. It consists of 6 different short pieces that combine scenes from the live a/v performance and fictional material. The goal is to challenge the canonical audiovisual production methods by combining retro formats (8mm Film) with state-of-the-art cinema technology (Virtual Production and Artificial Intelligence). PROJECT’s WEBSITE www.albert-data.com https://albert-data.com

Charles Sandison, Haltwhistle, 1969. Charles Sandison was always interested in computing; at the age of 12, he taught himself to code on his computer. He went on to study art (at the Glasgow School of Art) from 1987–1993 and briefly taught there after graduating. In 1995 Sandison moved to Finland and now resides permanently in Tampere. During the early 1990s Sandison exhibited alongside Young British Artists in such shows as; Wonderful Life, Lisson Gallery, London 1993, and Institute of Cultural Anxiety: Works from the Collection Institute of Contemporary Arts, London 1994. During a five year hiatus in which Sandison moved away from the United Kingdom and occupied the position of Head of Fine Art at Tampere School of Art and Media. He came to wider recognition in 2001 after exhibiting in the Venice Biennale. In 2004 Sandison became a visiting professor at Le Fresnoy, Lille. In 2010 Sandison was awarded the Ars Fennica prize by President of Finland Tarja Halonen. Much of Sandison's work involves computer generated video projections that create immersive data installations, placing the viewer at the centre of a changing universe of words, signs, and characters. Sandison's art works to incorporate the viewer into the piece, so that the computer and human mind can work together. Sandison draws inspiration from nature and his surroundings, and attempts to capture elements of human life and the current world that we live in. His work “Nature Morte” won the 8th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Nature Morte Charles Sandison, Haltwhistle, 1969. Charles Sandison was always interested in computing; at the age of 12, he taught himself to code on his computer. He went on to study art (at the Glasgow School of Art) from 1987–1993 and briefly taught there after graduating. In 1995 Sandison moved to Finland and now resides permanently in Tampere. During the early 1990s Sandison exhibited alongside Young British Artists in such shows as; Wonderful Life, Lisson Gallery, London 1993, and Institute of Cultural Anxiety: Works from the Collection Institute of Contemporary Arts, London 1994. During a five year hiatus in which Sandison moved away from the United Kingdom and occupied the position of Head of Fine Art at Tampere School of Art and Media. He came to wider recognition in 2001 after exhibiting in the Venice Biennale. In 2004 Sandison became a visiting professor at Le Fresnoy, Lille. In 2010 Sandison was awarded the Ars Fennica prize by President of Finland Tarja Halonen. Much of Sandison's work involves computer generated video projections that create immersive data installations, placing the viewer at the centre of a changing universe of words, signs, and characters. Sandison's art works to incorporate the viewer into the piece, so that the computer and human mind can work together. Sandison draws inspiration from nature and his surroundings, and attempts to capture elements of human life and the current world that we live in. His work “Nature Morte” won the 8th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Nature Morte https://www.sandison.fi <<-- Back Nature Morte, 2012 The piece is an accomplished interpretation of baroque vanitis from the viewpoint of new technologies. Convinced that language is our interface with reality, Sandison creates IT programmes controlled by dynamic molecular algorithms that generate words and brings them to life. In the case of the winning work, the artist uses the quartet of Byron that references Carpe Diem, the enjoyment of the instant, in a generative audiovisual work, as such, always distant, that includes elements of literature, romanticism, and textuality, as well as a profound reflection on new media.