Resultados de la búsqueda

Press Room Logos New Art Centre (NAC) Services Activities Dossier Logos Imatges Download Logo NewArtFoundation Download Logo New Art Collection <-- Return

Press Room Dossier New Art Centre (NAC) Services Activities Dossier Logos Imatges Pess Clipping 2024 Download Dossier (CAT) Download Dossier (ESP) Download Dossier (ENG) <-- Return

Activities <-- Return New Art Centre (NAC) Services Press Room Exhibition programs with invited curators, local and international, to offer new interpretations and compose discourses about the collection. Individual exhibitions of artists with new productions or revitalizing previous creations. Meetings, seminars and workshops with the aim of reflecting on the past and the present to imagine new futures. Educational activities for everyone with the objective of enjoying digital and technological art in a playful, reflective and sharedway.

ESG Policies <-- Return Privacy Policies Gender Policies The importance of ethical and sustainable business practices is on the rise in a world that is constantly changing and interconnected. ESG policies (Environment, Social and Governance) are frameworks that guide organizations to operate in a responsible manner, ensuring that they are respectful of the care of the environment, social responsibility, and the implementation of governance structures robust. The New Art Foundation integrates ESG policies that help it: Enhance its corporate reputation. Increase the confidence of the institutions and companies that support it Boost the trust and loyalty of its stakeholders. Contribute to the creation of long-term value. The leadership of the 21st century is committed to these principles, and at the New Art Foundation, they integrate our values into their mission.

Art, science and technology The .NewArt { foundation;} is based in the city of Reus, Catalonia. Its ambition is to help the artistic community to develop new technological, scientific, conceptual and social practices. The Foundation disseminates art at its intersection and transgression with science and technology as a strategy of development and social empowerment. It acts not only as a witness, but as an active agent. One of its main challenges is the development, conservation and preservation of an artistic legacy linked to science and technology, within the framework of its collection, the .NewArt { collection;}. The .NewArt { foundation;} is recognized not only for what it collects, but also for how it does: it has generated a new type of collecting, promoting programs of production, conservation and patronage of technological art, encouraging debates around issues related to the introduction of new technologies into art. A collection that is not limited to buying works of art in the market, but is recognized for its collaboration programs by making open calls for production with other organizations and institutions. Under the patronage of the Rodríguez-Veyrat family, this collection of electronic and digital artworks has grown to become one of the most relevant in the world. The .NewArt { foundation;} & {collection;} are active members of the vibrant Catalan ecosystem. They are cofounders of HacTe, the new art, science and technology hub in Barcelona. This hub is promoted by Catalan institutions of great relevance to make Barcelona a global center for research, training, transfer, dissemination and production in this field. In collaboration with several Catalan institutions and organizations, the .NewArt { foundation;} & { collection;} have expanded its scope internationally. With stable collaboration programs with centers such as V2 a in Rotterdam or Ars Electronica in Linz, among others, and through their works loan program, they have collaborated with the main state and European institutions. With HacTe, a member of the New European Bauhaus, they strengthen Catalan culture and ecosystem as a focus of innovation and creation in Europe. The New Art Foundation is the promoter of the pan-European consortium NASS (New Art Sustainability Services) composed of Eurecat-Barcelona, V2.LAB-Rotterdam, NIAL-Barcelona, Fraunhofer-Munic, Gallerie Charlot-Paris and the Foundation itself. NASS aims to provide the technological art community with a wide range of services and expertise, in order to develop sustainable production methodologies that ensure the preservation of this legacy for future generations. <-- Return

All Posts No posts published in this language yet Once posts are published, you’ll see them here.

Mark Amerika Mark Amerika, Miami, 1960 ​Artist, theorist, writer and teacher. Founder of the Ph. Program in Intermedia Art, Writing and Performance in the School of Media, Communication and Information. Considered a pioneer of net.art, since the 90s he has developed a solid career based on experimentation with new technologies and media. ​He has held solo exhibitions at venues such as the Denver Art Museum, the Institute of Contemporary Art in London and the Walker Art Center in Minneapolis. His work has been shown in over 100 international group exhibitions on five continents and, in 2009-2010, the National Museum of Contemporary Art in Athens hosted the exhibition entitled UNREALTIME. Other exhibitions were shown at The Power Plant (Toronto), the Eli and Edith Broad Museum of Art, the Denver Museum of Contemporary Art, the ZKM and the Montreal Biennale. The Abandon Normal Devices Festival in the UK, in conjunction with the London 2012 Olympics commissioned Amerika’s large-scale transmedia artwork, Museum of Glitch Aesthetics [MOGA] which was shown in a solo exhibition in Manchester. He is the author of numerous books, including the cult novels The Kafka Chronicles (FC2/University of Alabama Press, 1993) and Sexual Blood (FC2/ University of Alabama Press, 1995), as well as two books documenting his experiences as one of the first digital artists investigating Internet and remix culture: META/DATA: A Digital Poetics (The MIT Press, 2007) and remixthebook (University of Minnesota Press, 2011). In 2022, Amerika published My Life as an Artificial Creative Intelligence (Stanford University Press), a book of artist writings focused on his experiments with artificial intelligence. https://markamerika.com/ https://www.youtube.com/watch?v=p9feoVWv7H0 <--Return Cookie Monster (Gloyaglitch 1) [MOGA], 2005-2006 It was created between 2005 and 2006 when Mark Amerika was beginning to experiment with the low quality imageshe obtained with a cell phone camera. He captured details of important works of art history, such as Saturn devouring his son, one of Goya's black paintings. ​The animated GIF is a format inherent to today's popular culture, somewhere between photography and video, and where quality is the least relevant. In fact, these images were captured by the artist in the years when cell phones with video cameras were really popular, something that transformed the way we communicate and that was incorporated by some creators to their artistic practices, as it happens with all communication technologies that have emerged in recent decades. The GIF becomes a perfect vehicle to tell a short story, an emotion. We can appreciate how some of these images are directly linked to the history of art, appropriating, reworking with a contemporary vision, and decontextualizing, sometimes in a humorous way. Lake Como Remix [MOGA], 2012 ​It represents a journey via Google Street View through the Italian Lake Como and the landscape that surrounds it. Described by the artist as a “cyberpsychogeographic” journey, he experiments with the functions of the software, creating images that show the glitch aesthetics inherent to the images that are produced by this type of program. The work is part of the MOGA_Museum of Glitch Aesthetics, a virtual museum and transmedia artwork that hosts various forms of glitch art (video, animated GIF, still images, sound art and electronic literature). It was commissioned by the Abandon Normal Devices Festival on the occasion of the 2012 London Olympics. ​This virtual museum displays the expressive capacity of error, of failure, and ruptures our mental construction of reality. We live in a post-digital era in which the hyper-real, high-resolution image is being pursued for its resemblance to reality. Glitch art questions this sort of image, typical of the present, through deformation. Value [Value Propositions], 2021 ​During the pandemic, with the surge of NFTs, digital art became a rising commodity for the first time in art history. Amerika, seeing the recent explosion of interest in digital art online, in 2021, working with an archive on a 1994 Powerbook, the same one he used to create his most iconic artwork, GRAMMATRON, decided to address this new speculative art market and began creating a new series of artwork entitled Value Propositions. ​These short, conceptual sentences, created on his old laptop and using 30-year-old software, are a direct and playful response to the rapid commodification of digital art. He uses an old Netscape web browser as a framing device to produce fictitious web pages that have been transformed into digital prints whose titles include the word NFT in a 1994 web browser, creating a disruption in the history of net.art. ​Value Propositions represents a satirical critique of the contemporary art market, especially now that digital art is taken more seriously only because it has increased in monetary value. This series of works is influenced by the work of John Baldessari, Joseph Kosuth and Jenny Holzer.

Evru Evru, Barcelona, 1946. Evru (born Alberto Porta, called Evru since 2001 and previously Zush from 1968) has maintained an absolutely personal trajectory in which his will to represent a reality that he himself has conceptualised while in the Evrugo mental state takes precedence over any other concept. Few artists have had the genius to create their own parallel world, full of the symbols of an independent state. Evru began his career young at the hand of gallery owner René Metras and is currently working on an interactive work in progress, Tecura, based on the premise that the artist defends, «art for healing». Every person has an artist inside themselves. Evru, who works indistinctly with traditional media and digital technology has also developed his musical and performance facets. His work is characterised by the construction of a personal mythology, autobiographical in nature. A cartography that feeds on accumulative images, as well as the creation of a script, a personal code that attempts to express that which cannot be explained rationally. In his work, multiple, parallel universes that maintain a tense and delicate equilibrium between chaos and rational order converge. Founder and inhabitant of an imaginary state, Evrugo Mental State, conceived as a self-sufficient space whose energy expands with a clearly universalistic intention. Evrugo Mental State is born of necessity, as a utopia of physical and mental liberation that faces off with the historical situation of Spain in the moment of its creation, and the surrounding international context at the end of the seventies. He has participated in international exhibitions such as Documenta VI of Kassel, 1977, New Images from Spain, 1980, in the Solomon R. Guggenheim Museum of New York, Les magiciens de la terre, 1989, organized by the Centre Georges Pompidou de París, among others. He has been the subject of important retrospectives such as in Today Art Museum, Beijing, 2007, Shanghai DuoLun MoMA, 2007, NUS NX Gallery, Singapore, MACBA, Barcelona, 2001, or in the MNCARS, Madrid, 2000. In 2001 he received the City of Barcelona Prize for his two retrospectives, [Zush. La Campanada], MNCARS, 2000, and [Zush-Tecura], MACBA, 2000-2001). ​ Work at the collection: Expanded Eye, Tecura, Opaulo http://evru.org https://en.wikipedia.org/wiki/Alberto_Porta_y_Mu%C3%B1oz <--Return Tecura, 2008 In 1999 Evru (FKA Zush) begins to develop “Tecura” an interactive application for audiovisual creation online, based on tools created by the artist, putting at the disposal of the users a bank of sounds and images with which to produce their own artistic creations. In this way, Evru attempts to decentralise the author in favour of a new democratisation of art. In 2008 Devru develloped version 4.0 and incorporated it into the platform. The artwork at the collection is a digital print generated by this software. Work on deposit from LaAgencia Collection. http://www.tecura.org Opaulo, 1990 This digital print on canvas bears witness to Zush's pioneering experiments with computer generated images. This figure stems out of the artist's relentless generation of alternative worlds, myths and iconographies. A god-like appearance, a summoning of the forces of nature personified. Awarded with the XVIII ARCO BEEP Prize. ​

Ulrich Muchenberger Ulrich Muchenberger, Basel, 1951. In 1994 Ulrich Müchenberger first discovered the phenomenon of light art. Synergistic combinations of light and color, changing or still, form the basis of his works. In 1995, the artist presented his first dynamic light project. Many other works followed, on the most diverse scale: from fundamental artistic lighting projects for architectural complexes (e.g. the National Museum in Copenhagen) to local light objects exhibited in galleries, even in the artist's homeland of Basel. In Müchenberger's works, both static and dynamic, there are always basic visual themes: the interplay between darkness and light in space and the optical effects of color combinations. The compositions of light are enclosed in a strict geometric form, like ordinary paintings: they change their harmonies of color, intensity, brightness according to the program established by the author. The viewer is immersed in these images and landscapes that, in response to the artist's message, open our imagination. The author tells of his series: "By engaging in a dialogue with my works, the viewer's consciousness generates a response. This bridge between the emotional experience and its manifestation is the color, that is, the connection between the internal and the external ". Thus, each viewer opens his or her own visual world. The color transitions in the artist's works change in a measured manner, with intervals of three and four minutes, which allows him to slowly consider all optical transformations and combinations. Visiting the exhibition, one can also appreciate the favorable arrangement of light objects in the interior, which is emphasized by the atmosphere of the "PROSVET" studio. http://umuchenberger.weebly.com/ <--Return Ojo a Ojo, The exhibition presents seven works from the Eye to Eye series. Light compositions are enclosed in a strict geometric form, like ordinary paintings: they change their color harmonies, intensity, brightness according to the program established by the author. The viewer is immersed in those images and landscapes that, in response to the artist's message, our imagination opens up for us. The author talks about his series: “By entering into dialogue with my works, the viewer's consciousness generates a response. This bridge between the emotional experience and its manifestation is what color is, that is, the connection between the interior and the exterior. Thus, each viewer opens his own visual world. ​ https://vimeo.com/205356184 ​ https://vimeo.com/119499775 ​