Resultados de la búsqueda

Anaisa Franco, Uberlândia, 1981. Searching for the expansion of the senses, Anaisa Franco creates interfaces that artistically elaborate an “affective” situation where people expand their senses through the interaction with the sculptures, creating new forms, relationships and experiences between people, the subjects chosen and the technological material that we have available in the market. She has a Master of Advanced Architecture at IAAC Institute for Advanced Architecture of Catalonia in Barcelona. One year of M-Arch 1 at SCI-Arc in Los Angeles, a master’s degree MA in Digital Art and Technology from the University of Plymouth in England and a BA Bachelor of Arts in Visual Arts from FAAP in São Paulo. In the last years she has been developing Responsive Public art Installations and New media Artworks for Museums, Public spaces, Galleries, Medialabs, Residencies and Commissions such as Shanghai City Life Festival, Medialab Prado, Mecad, MIS, Hangar, Taipei Artist Village, China Academy of Public Art Research Center, Mediaestruch, Cite des Arts, ZKU, SP_Urban, MAC Fenosa, VIVID Sydney, EXPERIMENTA Biennale Melbourne, RUMOS Itaú Cultural, URBE, and many others. Her work “Expanded Eye” won the 6th edition of the ARCO-BEEP Electronic Art Award Works at the collection: - Expanded Eye - Neuronnection http://www.anaisafranco.com/ <<-- Back Expanded Eye, 2008 Expanded Eye is an interactive light sculpture composed by a big transparent eye sculpture suspended from the ceiling; the big eye looks to the user, but it's in fact user's eye which is projected inside the sculpture. The sculpture recognizes the user’s eye blinking and generates an interactive animation based on it. Each blink of the user multiplies the number of eyes in the projection in a fragmented, hexagonal and dislocated way. The core of the piece is to expand the view of human beings, transforming the view into a multiple and hexagonal expansion as the ultra complex insect’s compounds eyes structure. Expanded Eye project was developed during Interactivos 2008 at Medialab Prado in Madrid. It was developed in collaboration with: Jacqueline Steck, Alvaro Cassinelli, Carles Gutiérrez, Oswald Aspilla Pérez https://www.anaisafranco.com/expandedeye https://vimeo.com/47768582 Neuronnection. 2021 NEURONNECTION is an interactive installation that connects the thoughts of the spectators inside a parametric light sculpture that allows people to play and control sensitive light reactions using their own thoughts. The installation creates an interface with the brain, which immerses the user inside their own thoughts. The creation of the shape and interactivity was inspired on how our thoughts are created inside the mind. Our thoughts come from the activity of neurotransmitters that generates electrical signals (synapses) in neighbouring neurons, which propagate like a wave to thousands of neurons, leading to thought formation. The user will wear the device Nextmind to interact with the work. interactivity of the installation occurs when people look to Neurotags, which activates movement of ligts. The main idea o the project is to immerse and mirror humans inside their own thoughts and let them control and play with their own imagination. Team: Parametric structure by In_generic Interactive software by Antonio Mechas Visuals, mapping and documentation by VPMAP Sound design by Inertia 3D print Fabrication by Ana Correa and Agustin Cervai Neuronnection was funded by a production and exhibition grant by Institut Ramon Llull, Universitat Oberta de Catalunya, La Caldera, NewArtFoundation and Hangar for Ars Electronica Garden Barcelona 2021. https://www.anaisafranco.com/neuronnection https://youtu.be/3raOcr2iKI8

Paul Thomas, currently based in Sydney, 1950. Professor at UNSW Art and Design and currently the Director of the Studio for Transdisciplinary Art Research (STAR) as well as the co-chair of the Transdisciplinary Imaging Conference series 2010–2018. In 2000 he instigated and was the founding Director of the Biennale of Electronic Arts Perth 2002, 2004 and 2007. As an artist Thomas is a pioneer of transdisciplinary art practice. His practice led research takes not only inspiration from nanoscience and quantum theory, but actually operates there currently exploring concepts of visualising the liminal space between the classical and quantum world. Thomas’s current publication Quantum Art and Uncertainty (published October 2018) is based on the concept that at the core of both art and science we find the twin forces of probability and uncertainty. His internationally exhibited research projects have been based on working with scientist and asking specific questions. The art work ‘Quantum Consciousness’ was based on experiments done in collaboration with Professor Andrea Morello, Centre for Quantum Computation and Communication Technology, UNSW. The artwork was created from data of Thomas reading sections of Feynman’s 1982 paper ‘Simulating Physics with Computers’, to affect the spin of a single electron. Previous projects exploring nanotechnologies have also been exhibited nationally and Internationally. ‘Multiverse’ 2013 based on Richard Feynman’s diagrams of photons reflecting from a mirror, ‘Nanoessence’ 2009 which explored the space between life and death at a nano level and ‘Midas’ 2007 which researched what is transferred when skin touches gold at a nano level. Other publications are Quantum Art and Uncertainty (2018), Nanoart: The Immateriality of Art, (2013), Relive Media art Histories, co-edited with Sean Cubitt and Interference Strategies and Cloud and Molecular Aesthetics co-edited with Lanfranco Aceti and Edward Colless. http://www.visiblespace.com <<-- Back "Quantum Chaos Set" , 2021 The work, a collaboration between Paul Thomas and Jan Andruszkiewicz, is a visualization of the shift in our cultural understanding of what exists in terms of the difference between the classical and quantum world of uncertainty. The experimental artwork explores the liminal space between the classical and the quantum using data from quantum chaos. This space is a conceptual and contextual location of a permeable boundary. Artwork donated by the artist http://visiblespace.com/blog/?p=2007 "Quantum Consciousness and Richard Feynman" , 2015 Quantum Consciousness explores the link between quantum computing, Consciousness, and artistic expression. Utilizing real-time data from a phosphorus electron, the installation visualizes dynamic quantum states influenced by the artists voice reading Richard Feynman’s 1982 paper on Quantum computers. A microwave signal modulates the electrons precession, transforming quantum fluctuations into visual and auditory experiences. This artwork investigates the co-emergence of human thought and quantum phenomena, materializing the intersection of impossible quantum states and human consciousness. With the collaboration of Kevin Raxworthy. Artwork donated by the artist https://visiblespace.com/blog/?p=1376 "Quantum Chaos " Series Nº 8 , 2020 Quantum Chaos series is a collection of paintings that investigates the relationship between classical chaos and quantum mechanics. Through the use of custom squeegees, the artist layers gestural brushstrokes, which are partially erased to reveal hidden spaces that metaphorically represent the boundary between classical and quantum realms. The chaotic brushstrokes embody classical uncertainty , while the influence of quantum data reflects the unpredictable nature of quantum behavior. Each painting is a dynamic exploration of the invisible forces shaping the universe, translating abstract quantum phenomena into a visual form, where chaos is reinterpreted into order, and the intangible is made perceptible. This interaction between traditional painting methods and quantum-inspired concepts emphasizes the coexistence of visible and invisible worlds. The series reimagines reality through the lens of quantum uncertainty, offering a new way to perceive the universe. Artwork donated by the artist Nanoessence , 2010 The Nanoessence Project examines life at a sub-cellular level using an atomic force microscope (AFM) to analyze living and dead HaCat skin cell. Data collected during a residency at symbiotic and the Nanochemistry research institute informs the interactive installation. Viewers breath, captured by sensors, directly influences the visuals and sounds, symbolizing life’s essence through cell topographies. This interplay promoters a sensory understanding of microscopic life, re-examining concepts of existence and creating a metaphysical experience that blurs the line between life and death. Whit the collaboration of Kevin Raxworthy. Artwork donated by the artist Multiverse , 2012 Multiverse is an interactive artwork visualizing parallel universes through Richard Feynman’s quantum theories on photons. The installation reflects the viewers portrait, analogous to a photons Spain, based on Feynman’s ´probability amplitude ‘ using data from an atomic force microscope, the work generates thousands of alternate versions of the portrait , revealing multiple realities. The project highlights that alternative quantum worlds coexist ant are equally real, independent of observation, making the invisible quantum world visible to the audience. With the collaboration of Kevin Raxworthy Artwork donated by the artist Midas, 2007 Midas delves into the transitional phase between skin and gold, using data from an atomic force microscope (AFM) to capture atomic vibrations. This research, conducted in collaboration With SymbioticA and the Nanochemistry Research Institute, explores the intersection of biology and material transformation. Drawing inspiration from the myth of King Midas, the project transforms this scientific data into a visual and sonic installation, amplifying the nanoscale experience of cellular transformation into gold, creating a metaphorical exploration of touch and transmutation. Whit the collaboration de Kevin Raxworthy Artwork donated by the artist

Patricio Rivera, Buenos Aires, 1976. He studied art direction and photography and has a master’s degree in business administration from Universidad del Salvador and Universidad de Deusto. He was professor of the photography career track at University of Palermo. In 2012 he was selected in Salón Nacional de Artes Visuales. Between 2016 and 2018 he was a long-time resident artist at Hangar. His works were acquired by collections such as Banc Sabadell. He intervenes in the development of projects that involve programming, mechatronics, robotics and digital manufacturing, preferably with free licenses. He is co-founder of Fase, center of thought and production of contemporary art based in L’Hospitalet de Llobregat and of TMTMTM, a production, research and technological experimentation collective resident at Hangar.org. Work at the collection: Agism http://www.patriciorivera.com <<-- Back Agism, 2019. The piece addresses the declarative character of the shot as a force of performative enunciation and exclamation point of an intention; a statement, although regulated by law, free to be executed within the elusive alibi of an artwork. The kinesis of the weapon becomes an allegory of the visceral drive contained in the fragility of a ball of paint, which faces the inescapable confrontation of a neat wall that always wins. The spill is the defeat that becomes the pleasure and merchandise of the other, but which will forever preserve the trace and sample of an asymmetry of power that subjugates the weakest link in the artistic food chain. Agism is part of a research and production program held by Hangar in collaboration with the NewArtFoundation and the .BEEP { collection;}. Special acknowledgments: TMTMTM and Intra Automation.

Peter Halley , 1953 New York, USA He lives and works in New York Peter Halley is one of the most influential artists on the international scene. He became known in the mid-eighties as the promoter of the so-called neo-geo movement. Although he uses geometry as a fundamental support for his works, he always insists on his figurative reference: the space and time of our society, its political and social terrain, the closed order in which we live. Its cold and rectilinear forms are the plastic expression of our complex urban landscape: rectangular cells connected by networks of conduits, prisons, diagrams, isolated organisms. Its characteristic Roll-a-tex texture and expressive use of colors also refer us to our social environment, establishing affiliations with Pop Art, digital information and mass culture. Work at the collection: Exploding Cell, 1983 https://www.peterhalley.com/ <<-- Back Exploding Cell, 1983 Exploding Cell (1983), is a pioneering work in "computer animation" that generates spaces from lines. These cells allude to both the "grid" of Foucault's society of control and the circuits of computers. This two-minute computer animation from 1983 is Halley’s only work with the moving image. Aline drawn from left to right; it becomes a horizon with a cell. A black conduit appears underneath and is ‘lit up by an illuminating gas’,with escapes via a smokestack before the cell turns red and explodes, leaving a pile of ashes that flicker with stroboscopic effect. Halley explains: ‘The idea had something to do with Cold War politics and the threat of nuclear destruction, as the exploding cell was originally about civilisation ending. But the narrative of the exploding cell very quickly became an ongoing part of my work. Then as time went on, the narrative became less important to me, and eventually I began to focus solely on the icon of the explosion. The more I think about it, the more I’m convicted that the explosion is also a central image in our culture. It goes back a hundred years to the beginning of modern warfare and terrorism. I’ve used the image of the explosion over and over in my wall-size digital prints, in contrast to the cells and prisons which are depicted in my paintings. The two motifs have really allowed me to set up an opposition between classicism and romanticism. The cells represent confinement, but they also allude to order, a classical order that doesn’t change. On the other hand, the explosion is always an icon of change, it references a transformation between one state and another. I find it interesting to juxtapose those two opposing attitudes. Nietzsche used the terms Apollonian and Dionysian to describe the dichotomy between classicism and romanticism.’ ARCO/BEEP Electronic Art Award - 19th Edition https://www.youtube.com/watch?v=CjY-MsyIlas https://galeriasenda.com/wp-content/uploads/2024/03/00PH-EXPLODING-CELL-DOSSIER.pdf

Davide Grassi, Bergamo, 1970. Davide Grassi is a Slovenian artist of Italian origin, who lives and works in Ljubljana, Slovenia. His work has a strong social connotation and is characterized by an intermedia approach. He is the author of numerous videos, performances, installations, documentaries and intermedia projects. He is co-founder and member of the Bast Collective (1999) and of the open research platform for interventions in public spaces SilentCell Network (2003). He is co-founder (2002) and artistic director of Aksioma -Institute of contemporary art. https://performingtheeast.com/davide-grassi/ <<-- Back Brainloop, 2007 The work of Slovenian artist Davide Grassic consists of an interactive platform that uses a BCI computer system that can be operated only by imagining specific motor commands. In the performance "Brainloop", the subject, Markus Rapp, is able to investigate urban areas and rural landscapes that he sees on Google Earth. He selects the location, camera, angles and positions and records the images in sequences in a virtual world. In the second part of the performance, he returns to the footage and uses Brainloop to compose a soundtrack, selecting and manipulating audio recordings in real time, which sound designer Brane Zorman places in the physical space. The virtual environment allows the audience to perceive the events in 3D. The work is the result of a collaboration between Slovenian artists and Austrian scientists. https://www.youtube.com/watch?=_BRJyl8WBK0&ab_channel=MediaArtTube

Patrick Alain Tresset, Noyon, 1967. From a very young age in France, Patrick discovered and practiced computer science, painting, drawing and sculpture. After graduating in computer science, Patrick moved to London to devote himself to painting. Between 1991 and 2003, his work was shown in solo and group exhibitions in London and Paris. Artist and researcher Ateliers Tresset Goldsmiths College, U. of London Especially for his performative installations that use robotic agents as stylized actors who follow a set of instructions and for his exploration of the practice of drawing through the use of computer systems and robots. In "Human Study #1", a multi-award winning series of performative installations, a human being is drawn live by various robots in a twenty-minute session. Both viewers and participants often define the robot's attention as a surprising element. In the last three years, Tresset's research has focused on creating other series of installations, including the development of a new robot (RNR). Instead of making it strongly influenced by human behavior that is perceived as familiar, like the robots in "Human Study #1," he is exploring ways to make the robot (RNR) be perceived as something alien, unfamiliar, and strange. https://patricktresset.com/new/ <<-- Back "RNR" 2022 It is a mediating piece, in which the author investigates how having a robot looking at us with a different and unknown perception system affects our perception. As animals, if attention is directed towards us, we have to evaluate it instantly: can we eat it? Will it eat us? As humans, the way we are observed triggers a flood of emotions. What if we can't decode the observer's intent? And what will the robot draw if it sees it differently? The goal of the final installation will be to get the emotions of the human being being drawn during ten-minute sessions to progressively shift from unease to intrigue, reassurance, attraction and fascination. This project has been awarded the ISEA2022 Barcelona Grant from .Beep Collection and NewArtFoundation. https://www.youtube.com/watch?v=bbdQbyff_Sk

Marcela Armas, Durango, 1976. BFA by the Universidad de Guanajuato, and studies in the Universitat Politècnica de València. Prize for Iberoamerican Production VIDA 16.0 of Telefonica Foundation. Member of the National System of Art Creators in Mexico. Program of Support for Research in New Media of the Multimedia Center of the National Center for the Arts in Mexico City. Currently she is researching the magnetic properties of minerals and their possibilities for storing information through sound as a means of interpretation and induction. Her work articulates disciplines, techniques, work processes and research to inquire into the relationships of society with matter, energy, space-time and the construction of memory. She has participated in Mercosur Biennial in Porto Alegre, 2009 and Habana 11th Biennial “Social practices and imaginaries”, 2012. Directed with Gilberto Esparza, experimental electronics workshops Fundación Telefónica VIDA 10 in Lima, Buenos Aires, Santiago de Chile and Mexico City. Recently she directed Implant, a public space art project based in Denver and Mexico City, developed for the Biennial of the Americas. Armas is part of Triodo collective with Gilberto Esparza and Iván Puig. With Arcángelo Constantini directs the sound art cycle Meditatio Sonus. Her work “Máquina Stella” won the 7th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Máquina Stella https://www.marcelaarmas.net/ <<-- Back Máquina Stella, 2011 “Máquina Stella” is a sculpture in the form of a dodecahedron whose interconnecting parts receive an electrical charge according to which part demands more potency. The impossibility of finding a perfect distribution of energy leads to a partial collapse. “The piece is, in the end, a metaphor for the unequal distribution of riches in our society,using as a starting point an abstract artistic thought regarding the distribution of energy”, says Armas. He adds, “For me, machines in general are apparatus that are much more vulnerable than they appear”. The artist explains that he has created a system that metaphorically demonstrates the unsustainability of the society of today. “Stella Machine” is a sculpture that by its very nature, constantly seeks a dynamic equilibrium after collecting electric energy and distributing it through a system of resistive filaments. https://vimeo.com/118967086

Robertina Šebjanič, Murska Sobota, 1975. Robertina Šebjanič is based in Ljubljana. Her art – research focus is since several years into cultural, (bio)political, chemical and biological realities of aquatic environments, which serves as a starting point to investigate and tackle the philosophical questions on the intersection of art, technology and science. Her ideas and concepts are often realized in collaboration with others, through interdisciplinary and informal integration in her work. She is a member of Hackteria Network and Theremidi Orchestra. She was awarded with Honorary Mention @Prix Ars Electronica 2016, STARTS2016 nomination and nomination for the White Aphroid award. Robertina was SHAPE platform 2017 artist. 2018 she was a resident artist at Ars Electronica (EMARE / EMAP). She exhibited / performed at solo and group exhibitions as well as in galleries and festivals: Ars electronica Linz, Kosmica festival_ Laboratorio Arte Alameda_Mexico City, La Gaîté Lyrique_ Paris, Le Cube_Paris, MONOM_ CTM Berlin, Art Laboratory Berlin, ZKM_Karlsruhe, re:publica_Berlin, Mladi Levi_Ljubljana, Centro de Cultura Digita_ Mexico City, Piksel_Bergen, OSMO/ZA_Ljubljana, Device art 5.015 at Klovičevi dvori_Zagreb, Eastern Bloc_Montreal, Eyebeam_New York, PORTIZMIR#3_ Izmir, Kiblix festival_Maribor, Spektrum_Berlin, KIKK festival_ Namur, +MSUM (Museum of Contemporary Art Metelkova)_Ljubljana and more…. Work at the collection: Aurelia 1+Hz / proto viva generator https://robertina.net/ <<-- Back Aurelia 1+Hz / proto viva generator, 2019 “Aurelia 1+Hz/proto viva generator” addresses the possibilities of coexistence of humans, animals and machines. The project uses living organisms to process “aliveness” of a simple robotic machine.The installation addresses two entities – jellyfish and robot – separated, but if they merged into one, causing new biocybernetic organism to occur: Would “it” be able to live forever ? https://vimeo.com/126742083

Sachiko Kodama, Shizuoka, 1970. The surprising techniques developed in her projects by Japanese artist Sachiko Kodama are unprecedented in contemporary artistic practices, inside or outside the field of digital arts. The sounds produced by visitors cause alterations in the magnetic fields of the magnets that make the liquid defy gravity and physics and rise, acquiring three-dimensional forms that mutate every second. A camera amplifies these movements and projects them onto a screen, where it is possible to appreciate in detail the richness and sophistication of the images produced. These images, curiously enough, are not entirely foreign to us: they remind us of synthetic images created by computer, with their shiny surfaces and their ability to change volume and shape in a second. This approach to a virtual aesthetic through a physical substance that we can observe in front of our eyes is one of the most intriguing aspects of this project. Kodama has continued to develop his research with ferrofluids in later works such as Pulsate, an installation in which the magnetic liquid rests on a porcelain plate; Breathing Chaos, where the flickering of candlelight is the element that produces the movement of the fluids, or Morphotower, the most sculptural of his projects, formed by a ceramic cube with holes through which the sinuous forms composed by the liquid emerge. Kodama's works have been shown in the exhibition "Machines&Souls" at the Reina Sofia Museum of Modern Art in Madrid and in "Digital Creatures" in Rome in 2017. His work is an example of how scientific research can expand the expressive vocabulary of artists today, to allow them to model physical reality and create images that we would have previously thought only possible in the realm of the imagination and the dreamlike. Kodama's work is based on the study and manipulation of specific substances, ferrofluids, whose properties are, at first sight, almost magical. Ferrofluids are liquids that, due to their metallic content, have magnetic properties and respond to the proximity of magnetized fields by vibrating and changing shape. Through a computer system, Kodama controls the strength of these magnetic fields in order to precisely adjust the liquid's response. Protrude, Flow, the project that made his work known, uses this technique to create a liquid sculpture that constantly changes shape in front of astonished viewers. In this installation, a tray containing a solution of water, oil and ferrofluids is placed between two large magnets. The liquid in the tray responds to the sounds it receives from its surroundings. https://www.sachikokodama.com/en/works/ https://www.artfutura.org/v3/sachiko-kodama/ <<-- Back Morpho Tower white, Morpho Tower black, 2006 First project “Protrude, Flow" used six electromagnets. But, the electromagnets occasionally prevented people from viewing the moving liquid. To solve this problem and to simplify the work, I discovered a new technique called “Ferrofluid Sculpture.” This technique enables artists to create more dynamic sculptures with fluid materials. One electromagnet is used, with an extended iron core that is sculpted into a particular shape. The ferrofluid covers the sculpted surface of the three-dimensional iron shape and the movement of the spikes in the fluid are controlled dynamically on the surface by adjusting the power of the electromagnet. The “Morpho Tower” series in 2006 was my first realization of a “ferrofluid sculpture.” Figure 2 shows the spiral tower covered with numerous ferrofluid spikes. A spiral tower standing on a plate holds the ferrofluid. When the magnetic field around the tower is strengthened, spikes of ferrofluid are generated at the bottom plate and they gradually move upward, trembling and rotating around the edge of the iron spiral. The movement of the spikes in the fluid is controlled on the surface by adjusting the power of the electromagnet. The shape of the iron body is designed to be helical so that the fluid can migrate to the top of the helical tower when the magnetic field is sufficiently strong. The surface of the tower responds dynamically to its magnetic environment. When there is no magnetic field, the tower appears simply as a spiral shape. But when the magnetic field around the tower is strengthened, spikes are generated in the ferrofluid; simultaneously, the tower’s surface dynamically changes into a variety of textures — a soft fluid, a minute moss, spiky shark’s teeth, or a hard iron surface. The ferrofluid, with its smooth, black reaches all the way to the top of the tower, spreading like a fractal and defying gravity. The spikes of the ferrofluid are made to rotate around the edge of the spiral cone, where they either increase or decrease in size depending on the strength of the magnetic field. Using a computer, the transformation and movement of the shape can be controlled along with its speed and rhythm. The rotational speed can be controlled without motors or any shaft mechanisms. It works calmly; simply controlled by gravity and a magnetic field The inspiration for my artwork comes from life and nature. The organic forms and the geometry and symmetry observed in plants and animals are important inspirational factors when considering kinetic and potentially interactive art forms. The behavioral movement of animals and other natural materials is also important. Rhythms of breathing in living things are an excellent metaphor for textures that dynamically change according to time. One of my goals is to apply these dynamic behaviors into computational interface design as well. (Public and Private collections.) https://www.youtube.com/watch?v=u_Qt73Y_zHs

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/