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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/

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.

Find out about our latest news and announcements . News The New Art Foundation collaborates with Fundació Úniques in the exhibition “Con Fe y Sacrificio” by the artist Andrea Lería The New Art Foundation collaborates with Fundació Úniques in the exhibition “Con Fe y Sacrificio” by the artist Andrea Lería. On this occasion, the NAF has provided technological support for the exhibition. The exhibition, a tribute to her grandmother, aims to visit the roles of women through history, especially by exploring the social control to which they have been subjected. The exhibited artwork was awarded with Special Mention at the Contemporary Art Biennial of the Fundación ENAIRE. The exhibition can be visited at the headquarters of Fundació Úniques, which aims to promote contemporary art made by women artists from the Catalan Countries, as well as the collecting. The Círculo de Bellas Artes de Madrid opens its 2024-2025 exhibition season with HiperObjetos The Círculo de Bellas Artes de Madrid opens its 2024-2025 exhibition season with HiperObjetos, a collective exhibition that combines science, art and technology through the most outstanding artists of the New Media generation, Generative Art and Computational. The exhibition, organized with the .NewArt { foundation;} and in collaboration with the Caixa Enginyers, can be visited until November 17 th in the Sala Picasso of the Círculo. Through a careful selection of works that frame the great stories of the present, the project curated by Eloy Martínez de la Pera and Jaime de los Ríos presents a journey through contemporary creation in the era of the transistor, the internet and artificial intelligence and invites us to reflect on possible futures. In this exhibition, the Círculo de Bellas Artes brings together a great selection of classical and recent creations of the NewArt { collection}, a transgressive agent, a testimony to our time and one of the most relevant electronic and digital art collections in the world, which immerses us in the unlimited poetics of cybernetics and technological art. .NewArt { foundation;} at Ars Electronica 2024 Albert Barqué-Duran and Marc Marzenit, Vestibular_1 .NewArt { foundation;} has been invited by the ArsElectronica festival to present, in collaboration with the Institut Ramon Llull, one of his most emblematic works, Vestibular_1 by Albert Barqué-Duran and Marc Marzenit, in its next edition in September 2024. Ars Electronica is the great annual event of technological art bringing together more than 100,000 professionals from all over the world in the city of Linz. Vestibular_1 is an immersive audiovisual installation that induces illusory sensations of self- movement in complete darkness by altering the vestibular functioning. This is achieved by powerful light and sound patterns that persist in the retina and the auditory system in the dark. The work explores the role of vestibular signals in the perception of the body and the world, and their impact on aesthetic preferences. This project was produced in the midst of the 2020 pandemic thanks to outstanding international collaboration between artistic and research institutions; an example that not only fostered avant-garde creative expressions, but also highlighted the resilience and unity of humanity by overcoming unprecedented challenges together. Eufònic, Ulldecona “La forme de l’eau”, Marie-France Veyrat and Jaime de los Ríos July 2024 The work of the artists Marie France Veyrat and Jaime de los Ríos explores the infinite of a lived moment. The experience and poetics of an instant merge into an intense universe that artists describe through an organization of algorithmic elements to retain the impossible beyond memory. This installation arises from the encounter between the two natures that at the same time symbolize, for the poetic work of Veyrat and los Ríos, the times of instant and memory. Both artists have a great experience in their analogue and digital work, having intervened and operated installations as well as large screens and digital facades. For this reason, and for this evocative occasion, they propose an ad hoc work that makes inspiration and shared personal experiences a great monumental work. https://eufonic.net/es/activitat/marie-france-veyrat-jaime-de-los-rios/ The cycle “Paradigmes” in Cal Massó (Reus) inaugurates the Daniel’s Canogar’s “Scrawl” exhibition The Department of Culture and Language Policy of the City Council of Reus has ready the third edition of the contemporary and cultural multidisciplinary cycle Paradigmes which, in this occasion, focuses on the figure of the Reus painter Marià Fortuny, this year they commemorate the 150th anniversary of his death. This cycle will be developed in Cal Massó and begins in June with an exhibition and, from September to December, it will have five related actions in different artistic disciplines carried out by artists from the territory. The first of the proposals opens this Friday, June 14, at Cal Massó. First of all, Councilor Recasens will present the program of Paradigmes, and then, Montse Grau, managing director of the New Art Foundation, will open the exhibition “Scrawl”, by Daniel Canogar. “Scrawl” is a generative digital piece that reacts in real time to trending topics of the social network X. The workings software periodically collects the most mentioned topics in the community X. These issues are translated in real time in an aesthetic of vandalic painting and denunciation that, unlike a professional graffiti, they are done quickly and anonymously, many of them sometimes for the hardness or sincerity of their content, others as a simple gesture of the act of enunciation. As a constantly changing work, "Scrawl" tries to capture multiple forces and tensions that coexist in social spaces such as X, where identity of the individuals —always escorted by the screen— it was spread in its most popular version crude and, paradoxically, perhaps more real and honest. Massive Binaries, the digital artwork by Andy Gracie, arrives at Sónar after its exhibition at Ars Electronica. The piece is the result of the first edition of the Randa Art|Science residency, organized by the Ramon Llull Institute, and is now being presented in Barcelona by the NewArtFoundation. Massive Binaries, by British artist based in Barcelona Andy Gracie, will be showcased on June 13th, 14th, and 15th in the projects area of Sónar+D: a forum for debate and an exhibition space where creative technology and cutting-edge art intersect with research, AI-generated visual effects, and experimental video games. Gracie's installation proposes two overlapping narratives about processes and interactions in binary systems. The first revolves around a pair of neutron stars orbiting each other and eventually merging to generate large amounts of energy, while the second refers to contemporary society, which, unlike neutron stars, seems increasingly polarized. The bridge between the two realms is the use of AI, which, according to the artist, can either enhance or destroy information. The artwork is the outcome of the first edition of the Randa Art|Science residency organized by the Ramon Llull Institute, developed at Ars Electronica (Linz, Austria), and the Barcelona Institute of Science and Technology (BIST), in collaboration with Barcelona's Art, Science, and Technology Hub Hac Te and the NewArtFoundation. It was showcased at the Ars Electronica festival in September 2023, following Gracie's residency at the Institut de Física d’Altes Energies (IFAE) in Barcelona – one of the centers comprising the BIST Community – where he conducted research on gravitational waves and particle accelerators. Andy Gracie (London, 1967) is an artist working across various formats and disciplines such as installation, robotics, sound, video, and electronic media. He utilizes scientific theory and practice to question our relationships with exploration and experimentation while highlighting the connection between art and science. https://www.llull.cat/english/actualitat/actualitat_noticies_detall.cfm?id=44280&url=-massive-binaries-pieza-arte-digital-andy-gracie-llega-sonar-despues-su-paso-por-ars-electronica.htm Marie-France Veyrat’s individual exhibition “Formes Artquitectòniques” curated by Màrius Domingo takes place in El Círcol de Reus. For this exhibition El Círcol wants to establish a dialogue between space, where the noble woods, the damascus, the lamps of monumental and the mirrors, in the cozy atmosphere of the great European social clubs of Anglo-Saxon roots, contrast with the contemporaneity of the pieces of Marie-France. In the “Saló de ball” we can see the audiovisual audiovisual algorithmic generation “La forme de l’eau” , made in collaboration with the artist and curator Jaime de los Ríos. New exhibition in Tarragona, from April 25 to 28 Mèdol inaugurates "Digital After All", the big one digital art exhibition in the emblematic building of La Tabacalera de Tarragona, which opens at exceptionally public. The exhibition, which can only be visited from April 25 to 28 free in the old tobacco factory, will present the gran facilities formed by the creative studios FIELD (London) and Six N. Five & Some form (Barcelona / Berlin), by the visual artist Alba G. Corral (La Ràpita), by the artist new media Marnix de Nijs (Rotterdam), by the creative programmer Mónica Rikić (Barcelona) and the audiovisual artist nddr3 (Barcelona), in addition to the music by DJ Wilk.o. Three of these works are part of New Art Collection given expressly for this occasion. Mèdol Center d'Arts Contemporànies de Tarragona inaugurates "Digital After All", a collective and large-format exhibition dedicated to digital art and the possibilities of the technology applied to artistic creation. The sample can only be seen during four days, from April 25 to 28 at La Tabacalera in Tarragona, a former tobacco factory, which opens the central naves in an exceptional way to host the exhibition. The program of Mèdol 2024, which was presented last February, is expanding beyond the main space - the historic Casa Canals building - and occupies buildings emblematic of the early 20th century of the city of Tarragona, rich witnesses of the past turned into spaces for contemporary art. This is the case of La Tabacalera, majestic factory complex made up of different buildings with classical motifs. "Digital After All" is an exhibition, a celebration of digitality and an experience: one microcosms to explore and a map on which to name those people who are there creating the present and the future of art. Through the work of six artists, national and international, "Digital After All" highlights the creative force of a reality full of possibilities, which breaks down barriers, creates and illusions, and generates a space to flow, fill the eyes, feel, connect and be deeply human. The exhibition has been created from "Digital Impact", the great exhibition of digital art presented in the Design Hub Barcelona in 2023. Directed by Pep Salazar, curated by Héctor Ayuso, and with the support of Digital Culture of the Generalitat of Catalonia, "Digital After All" a Tarragona proposes to resume the thread by adding new artists. "Digital After All" features works from the creative studios Six N. Five & Some form (Barcelona / Berlin) and FIELD (London), by the visual artist Alba G. Corral (La Ràpita), by the new media artist Marnix de Nijs (Rotterdam), by the artist and creative programmer Mónica Rikić (Barcelona) and the young experimental audiovisual artist nddr3 (Barcelona). In addition, the exhibition will have two guided tours by two art experts digital: one with Pep Salazar, director of the OFFF Festival and director of "Digital Impact”; and another with Antònia Folguera, curator of Sónar+D and Eufonic Pro (Saturday 24 and Sunday 25 at 12.30 p.m.). Guided tours will be accompanied by a DJ Wilk.o, a benchmark for electronics and digitality in Tarragona. The free exhibition can be visited on Thursday, April 25 (opening at 7 p.m.), and the Friday 26, Saturday 27 and Sunday 28 April (from 11 a.m. to 2 p.m. and from 4 p.m. to 9 p.m.). https://www.exibart.es/exposiciones/el-medol-inaugura-una-exposicion-colectiva-de-manera-excepcional-en-la-tabacalera-de-tarragona/ The Apeles Fenosa Museum in El Vendrell inaugurates the Future Atmospheres exhibition Inauguration of the Future Atmospheres exhibition at the Apel·les Fenosa museum in El Vendrell, with special thanks to the New Art Foundation for the loan of Lugan's thermal hand. An exhibition that proposes a dialogue between classic pieces by Apel·les Fenosa and current artists, among which there is also a work by the artist Marina Nuñez of which we also have other works of hers in the Foundation., https://laciutat.cat/es/la-ciutat-del-penedes/museo-apelas-fenosa-atmosferas-futuras https://www.bonart.cat/es/n/44452/39atmosferas-futuras39-reactiva-el-125-aniversario-de-apelles-fenosa XIX EDITION ARCO/BEEP PRIZE FOR ELECTRONIC ART ANNOUNCED. Scrawl , Daniel Canogar. Max Estrella Gallery. Booth 9B22 Exploding Cell , Peter Halley. Senda Gallery, Booth 9B23. The 19th ARCO/BEEP Award for Electronic Art 2024, awarded in collaboraEon with the Arts ConnecEon FoundaEon, is granted to Daniel Canogar for his work "Scrawl" (2023) exhibited at Max Estrella Gallery, and to Peter Halley for his work "Exploding Cell" (1983) exhibited at Senda Gallery. Without a doubt, Daniel Canogar is one of the great figures of Spanish contemporary art, with an aesthetic and experimental development that has made him a critically acclaimed figure. His works synthesize information, data, cultural contexts, and at the same time, reformulate the notion of the pictorial. In the awarded piece, graffiti emerges from interactions on social networks that ultimately form a labyrinth of signs or a palimpsest that saturates the space only to be erased and resurface. In the tsunami of datafication, in the era of global surveillance, Daniel Canogar reveals the historical strata of abstraction and urges us to read beyond the evidence. Peter Halley is the master of neo-geo painting, and in this case, the awarded piece, "Exploding Cell" (1983), is a pioneering work in "digital animation" that generates spaces from lines. These cells allude to both the "grid" of Foucault's society of control and the circuits of computers. The .NewArt { collection;}, formerly known as the Beep CollecEon of Electronic Art, thus incorporates a work that contributes to completing a genealogy of media and its expansion in the artistic field. With these two awarded artists and works, the .NewArt { collection;} clearly states its commitment to contemporary art and aesthetic-technological developments. Its highly important collection is enriched by these two additions. Both works will be exhibited at the upcoming edition of the Miami New Media Festival, in its twentieth edition. https://www.iac.org.es/noticias/actividades-socios/fallada-la-xix-edicion-del-premio-arcobeep-de-arte-electronico.html .NewArt { foundation;} at Ars Electronica 2023 RANDA Art|Science Residency's, Andy Gracie, Massive Binaries. The RANDA Art|Science Residenc y is organized by the Institut Ramon Llull and hosted by Ars Electronica and the Barcelona Institute of Science and Technology (BIST), in collaboration with the new hub of Art, Science, and Technology from Barcelona, Hac Te, and the NewArtFoundation. The winner of the first edition was Andy Gracie, whose project *Massive Binaries* explored the extraction of knowledge from processes of merging and collision related to gravitational waves and particle accelerators. Gracie has been hosted at the Institut de Física d’Altes Energies (IFAE), from BIST. The NewArtFoundation contributed to the production, preservation and exhibition of the artwork created during the residency. https://ars.electronica.art/who-owns-the-truth/en/massive-binaries/ The .New Art { foundation ;} collaborates with Eufònic 20 23 Eufònic is a festival around the sound, visual and digital-performative arts that has been held in Terres de l'Ebre, 200 km south of Barcelona, since 2012. The twelfth edition of the festival in Terres de l'Ebre was held from August 24 to 27, 2023, with a previous weekend (Pòrtic Eufònic, from August 18 to 20) with inaugurations of artistic installations and other activities in singular spaces. Eufònic has been distinguished with the 2023 National Culture Award, which has been awarded by the CoNCA since 2009, and is the most important distinction in the field of culture in Catalonia. https://eufonic.net/en/ Digital Impact at Disseny Hub Barcelona Alba G. Corral presented her new piece ‘Mercuri’ which has been co-produced by the .NewArt { foundation;}. On view until the 27th of August. Three concepts united to a work that result in an audiovisual piece of dreamlike shapes and abstract textures: the Roman god; the planet that bears his name; the chemical element used in UHP projector lights, about to disappear and be replaced by other technologies. An exploration of the beautiful complexity of the algorithms that create generative art using open source tools. A piece that explores the contemplation of organic digital aesthetics speculating with new textures, movements and volumes. https://www.digitalimpact.art/ Randa Art|Science Residency Ars Electronica x Institut Ramon Llull x Hac Te x .Ne wArt { foundation ;} We are pleased to announce that Andy Gracie (UK/ES) has been selected as the winner of the Randa Art|Science Residency. Gracie’s project, Massive Binaries, draws from the notion of extracting information and knowledge from the processes of merging and collision, specifically focusing on gravitational waves and particle accelerators and their applications to cosmology. Organized by the Institut Ramon Llull and hosted by Ars Electronica and the Barcelona Institute of Science and Technology (BIST), in collaboration with the new hub of Art, Science, and Technology from Barcelona, Hac Te and the .NewArt { foundation;}. The Randa Art|Science Residency enables artistic research through scientific expertise. The partners invite together an artist or artist group from Catalonia to develop a new work in collaboration with the scientific partner, the Barcelona Institute of Science and Technology. The goal is to exhibit an artwork dedicated to the challenging questions around the digital transformation of our society and its impact at the Ars Electronica Festival in September 2023. https://ars.electronica.art/festival/en/randa2023/ IN MEMORIAM. Peter Weibel 1944-2023 We will always miss your eloquence and generous advice. "If you think you are sleeping you are awake." Peter Weibel XVIII EDITION OF THE ARCO/BEEP PRIZE FOR ELECTRONIC ART This year's edition has given two awards: Opaulo, Evru. Galería Senda . Me dia May Rewind Reality, Peter Weibel. Galería Beckers + Kornfeld . Congratulations to the winners and thank you to everyone involved! The .NewArt { collection;}. at V2_ V 2_Lab For The Unstable Media, Rotterdam 9. FEB — 4. MAR 20 23 V2_Lab for the Unstable Media and . NewArt { foundation;} are pleased to prese nt selected works from the .NewArt { collection;}, formerly known as the BEEP Electronic Art Collection. Unique in its kind, the primordial objective of the .NewArt { collection;} is to act as a witness and agent of the transgression created from the intersection between art, science and technology. Most of the artworks were commissioned specifically for the collection, and, since 2021, V2_ is a partner to this commissions program. Artist Albert Barqué-Duran, alongside with .NewArt { foundation;}'s director Vicente Matallana will be travelling to offer a talk during the opening event on the 9th of February. With artworks by Alber t Barqué-Duran & Marc Marzenit, Alba G. Corral, Weidi Zhang, Daniel Canogar, Charles Sandison, Paolo Cirio, Peter Weibel, Marina Nuñez, Keith Armstrong, and Rafael Lozano-Hemmer Catalan Digital Arts get international exposure with the participation at Ars Electronica, the most relevant festival for Digital Culture. The Institut Ramon Llull, together with New Barcelona Art, Science and Technology Hub (Hac Te) and NewArtFoundation boost the presentation of 6 Catalan projects at Ars Electronica 2022 , hosted from September 7 to 11 in Linz (Austria). Welcome to Planet B is the title for this year’s festival, which has been held for more than 40 years. Catalan digital Arts will be heavily represented at Ars Electronica 2022 , featuring among others a new work by artist Antoni Muntadas . More than 40 years after its founding, Ars Electronica is the main global event for digital arts, a meeting point for art, technology, and society with an eye on the future and the global challenges it brings. With Ars Electronica Garden Barcelona hosted in 2020 and 2021, the capital of Catalonia become one of the main delocalised destinations of Ars Electronica Festival. After two years of the pandemic, this year the Austrian festival returns to its physical presence on site and offers an opportunity for international exposure for Catalan digital art. Six projects following this year’s festival theme -Welcome to Planet B. A different life is possible. But how? - are presented gathered under the title “ Collaborative Ecosystems for a Sustainable World ”. Tasmanian Tiger by Antoni Muntadas , Species I, II and III by Mónica Rikić , Do Bodies Dream of Electromagnetic Organs? by Esther Rodríguez-Barbero , Chemical Ecosystem by Yolanda Uriz Elizalde , FORMS - Screen Ensemble by Santiago Vilanova – Playmodes , and Tools for a Warming Planet by Sara Dean, Beth Ferguson, and Marina Monsonís. The six artworks in this exhibition are the outcome of different initiatives such as the 2020 and 2021 Ars Electronica Garden Barcelona, the grant programs convened by ISEA2022 Barcelona and NewArtFoundation, as well as interdisciplinary research projects developed by Hac Te. The new creation by Antoni Muntadas , Tasmanian Tiger: Case Study of the Museum of the Extinction , is presented to the public for the first time at the Festival. Besides that, on September 8th , the main arena of Ars Electronica (Festival University Stage) will host a panel discussion on collaborative practices and how the transversal sharing of knowledge can generate proposals for a sustainable world. The panel discussion will be chaired by Pau Alsina , co-director of HacTe , Lecturer and researcher in Arts and Humanities Studies at the Universitat Oberta de Catalunya, with the participation of the architect and designer Sara Dean (California), ecological designer and educator Beth Fergurson (California), the artist and director of the MACBA Kitchen Lab Marina Monsonís (Catalonia) and media artist and creative coder, Catalan National Culture Award 2021, Mónica Rikić (Catalonia). On Saturday 10th September there will be a guided tour of the exhibition with the director of NewArtFoundation Vicente Matallana and some of the artists and collaborators. The festival will also include a workshop in connection to Tools for a Warming Planet by the creators of the project. Collaborative Ecosystems for a Sustainable World is a production of the Institut Ramon Llull in collaboration with Hac Te and NewArtFoundation with the support of the General Directorate for Innovation and Digital Culture of the Government of Catalonia and the Barcelona City Council. These projects and Ars Electronica Garden Barcelona are made possible by the contributions of a great diversity of Catalan entities and institutions among which BIST-Barcelona Institute of Science and Technology , the IBEC-Institute for Bioengineering of Catalonia , the UOC – Open University of Catalonia, ISEA2022 Barcelona, NewArtCollection, DKV, La Caldera, Hangar Centre for Art Research and Production in Barcelona, La Capella, the Foundation Ernesto Ventós – Nasevo, Canòdrom - Ateneu d’Innovació Digital i Democràtica, Arts Santa Mònica, Festival OFFF and Espronceda Institute of Art & Culture. New Art Foundation and Beep Collection at ISEA2022 Barcelona. ____________________________________________________________ New Art Foundation, in collaboration with the Beep Collection and other institutions, participates in the celebration of the ISEA2022 Barcelona Symposium, developing several activities and exhibitions. In collaboration with Outlet-PC, Reus Capital Partners, Fundació Ernesto Ventós-Nasevo, Fundació Reddis, Fundació Sorigué-Planta and DKV has promoted a scholarship program for the occasion of the symposium. New Art Foundation, NAF, an active agent in the organization of this symposium, includes in its proposals the work of almost 50 artists from its Collection participating in two major exhibitions, as well as in events and exhibits scattered throughout the different venues of ISEA2022 Barcelona. The first exhibition, Orígens, opens on May 26 at Cal Massó, REUS. The exhibition is curated by Roberta Bosco and Stefano Caldana, exclusively made up of works from the Collection. https://isea2022.isea-international.org/event/beep-collection-cal-masso. This exhibition is reinforced by the mapping created by Alba G. Corral for Casa Navàs, a modernist jewel in Reus by the architect Lluís Domènech i Montaner. https://isea2022.isea-international.org/event/new-art-foundation-casa-navas. In parallel with this great architect of modernism, Lluís Domènech i Montaner, another exhibition, Possibles & Futures , will be inaugurated at the Modernist Precinct of Sant Pau showing 17 works from the Collection, as well as 5 works from the ISEA2022 Barcelona Call. https://isea2022.isea-international.org/event/sant-pau. Other works from the collection will be exhibited in Barcelona at Centre d’Arts Santa Mònica, https://isea2022.isea-international.org/event/santa-monica , at La Capella, https://isea2022.isea-international.org/event/la -capella-el-que-es-possible-i-el-que-no , and at Centre de Cultura Contemporània de Barcelona, CCCB, https://www.cccb.org/en , where the academic program of the symposium will take place. This enormous display, the result of the commitment of NAF and Beep Collection towards the development of a social project based on creation, research and knowledge, will culminate with the presentation of the latest work produced by the Foundation by the artist Marnix de Nijs, at Sónar. https://sonar.es/es/2022/artistas/sonarmatica-by-tezos-installations. These programs have been made possible thanks to the participation of the Generalitat de Catalunya, Tarragona Provincial Council, Reus City Council, The Embassy of the Netherlands, Open University of Catalonia, Hac Te, Cal Massó, Casa Navàs, Modernist Precinct of Sant Pau, Sónar, Fundació Ernesto Ventós-Nasevo, Fundaciò Reddis, Fundación Sorigué-Planta and DKV, Outlet-PC, Reus Capital Partners and the support of Tecnol, Vermuts Miró and Fruselva, as well as the friendship, complicity and effort of so many others. 17th EDITION OF THE ARCO/BEEP ELECTRONIC ART AWARD. The 17th ARCO/BEEP Electronic Art Award has been awarded to “Echo”, a work by Lúa Coderch, Julia Múgica, Lluís Nacenta and Iván Paz, presented by the Galeria Àngels of Barcelona with the collaboration of Galeria Dilalica. The jury has valued this collective creation that reformulates, in a contemporary key, the myth of the nymph Echo, materializing in a post-human object next to which there is a small stool to allow the viewer to interact. “Echo” responds and converses on the edge of the (in)congruent and, in a way, poses an allegory of our need to establish a correspondence. The artists indicate that this work "works like a body among bodies", operates in society by articulating statements that reveal our difficulty in understanding what is said or trying to speak with minimal meaning. It is not merely a question of the wall in the distance giving us back, what we have said, with a time delay, but a linguistic “drift” that does not exclude a humorous tonality. Just as we begin to glimpse an end to the pandemic distancing, this "echo-objectual-verbal" may symbolize our wish for closeness, the desire that conversations may be what we deserve. Summoning Echo, we rescue this being despised by Narcissus from oblivion, something that deserves to be verbalized. In these moments of barbarism, the jury wants to highlight the collaborative practices within the artistic world, as a sign of generosity and humanity. Echo, in its conception, creation and exhibition, has been made possible by the desire to share and collaborate. Against barbarism. February 24th 2022. Felicie d’Estienne d’Orves at The Grenier à Sel, Avignon The exhibition Light, Space, Time, brings together 14 contemporary artists in a tribute to Nicolas Schöffer. Cybernetics, robotics, interactivity, prismatic visions, video art and dream machines are all on the program for this selection on display at the Grenier à sel. Nicolas Schöffer was a leading precursor of cybernetic art, electronic arts and above all exchange between artistic disciplines, and was a major artist of the second half of the 20th century. This exhibition pays tribute to Nicolas Schöffer and his visionary genius in presenting films and visual experiments, and testifies to the umbilical connection that links him to an entire generation of artists at the crossroads of technologies and sciences. The exhibition Light, Space, Time establishes the dialogue between period documents and current works that resonate with tthe triad 'Light, Space, Time'. Cybernetics, robotics, interactivity, prismatic visions, video art and dream machines are all on hand for this exhibition of 14 contemporary artists: Elias Crespin, Olivier Ratsi, Félicie d’Estienne d’Orves, Pe Lang, Adrien Lucca, Etienne Rey, Antoine Schmitt, Anne Sarah Lemeur, Santiago Torres, Lab(au), Justine Emard, Ronan Barrot - Robbie Barrat, Maurice Benayoun and Niko de la Faye. The .BEEP { collection;} participates by lending the work Eclipse II, Félicie d’Estienne d’Orves. Le Grenier à sel - Avignon From October 9, 2021 to December 23, 2022. https://legrenierasel-avignon.fr/lumiere-espace-temps Anthony McCall at PZSB/MCC, Mieres The Pozu Santa Bárbara and the MCC de Mieres host Anthony McCall. Solid Light and Performance Works, an exhibition – curated by Gloria Moure – that traces the artist’s career. A pioneer in combining multiple disciplines such as sculpture, film and drawing, McCall presents Face to Face II, his first work with two facing screens, in which the viewer is immersed in an architecture that generates a theatrical atmosphere, a hybrid between the ethereal and the solid. The .BEEP { collection;} participates by lending the work Face to Face II, Anthony McCall. Pozu Santa Barbara (PZSB), Mieres. Mieres Cultural Center (MCC), Mieres. From October 15, 2021 to January 31, 2022. https://www.mieres.es/solid-light-and-performance-works-de-anthony-mccall-inaugura-el-pozu-santa-barbara-como-centro-de-exposiciones/# Ars Electronica Garden Barcelona 2021 The Institut Ramon Llull , Hac Te – Barcelona Art , Science and Technology Hub , UOC – Universitat Oberta de Catalunya , HANGAR – Center for Art Research and Production , NewArtFoundation , .BEEP { collection;} , ESPRONCEDA – Institute of Art & Culture , La Caldera – Center for the creation of dance and performing arts , Canòdrom – Digital and Democratic Innovation Centre , organize for second year the Ars Electronica Garden Barcelona within the official program of the Ars Electronica 2021 Festival, which is held in distributed mode, with Barcelona as one of its locations. From September 8 to 12, Ars Electronica 2021, the festival for art, technology and society, take place not only in Linz, and 86 other Ars Electronica Gardens around the globe, but also online. The festival thus presented itself as a dual event – with exhibitions, concerts, talks, conferences, workshops, guided tours and other online activities. The main challenge of the new digitality is to resist the transhuman capitalist dream of the digital as utopia so as to configure a hybrid problematic via metastable and interdependent approaches to digital media. The hybrid times we are now living in have made us utterly aware of our interdependence— the state of being mutually reliant upon one another—as a form of symbiosis to take into account. Merging the digital/online world with the analog/presential world also has to relate and connect with the multiple layers of reality involved, from technopolitical infrastructures to ecosocial impact. The Ars Electronica Garden Barcelona will consist of five different phases: 1) an open call for art, science and technology grants; 2) artists’residencies in scientific and technological research centers; 3) the implementation of research-production processes in visual arts and performing arts production centers; 4) the public exhibition and diffusion of artistic research results and, finally, 5) the sharing of results, methods and processes involved in the collaboration through a series of open talks and roundtable discussions. With works by Estampa, Andy Gracie, Óscar Martín, Esther Rodríguez-Barbero, Anaisa Franco, Stefan Tiefengraber, Mohsen Hazrati, Mónica Rikić, Gilles Jobin Cia, Solim.n López, Pheel Concepts and Remix El Barrio among others, and with the participation of innovation platforms such as IMMENSIVA and Phygital. With the collaboration of Sónar, Mira Festival, IDEAL — Digital Arts Center, IAAC — The Institute for Advanced Architecture of Catalonia, BSC — Barcelona Supercomputing Center, ICFO — Institute of Photonic Sciences, BIST — Barcelona Institute of Science and Technology, Barcelona City Council and the Direction of Innovation and Digital Culture at the Ministry of Culture-Government of Catalonia. Curated by: Pau Alsina, Carolina Jiménez, Maria Lladó,Alejandro Martín, Vicente Matallana, Lluís Nacenta and Irma Vilá. https://ars.electronica.art/newdigitaldeal/en https://arselectronicagardenbarcelona.org/en AWARD OF THE PRIZE ARCO/BEEP OF ELECTRONIC ART IN ARCOMADRID BEEP Collection´s Prize in its 16th Edition (2021) in ARCOMADRID has been awarded to Marina Núñez for her works, Still Life Swell (2021) and Still Life Tornadoes (2021) exhibited in the Gallery Rocío Santacruz. The members of the jury were Fernando Castro, Roberta Bosco, Marie-France Veyrat and Vicente Matallana. The work is a reformulation of the Neo-Barroc Still Life genre in several videos, allegorizing both the questions related to human existence and its relationship with Nature. Their pictorial tonality is very sophisticated, offering a fascinating hyper-reality approach that presents the viewer with specific details such as the movement of a piece of cloth or the spilling of liquid from a glass due to an inexplicable turbulence. Drama and beauty are intertwined in these works that explain this artist’s maturity. Marina Núñez has developed her art over the years from painting to photography and computerization. She has exhibited in reference museums such as MNCARS, MUSAC or Thyssen-Bornemisza. Her artistic meditations about hysteria, the feminine condition, monstrosity and scopic drive, converge in these intense videos that do not suggest the idea of “the vanity of all things” rather the idea that there might be at least some hope within the disastrous world in which we live: Still Lives that transmit life or, at least, exorcize the intrinsic death that is implicit in the name of its genre. RESOLUTION OF THE PRIZE ARCO/BEEP OF ELECTRONIC ART The selection committee was formed by: Maria Lladó and Susana Millet (Institut Ramon Llull), Marisol López (director of the Digital Area of ICEC), Marie-France Veyrat, Andreu Rodríguez Valveny and Vicente Matallana (NewArtFoundation), Pau Alsina and Irma Vilà (UOC – ISEA Barcelona), Cristina Riera (La Caldera), Roberta Bosco (independent curator and critic), Alex González (BIST), Lydia Sanmartí and Silvia Tognetti (ICFO), Fernando Cucchietti (BSC), Lluís Nacenta and Miguel Ángel de Heras (Hangar), the latter as technical advisor with voice but no vote,has decided to select the following projects from among the 71 applications submitted to this grant program, which is framed within the context of residencies of Hac Te, the hub of art, science and technology in Barcelona: Modality 1: – Estampa with the project Cambres fosques de la ideologia, an investigation on the technological mediations that operate behind the images and in which different audiovisual formats are used, which put in dialogue the camera obscura with the operative images of artificial intelligence (AI). – Andy Gracie with the project EoE Triptych #1, in which he develops cultural and scientific narratives around the end of the Universe in three different stages (the end of the Solar System, the end of the Galaxy and the Universe) in a triptych format, recurrently used in the history of art to frame narratives about the fate of humanity and its possible redemption. – Óscar Martín with the project MMM [meta music machines], a sound and sculptural research, among other things, that tries to develop and build a non-human sound composer, a machine/sculpture that is inspired, feeds and “learns” from the music created for centuries by human culture. – Esther Rodríguez-Barbero, with the project ¿Sueñan los cuerpos con órganos electromagnéticos?, a scenic research on the relationship between the body and implanted biomedical electronic devices and its derivations around perception, self-perception, spatial movement, the construction of spaces and narratives capable of embracing these realities. Modality 2: – Anaisa Franco with the project Neuroconnection, an interactive installation that connects thoughts within a parametric light sculpture that allows people to play and control light-sensitive reactions using their own thoughts. We sincerely thank all the participants of the call and congratulate Estampa, Andy Gracie, Óscar Martín, Esther Rodríguez-Barbero and Anaisa Franco. https://hangar.org/en/resolutions/resoluciobequesproduccioinvestigacio Production-research grants from Institut Ramon Llull, NewArtFoundation, UOC, La Caldera and Hangar The Institut Ramon Llull , New Art Foundation , Universitat Oberta de Catalunya (UOC) , La Caldera and Hangar open a call for five grants for the production-research of artistic pieces in the field of the confluence between art, science and technology. This grant program is part of the residency program of Hac Te, the art, science and technology hub of Barcelona, with the participation of the research centers Barcelona Supercomputing Center (BSC) Institute of Photonic Sciences (ICFO), or other centers attached to the Barcelona Institute of Science and Technology (BIST). The selected projects may be presented in the framework of the Ars Electronica 2021 festival, which for the second year will be held in distributed mode with Barcelona as one of its main locations, or other related events. https://hangar.org/en/convocatories-3/beques-de-produccio-investigacio-de-linstitut-ramon-llull-newartfoundation-uoc-la-caldera-i-hangar Ars Electronica Garden Barcelona Institut Ramon Llull, Hangar, UOC – ISEA Barcelona, OFFF Barcelona, .BEEP { collection;}, and NewArtFoundation, organize the Ars Electronica Garden Barcelona within the official program of the Ars Electronica 2020 Festival, which this year is held in distributed mode, with Barcelona as one of its locations. From September 9th to 13th, Ars Electronica 2020 will take place under the title of Kepler’s Garden, a tour that from Linz (Austria) expands to other 120 cities. For the first time, the Festival becomes a sort of digital journey that will take visitors from all over the world to different biotopes and networked ecosystems where new alliances and forms of cooperation are possible. Simultaneously to local-physical and global online events, Ars Electronica appears once again as a laboratory focusing on experimental forms of analog and digital, real and virtual, physical and online coexistence. Based on the notions of uncertainty and ecology, Ars Electronica Garden Barcelona presents a program that seeks to account for the diversity of relationships and interdependencies among the arts, sciences, technologies and critical thinking that make possible ways of thinking and doing that can provide non-univocal answers to the need to constitute and strengthen a material culture of life that will lessen the ecological and epistemic damage of capitalism, which the COVID-19 crisis once again puts into reconfiguration. The program of Ars Electronica Garden Barcelona is deployed in a variety of activities and formats that include exhibitions, live actions, round tables, shows or workshops, with a clear will to interconnect politics with art, technology and nature. Barcelona appears here through a network of heterogeneous agents that make theoretical positions converge with the practical work that multiple social groups, cultural producers, nodes, clusters or educational centres have been developing, interlinked with each other and with the world. More information soon. https://ars.electronica.art/keplersgardens/en/program/ Resolution of the Production and Exhibition Grants by Institut Ramon Llull, NewArtFoundation and Hangar. The selection committee consisting of: Eva Soria and Maria Lladó (Ramon Llull Institute), Marisol López (director of the ICEC’s Digital Area), Marie-France Veyrat, Andreu Rodríguez Valveny and Vicente Matallana (NewArtFoundation), Pau Alsina and Irma Vilà (UOC – ISEA Barcelona), Roberta Bosco (curator and critic), Giuliana Racco and Lluís Nacenta (Hangar) and Jordi Llàcer (NewArtFoundation) and Miguel Ángel de Heras (Hangar), the latter two as technical advisors with voice but no vote, Has decided to award to the following projects: Modality 1: Roc Parés Santi Vilanova Modality 2: Monica Rikić In Barcelona, 17 July 2020 https://hangar.org/en/resolutions/resolucio-de-les-beques-de-produccio-i-exhibicio-institut-ramon-llull-newartfoundation-hangar/ Production and Exhibition Grants by Institut Ramon Llull, NewArtFoundation and Hangar in collaboration with the .BEEP { collection;} The Institut Ramon Llull, NewArtFoundation and Hangar, Centre for Production and Research of Visual Arts in Barcelona open a call for proposals to award three grants for the production of artistic pieces in the field of the confluence between art and technology. These pieces will be presented in an exhibition at Arts Santa Monica, within the official program of the 2020 Ars Electronica Festival, which is held in a distributed mode, with Barcelona as one of its locations, due to the crisis of the COVID19. https://hangar.org/en/convocatories-3/beques-de-produccio-i-exhibicio-de-linstitut-ramon-llull-new-artfoundation-ihangar/?fbclid=IwAR3utq4J1VnDOOIbQHdPsWtvKi79TCL3zAM9BZLgf5eEBWiS81hHJvFl0EM “XV edition of the ARCO-Beep Electronic Art Award” The BEEP Collection of Electronic Art has awarded its 2020 award at the ARCOmadrid fair to Joan Fontcuberta and Pilar Rosado, for the work entitled Prosopagnosia, exhibited at the Galería Angels Barcelona. Fontcuberta is, without a doubt, one of the most respected photographers and image theorists of his generation, with a magnificent exhibition career, both national and international. In his work he has raised a lucid and playful reflection on the status of the image, the mutations of photography and what he has described as "fury of images". Far from the Barthesian and auratic referential conception of photography, he has stressed that the image always has a fictional component. .BEEP { collection;} @ Ars Electronica Festival 2019 The .BEEP { collection;} will participate as a guest collection at the ARS ELECTRONICA FESTIVAL in Linz, the most important event of the year dedicated to media art and the most experimental and innovative expressions of contemporary art and creativity, celebrating its 40th anniversary. A swarm of electronic fireflies, a sound installation controlled by a community of jellyfish and an approach to the concept of portrait through a system of representation of the face based on the observer's gaze are some of the most outstanding works which the BEEP Collection will present at the Festival, within the framework of an exhibition which poses an unprecedented concept of expanded bioart. In addition, the BEEP Collection will exhibit its most recent additions: 3 new works by emerging artists, results of the first production program carried out in collaboration with the HANGAR Independent Production Centre and the NewArt Foundation of Barcelona. https://ars.electronica.art/outofthebox/en/beep-electronic-art After the Festival this proposal will be presented at the Young Gallery Weekend. http://younggalleryweekend.com/es/galerias/arts-santa-monica “XIV edition of the ARCO-Beep Electronic Art Award” The BEEP Collection awards in its XIV edition the work The Wall of Gazes (2011) by the Argentine artist Mariano Sardón exhibited at the Ruth Benzacar gallery (Buenos Aires). It is a magnificent installation in video resolution, with a special software support, generated from an eye tracker device. Sardón investigates the mutations of the contemporary gaze. Each subject establishes a journey with his vision generating lines and flashes that make up faces that appear from a situation of apparent disorder. In this sort of visual labyrinth, a countenance that seems to question us ends up composing itself. At a time when we endured a data tsunami with hardly any information nuclei being settled, the work of Mariano Sardón comes to propose a resolution of the collective visual itineraries in semblants-epiphanies that are subject to the dynamics of time. This “wall of gazes” allows establishing a dialogue with other works from the BEEP Collection that also influence the conceptualization of “ways of looking”. If art is a strange combination of what we see and what looks at us, in this case what challenges us is a face that does not intend to petrify us in the manner of the Gorgon but to incite us to contemplate reality in other ways. “The .BEEP { collection;} presents a selection of works at Mobile Week Barcelona” In its 3rd edition, Mobile Week Barcelona presents the exhibition “Our simple relationship with technology: a reflection on the digital transformation of our society through the selection of ten works by international artists and works from the BEEP Collection of Electronic Art”. As a starting point for the open call for artists, Mobile Week proposed to rethink the daily relationship established between human beings and technology, with special attention to artificial intelligence. Far from explaining simple connections, our simple relationship with technology seeks to trace relationships of mutual influence that are often not evident as daily. Clad in apparent simplicity and, in many cases, a sense of humor, the 10 selected works address our relationship with technology in all its complexity, a relationship that is ubiquitous in the Beep Collection. Tycho; Test One by British artist Paul Friedlander is the first result of the ATA (Advanced Technology Art) Program developed by the Collection, the NewArtFoundation and Eurecat, the leading Technology Center in Catalonia, with the collaboration of Escofet, serving as a meeting point for the presentation of the works Gust by Daniel Canogar, Try Not To Think So Much by Eugenio Ampudia and Luci by José Manuel Berenguer that complete the Collection's proposal. These works will be accompanied by the artists selected by an international jury made up of Olga Subirós, Lívia Nolasco-Rózsás, Roberta Bosco, Rosa Ferré, Axel Gasulla, Amanda Masha and Rosa Arredondo who selected works by the artists Albert Barqué-Duran, Fidel García, Martina Solés Caldés, Mónica Rikić, Karin Fischnaller, Ivar Veermäe, Adriana Tamargo & Guillermo Escribano, María Castellanos & Alberto Valverde, Martin Nadal & César Escudero and Miguel Solimán López Cortez. The exhibition will be open from February 14 to March 16, 2019, at Disseny Hub Barcelona. The XIII edition of the ARCO / BEEP Award is convened, and the BEEP Collection dialogues with the Es Baluard Museum Collection The BEEP Collection of Electronic Art is the result of the artistic patronage of Andreu Rodríguez, president of the TICNOVA Group. In its 13 years of existence, the primary objective of the Collection has been to be a witness and agent of the transgression created by the intersection between art, science and technology. Linked from its beginnings to the ARCOmadrid International Contemporary Art Fair, through the ARCOmadrid / BEEP Prize for Electronic Art, it has generated one of the most important electronic art collections in Europe. More than 40 works show the trends of the technological media in the field of artistic practices. The Collection will once again be present at what is the appointment with the Spanish contemporary art market: the international fair ARCOmadrid. And it does so with a new call for the most traditional award at the fair, the ARCOmadrid / BEEP Award for Electronic Art. The objective of the award is to promote the research, production and exhibition of art linked to new technologies or electronic art. Its purpose is to promote artistic creation linked to technology, to promote communication between technology manufacturers / creators and creative artists. A natural collaboration that will benefit and enrich both. .BEEP { collection;} @ Ars Electronica Festival 2018 Starting on 6th September the Austrian city of Linz will host the most important event in the world of digital art: the Ars Electronica festival. In this latest edition, the .BEEP { collection;} will be one of the protagonists as an invited collection. As such, it will be charged with exhibiting one of its latest productions as well as various selected works from the collection. https://ars.electronica.art/error/en/the-beep-electronic-art-collection

Daniel Canogar, Madrid, 1964. Daniel Canogar´s life and career have bridged between Spain and the U.S. Photography was his earliest medium of choice, receiving an M.A. from NYU at the International Center of photography in 1990, but he soon became interested in the possibilities of the projected image and installation art. He has created permanent public art installations with LED screens, including Aqueous at The Sobrato Organization (Mountain View, CA, 2019); Pulse, at Zachry Engineering Education Complex in Texas A&M University (College Station, TX, 2018), Tendril for Tampa International Airport (Tampa, FL, 2017) and Cannula, Xylem and Gust II at BBVA Bank Headquarters (Madrid, 2018). He has also created public monumental artworks in different mediums such as Amalgama El Prado, a generative video-projection projected on the Museo Nacional del Prado façade and created with the Museum’s painting collection (Madrid, 2019); Constellations, the largest photo-mosaic in Europe created for two pedestrian bridges over the Manzanares River, in MRío Park (Madrid, 2010) and Asalto, a series of video-projections presented on various emblematic monuments, including the Arcos de Lapa (Rio de Janeiro, 2009), the Puerta de Alcalá (Madrid, 2009) and the church of San Pietro in Montorio (Rome, 2009). Also part of the series is Storming Times Square, screened on 47 of the LED billboards in Times Square (New York, NY, 2014). His solo shows include “Billow” at bitforms gallery (New York, NY, 2020); “Liquid Memories” at sala Kubo-Kutxa (San Sebastian, 2019); Surge a temporary installation for the Grand Lobby Wall at Moss Arts Center, Virginia Tech (Blacksburg, VA, 2019); “Echo” at Paul and Lulu Hilliard University Art Museum (Lafayette, LA, 2019); “Melting the Solids” at Wilde Gallery (Geneva, 2018); “Fluctuations” at Sala Alcalá 31 (Madrid, 2017); “Echo” at bitforms gallery (New York, NY, 2017) and Max Estrella Gallery (Madrid, 2017); “Sikka Ingentium” at Museum Universidad de Navarra (Pamplona, 2017); “Quadratura” at Espacio Fundación Telefónica (Lima, 2014); “Vórtices”at the Fundación Canal Isabel II (Madrid, 2011); Synaptic Passage, an installation commissioned for the exhibition “Brain: The Inside Story” at the American Museum of Natural History (New York, NY, 2010) and two installations at the Sundance Film Festival (Park City, UT, 2011). He has exhibited in Reina Sofia Contemporary Art Museum, Madrid; Wexner Center for the Arts, Ohio; Offenes Kulturhaus Center for Contemporary Art, Linz; Kunstsammlung Nordrhein Westfallen, Düsseldorf; Hamburger Bahnhof Museum, Berlin; Borusan Contemporary Museum, Istanbul; American Museum of Natural History, New York; Andy Warhol Museum, Pittsburgh; Mattress Factory Museum, Pittsburgh; Palacio Velázquez, Madrid; Max Estrella Gallery, Madrid; bitforms gallery, New York; Art Bärtschi & Cie Gallery, Geneva; Eduardo Secci Contemporary, Florence; the Alejandro Otero Museum, Caracas and the Santa Mónica Art Center, Barcelona. In 2016, Daniel Canogar and Rafael Lozano-Hemmer, jointly and honorably, received the ARCO-Beep Electronic Art Award Works at the collection: - QWERTY - Gust - "Scrawl" Daniel Canogar, Madrid, 1964. Daniel Canogar´s life and career have bridged between Spain and the U.S. Photography was his earliest medium of choice, receiving an M.A. from NYU at the International Center of photography in 1990, but he soon became interested in the possibilities of the projected image and installation art. He has created permanent public art installations with LED screens, including Aqueous at The Sobrato Organization (Mountain View, CA, 2019); Pulse, at Zachry Engineering Education Complex in Texas A&M University (College Station, TX, 2018), Tendril for Tampa International Airport (Tampa, FL, 2017) and Cannula, Xylem and Gust II at BBVA Bank Headquarters (Madrid, 2018). He has also created public monumental artworks in different mediums such as Amalgama El Prado, a generative video-projection projected on the Museo Nacional del Prado façade and created with the Museum’s painting collection (Madrid, 2019); Constellations, the largest photo-mosaic in Europe created for two pedestrian bridges over the Manzanares River, in MRío Park (Madrid, 2010) and Asalto, a series of video-projections presented on various emblematic monuments, including the Arcos de Lapa (Rio de Janeiro, 2009), the Puerta de Alcalá (Madrid, 2009) and the church of San Pietro in Montorio (Rome, 2009). Also part of the series is Storming Times Square, screened on 47 of the LED billboards in Times Square (New York, NY, 2014). His solo shows include “Billow” at bitforms gallery (New York, NY, 2020); “Liquid Memories” at sala Kubo-Kutxa (San Sebastian, 2019); Surge a temporary installation for the Grand Lobby Wall at Moss Arts Center, Virginia Tech (Blacksburg, VA, 2019); “Echo” at Paul and Lulu Hilliard University Art Museum (Lafayette, LA, 2019); “Melting the Solids” at Wilde Gallery (Geneva, 2018); “Fluctuations” at Sala Alcalá 31 (Madrid, 2017); “Echo” at bitforms gallery (New York, NY, 2017) and Max Estrella Gallery (Madrid, 2017); “Sikka Ingentium” at Museum Universidad de Navarra (Pamplona, 2017); “Quadratura” at Espacio Fundación Telefónica (Lima, 2014); “Vórtices”at the Fundación Canal Isabel II (Madrid, 2011); Synaptic Passage, an installation commissioned for the exhibition “Brain: The Inside Story” at the American Museum of Natural History (New York, NY, 2010) and two installations at the Sundance Film Festival (Park City, UT, 2011). He has exhibited in Reina Sofia Contemporary Art Museum, Madrid; Wexner Center for the Arts, Ohio; Offenes Kulturhaus Center for Contemporary Art, Linz; Kunstsammlung Nordrhein Westfallen, Düsseldorf; Hamburger Bahnhof Museum, Berlin; Borusan Contemporary Museum, Istanbul; American Museum of Natural History, New York; Andy Warhol Museum, Pittsburgh; Mattress Factory Museum, Pittsburgh; Palacio Velázquez, Madrid; Max Estrella Gallery, Madrid; bitforms gallery, New York; Art Bärtschi & Cie Gallery, Geneva; Eduardo Secci Contemporary, Florence; the Alejandro Otero Museum, Caracas and the Santa Mónica Art Center, Barcelona. In 2016, Daniel Canogar and Rafael Lozano-Hemmer, jointly and honorably, received the ARCO-Beep Electronic Art Award Works at the collection: - QWERTY - Gust - "Scrawl" http://www.danielcanogar.com https://es.wikipedia.org/wiki/Daniel_Canogar <<-- Back QWERTY, 2015 QWERTY shows the keys of a discarded keyboard recovered from a recycling centre. A projection falls with precision on the keys and seems to give new life to the old keyboard. As tools of communication with the outside world, and as repositories of many of our thoughts, we acquire a very intimate relationship with our keyboards. I try to reveal memories, both personal and collective, that seem to be trapped in keyboards, memories of a time in which the keys had a completely functional life. The work explores the way that language appears to have a life of its own that at times escapes us and at other times serves as a precise tool for the communication of thoughts. Other questions that we consider are the constructed nature of language and the incendiary potential of the word as a means for profound social change. https://vimeo.com/302442127 Gust, 2017 Gust is a screen made with flexible LED tiles, a technology that allows the artist to create curved screens. The generative animation reacts in real-time to local wind speed and direction. The artist has observed a substantial change in our relationship with screens. From small wrist devices that monitor our biorhythms to monumental LED billboards that wrap around buildings, we are surrounded by their flickering and bright surfaces. Screens are acquiring a new materiality, a membrane quality that extends over multiple surfaces, objects and buildings. The "Echo" series responds to this new concept of screen-skin. "Echo’s" screens seem to melt, drained by our overzealous need to represent the world. In their undoing, they discover a new role as creatures that no longer represent but sense their ecosystem. Connected to the Web, they perceive planetary phenomena that escape our sensory possibilities, and yet are so vital to our survival as a species. https://vimeo.com/228788186 "Scrawl", 2023 Is a generative piece that reacts in real time to trending topics on X, formally know as Twitter. The custom made software gathers periodically the most talked about topics in the X community. These topics are translated in real life to the graphic aesthetic of graffiti and street protest which, contrary to professional graffiti or street art, are created quickly and anonymously, often because of the harshness or sincerity of its content, sometimes as a simple gesture of statement. As a piece in constant change, "Scrawl" tries to capture the multiple tensions that coexist in social spaces like X, where the individual identity –always hidden behind the screen- expresses itself in its rawest version, and paradoxically, maybe the most real and honest one. "Scrawl" pace replicates the layers of urban walls, where graffiti texts are constantly covered by plain paint, creating a new canvas for a new succession of graffiti. This result in a struggle between the citizens’ yearning for individual communication and the institutional desire to erase and clean the chaotic world of graffiti. The outcome is an algorithmic piece shifting constantly between the aesthetic of social protest and abstract painting. XIX ARCO/BEEP ELECTRONIC ART AWARD. https://vimeo.com/802054282

Santi Vilanova, Vila-Real, 1980. Graduate in graphic design and passionate about sound art, Santi Vilanova has been able to combine these two disciplines through the catalyst of "creative technologies", of which he is a self-taught developer. (de)Formed at the rave scene of the early 2000, his sound work has been evolving to integrate this underground influence into new territories. His recent research blend together digital algorithms or sonification engines with classic staves and acoustic ensembles, focusing on the idea of a visual music. He is founder, with Eloi Maduell, of the Playmodes audiovisual research studio, where they develop projects at the edge of design, art and science. Interests related to acoustics, mathematics, perception psycology or light phenomena crystallize at the shelter of Playmodes. Their projects, eclectic in nature -from opera scenography to immersive installations- always have as a common element a creative use of digital tools and the search for a unified audio+visual language. As part of this collective, his works have been exhibited at light festivals (Fête des Lumieres, Signal, LlumBCN, Mapping Festival, LIT Bogotá, Chartres a Lumière ...), at electronic music events ( Sónar, Mira, LEV, DGTL, D4N Houston ...), at contemporary art or performing arts institutions (ZKM, Macau Arts Festival, In Between Time, Copenhagen Opera), and has been awarded with international distinctions in the field of new media (Ars Electronica Honorary Mention, LAUS, Visual Music Awards or LAMP awards). He is also currently a university professor at the EINA school (Universitat Autònoma de Barcelona), UOC and BAU (Universitat de Vic), teaching new generations of multimedia creators. Work at the collection: Forms - Screen Ensemble Santi Vilanova, Vila-Real, 1980. Graduate in graphic design and passionate about sound art, Santi Vilanova has been able to combine these two disciplines through the catalyst of "creative technologies", of which he is a self-taught developer. (de)Formed at the rave scene of the early 2000, his sound work has been evolving to integrate this underground influence into new territories. His recent research blend together digital algorithms or sonification engines with classic staves and acoustic ensembles, focusing on the idea of a visual music. He is founder, with Eloi Maduell, of the Playmodes audiovisual research studio, where they develop projects at the edge of design, art and science. Interests related to acoustics, mathematics, perception psycology or light phenomena crystallize at the shelter of Playmodes. Their projects, eclectic in nature -from opera scenography to immersive installations- always have as a common element a creative use of digital tools and the search for a unified audio+visual language. As part of this collective, his works have been exhibited at light festivals (Fête des Lumieres, Signal, LlumBCN, Mapping Festival, LIT Bogotá, Chartres a Lumière ...), at electronic music events ( Sónar, Mira, LEV, DGTL, D4N Houston ...), at contemporary art or performing arts institutions (ZKM, Macau Arts Festival, In Between Time, Copenhagen Opera), and has been awarded with international distinctions in the field of new media (Ars Electronica Honorary Mention, LAUS, Visual Music Awards or LAMP awards). He is also currently a university professor at the EINA school (Universitat Autònoma de Barcelona), UOC and BAU (Universitat de Vic), teaching new generations of multimedia creators. Work at the collection: Forms - Screen Ensemble http://www.playmodes.com <<-- Back Forms -Screen Ensemble, 2020 Forms - Screen Ensemble is a generative visual music jukebox. Driven by chance and probability, this automata creates endless, unrepeatable graphic scores that are immediately transformed into sound by means of sonification algorithms. Images become sound spectrums, making it possible to -literally- hear what you see. The dream of Kandinski. Each screen of this networked ensemble plays a particular instrumental role: Rhythm, Harmony or Texture. Performed by this trio of automats, a visual music symphony evolves over time giving birth to unique sonic landscapes that will never be repeated again: from tonal ambient music to raging rhythms, surreal electronic passages or dance-floor beats. Forms – Screen Ensemble was presented at 2020’s edition of Ars Electronica festival in Barcelona, thanks to a grant given by NewArtFoundation, Institut Ramón Llull and Hangar.org. Design Forms is thought to be a flexible instrument in terms of formats and aspects. Because its fundamental nature is rooted in visual music algorithms rather than in a matter-specific phisicality, it can take many different forms. Although the Screen Ensemble takes the form of an automata inside boxes containing screens and speakers, we’re working on multiple derivatives that transcend this format: a live performance where a string quartet interprets the realtime generated scores; an immersive installation based on video-projection and multichannel audio; a software for live computer music or an internet streaming bot. Engineering Forms is engineered by means of 2 main processes: -A generative graphics software coded in Processing (javascript) -A sonification algorithm developed in Max/MSP On the graphic side, a deep mathematical research has been done in order to code timbrically and musically coherent graphics that create appealing rhythms, harmonies or textures. On the sonic side, a number of ideas from the field of spectral synthesis and FFT are deployed. In addition, a set of control routines command the evolution of compositions over time through weighted probabilities, Markov chains and chance algorithms. Music The main feature of Forms is its visual music nature. It creates music you can see in an appealing yet scientifically coherent way. It is also a step forward towards a way of presenting and enjoying algorithmic compositions. It is a whole new way of creating music, based on visual compositions rather than on staves or piano-rolls. Its generative nature provides endless, unique, unrepeatable and rich music detached from the constrains of traditional language. Forms embraces the expressivity of drawn gestures and microtonality, unifying the visual and aural experience. Forms - Screen Ensemble was funded by a production and exhibition grant by Institut Ramon Llull, NewArtFoundation and Hangar for Ars Electronica Garden Barcelona 2020. https://www.playmodes.com/home/forms-screen-ensemble/ https://vimeo.com/464531284 https://www.twitch.tv/playmodes

Antoni Muntadas, Barcelona, 1942. Considered one of the pioneers of media art and conceptual art in Spain, he has been working for more than four decades on projects in which he poses a critical reflection on key issues in the configuration of contemporary experience. His objective is to detect and decode the mechanisms of control and power through which the hegemonic gaze is constructed, exploring the decisive role played by the mass media in this process. In his works, which always have a clear processual dimension and in which he often appeals directly to the participation of the spectators, Muntadas resorts to multiple supports, languages and discursive strategies, from interventions in public space to video and photography, from the edition of printed publications to the use of the Internet and new digital tools, from multimedia installations to the implementation of multidisciplinary and collaborative research projects. Throughout his career, Antoni Muntadas, who conceives his works as "artifacts" (in the anthropological sense of the term, that is, as something that can be activated in different ways depending on the context and the moment in which it is presented), has addressed issues such as the changing relationships between the public and the private, the naturalization of consumerist logic, the processes of cultural homogenization imposed by globalization, the use of architecture as a tool to legitimize political and economic power, the importance of the mass media in the expansion of financial capitalism, the functioning of the artistic ecosystem or the use of fear of the "other" as a strategy of social control. Work at the collection: “Tasmanian Tiger: case study of the Museum of Extinction” Antoni Muntadas, Barcelona, 1942. Considered one of the pioneers of media art and conceptual art in Spain, he has been working for more than four decades on projects in which he poses a critical reflection on key issues in the configuration of contemporary experience. His objective is to detect and decode the mechanisms of control and power through which the hegemonic gaze is constructed, exploring the decisive role played by the mass media in this process. In his works, which always have a clear processual dimension and in which he often appeals directly to the participation of the spectators, Muntadas resorts to multiple supports, languages and discursive strategies, from interventions in public space to video and photography, from the edition of printed publications to the use of the Internet and new digital tools, from multimedia installations to the implementation of multidisciplinary and collaborative research projects. Throughout his career, Antoni Muntadas, who conceives his works as "artifacts" (in the anthropological sense of the term, that is, as something that can be activated in different ways depending on the context and the moment in which it is presented), has addressed issues such as the changing relationships between the public and the private, the naturalization of consumerist logic, the processes of cultural homogenization imposed by globalization, the use of architecture as a tool to legitimize political and economic power, the importance of the mass media in the expansion of financial capitalism, the functioning of the artistic ecosystem or the use of fear of the "other" as a strategy of social control. Work at the collection: “Tasmanian Tiger: case study of the Museum of Extinction” https://es.wikipedia.org/wiki/Antoni_Muntadas <<-- Back “Tasmanian Tiger: case study of the Museum of Extinction” (2022). Faithful to his personal language, alien to any current and label, Muntadas presents a project about an extinct animal, the Tasmanian Tiger, and he does it with an endangered technology, holography, and a totally strange installation in high tech aesthetics, which rather evokes the charm of the old natural science museums. The work raises the debate on obsolescence and the eternal race to create new and sophisticated technologies, which ultimately generate a deepening social gap. The work recreates a room in a natural history museum, with three showcases and a 1.5 m. hologram, which had to be produced in Lithuania, as it is the only place capable of making it of such dimensions. The showcases contain photographs of the research carried out and some moving images on tablets; another showcase shows DNA studies on how to revive disappeared animals, the Tasmanian tiger being one of the most studied cases; and there is a third showcase with merchandising, which is what keeps the Tasmanian tiger alive in popular culture (T-shirts, beers, coasters, postcards...). These are elements that allow it to remain very present in Tasmania. https://www.arshake.com/en/antoni-muntadas-and-the-tasmanian-tiger-at-ars-electronica/ https://bist.eu/science-and-art-ibec-collaborates-on-a-work-by-antoni-muntadas-at-ars-electronica-2022/