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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 ​

Anaisa Franco 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/ <--Return 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://vimeo.com/47768582 https://www.anaisafranco.com/expandedeye 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://youtu.be/3raOcr2iKI8 https://www.anaisafranco.com/neuronnection ​

Oscar Martin Óscar Martin, Winthertur, 1977. Graduated in Fine Arts at the Polytechnic University of Valencia, specializing in sculpture and new media. Experimental artist and programmer working in the fields of sound art, installations, interactive and generative systems, performance and radio-net-art. Óscar Martín, also active under the pseudonym noish~, is an electronic sound artist who has been based in Barcelona for some time now. A strong advocate of the spirit of free software, he develops his own tools for sound synthesis and processing, with which he triggers sound bursts generated by algorithmic and chaotic processes. His works have been released on Free Software Series, Uzusounds, Drone Records and Tecnonucleo, among other labels, and have been presented live throughout Europe and Latin America. Martín is also behind the streaming platform MetaminaFNR and is editor of UrsonateFanzine, a publication dedicated to the Spanish experimental music and sound scene. Óscar Martín a.k.a noish, Winterthur 1977 Artist, programmer and independent researcher. In his practice art, science and technology converge from an experimental and heterodox approach, and addresses the emergence and self-organization in complex systems with the collaboration of non-human agents. From the sound aspect, his pieces propose to encourage active listening and expand the perception through the physical-acoustic experience of the phenomenon of the emergence of structures and patterns in the limits of the chaotic and the ordered. His sound works have been released on Free Software Series, Nyapster, Drone Records and Tecnonucleo, among other labels, and have been presented live in Europe and Latin America. Martín is also behind the streaming platform MetaminaFNR and is co-editor of the aural culture and experimental music magazine UrsonateFanzine.​ Work at the collection: MMM#1 (Dual Markov Beat) https://juannaranjo.eu/exhibit/oscar-martin-meta-music-machines/ http://noconventions.mobi/noish <--Return MMM#1 (Dual Markov Beat), 2021. [Dual Markov Beat] analyzes and extracts the rhythmic information of different folk music from different geographies and temporalities such as Japan, Peru, Malaysia or Thailand among others. Then it synthesizes the rhythm of these musics, through predictive models, to produce new sequences that activate luminous structures of led tubes. These new rhythmic sequences are generated from the mathematical model of the Markov chains: a random system, proposed by the Russian Andrei Markov in 1907, in which a random variable changes over time in a predictable way. Because of this operation, these chains are used as algorithms for musical composition, but also in meteorological, economic and epidemiological predictions. https://vimeo.com/660273395?embedded=true&source=vimeo_logo&owner=50045107 ​ ​

etoy. Corporation etoy. Corporation, Zurich, 1994. The etoy. Corporation is a collective structure formed in Zurich in 1994. etoy is the typical promotor (online since 1994) that develops rapidly, quickly becoming a controversial, market leader in the field of experimental art and digital entertainment on the internet. Shares and services such as digital kidnap (1996), etoy. Timezone (1998), Toywar (1999/2000) or etoy. Daycare (2002) are art classics. The etoy. Corporation belongs to more than 2000 etoy shareholders: international art collectors, venture capitalists, etoy agents, etoy administrators, admirers and several hundred toywar soldiers (that protected the brand during the legendary toywar). The etoy shareholders posses and control the corporative structure of etoy. etoy. Corporation does not sell individual art products. etoy interchanges and sells parts of itself: etoy shares represent participation and cultural value. The 640,000 etoy shares available in the international art market represent 100% of the power of etoy (=100% of the company). The etoy share certificates guarantee a strict limit to etoy Shares. Since 1998, the orange etoy Tanks (retrofitted transport containers without windows, 12 by 6 metres – icons of globalisation) form a mobile and multi-function system of etoy offices, including studios, hotels and conference rooms, etc. Wherever etoy is needed throughout the physical world, etoy appears and disappears from the morning to the night to infect the way that people are thinking and feeling (i.e. in San Diego, San Francisco, New York, Zurich, Tokyo or Torino between 1998 and 2003). Depending upon the the situation of the market and project, between 5 and 15 etoy Nucleus-Agents (currently 4 women and 11 men in switzelrand, Austria, Italy, Germany, Japan and the U.S.A.) form the production and investigation team of etoy. The etoy administration (2 or 3 Directors must sign contracts) carries out daily business. etoy. Corporation has won various international art prizes, (the Golden Nica in the .net category / Prix Ars Electronica) and regularly appears on TV (invited and uninvited) as in other media to infect the etoy VIRUS: The New York Times, the Silicon Valley Reporter, the Washington Post, Wired News, NPR, Le Monde, Der Spiegel, NZZ, WOZ, La Republica, Relax Japan, etc. etoy team members gave conferences and spoke in the MIT Media Lab in Boston, the UCSD in San Diego, the DASARTS in Amsterdam, the ETH in Zurich, the Gottlieb Duttweiler Institute, the ICC Intercommunication Center en Tokyo, the Interactive Institute in Stockholm and in many international festivals. etoy investments are not focused on gaining economic profit. etoy risk is about cultural benefits, social profits and intelectual capital gains on the resources invested. ​​ Work at the collection: 30+10 etoy. Shares http://www.etoy.com https://en.wikipedia.org/wiki/Etoy <--Return 30+10 etoy Shares, 2011 - 2012 etoy.Corporation does not sell isolated art objects. etoy sells, trades and exchanges parts of itself and its brand: etoy.SHARES represent participation in etoy and cultural value generated by etoy. All 640’000 etoy.Share-units available on the international art market equal 100% of the etoy.Power represented by the privately held company etoy.Corporation (registered in the City of Zug, Switzerland / Register of Commerce CH-170.3.029.244-0). etoy.Share-Certificates are works of art and part of international collections like the Artothek (collection of the Austrian Bundeskanzleramt), the Migros Corporation, the Shiffler collection and in the hands of private supporters of etoy (Michelangelo Pistoletto, Joichi Ito, John Perry Barlow etc). Each etoy.Share-Certificate is a unique visual documentation of a specific code, moment or element of the etoy.Universe and certifies the strictly regulated ownership of etoy.Corporation: the core of the etoy.Art-Work. etoy. Corporation is on hibernation mode and the etoy. Shares are not trading. On loan from LaAgencia Collection. ​ ​

Paul Thomas 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 <--Return "Quantum Chaos Set" 2021 The work, a collaoration between Paul Thomas in collaboration with Jan Andruszkiewicz, is a visualisation of the shift in our cultural understanding of what exists in terms of the difference between the classical and the quantum world of uncertainty. The experimental artwork explores the liminal space between classical and quantum utilising quantum chaos data. This space is a conceptual and contextual location of a permeable boundary. http://visiblespace.com/blog/?p=2007 ​ ​

Eduardo Kac Eduardo Kac, Rio de Janeiro, 1962. Eduardo Kac is internationally recognized for his telepresence and bio art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac (pronounced "Katz") emerged in the early '90s with his radical works combining telerobotics and living organisms. His visionary integration of robotics, biology and networking explores the fluidity of subject positions in the post-digital world. His work deals with issues that range from the mythopoetics of online experience (Uirapuru) to the cultural impact of biotechnology (Genesis), from the changing condition of memory in the digital age (Time Capsule) to distributed collective agency (Teleporting an Unknown State), from the problematic notion of the "exotic" (Rara Avis) to the creation of life and evolution (GFP Bunny). At the dawn of the twenty-first century Kac opened a new direction for contemporary art with his "transgenic art"--first with a groundbreaking piece entitled Genesis (1999), which included an "artist's gene" he invented, and then with "GFP Bunny," his fluorescent rabbit called Alba (2000). Kac’s work has been exhibited internationally at venues such as Exit Art and Ronald Feldman Fine Arts, New York, Maison Européenne de la Photographie, Paris, Castello di Rivoli, Turin, Mori Art Museum, Tokyo, Reina Sofia Museum, Madrid, Zendai Museum of Modern Art, Shanghai, and Seoul Museum of Art. Kac's work has been showcased in biennials such as Yokohama Triennial, Biennial of the End of the World, Ushuaia, Gwangju Biennale, Bienal de Sao Paulo, International Triennial of New Media Art, National Art Museum of China, Beijing, and Bienal de Habana. His work is in the permanent collections of the Tate, London, the Victoria & Albert Museum, London, the Museum of Modern Art in New York, Frac Occitanie—Regional collections of contemporary art, Les Abattoirs—Museum of Modern and Contemporary Art, Toulouse, the Museum of Modern Art of Valenci, Spain, the ZKM Museum, Karlsruhe, Art Center Nabi, Seoul, and the Museum of Contemporary Art of São Paulo, among others. Kac has received many awards, including the Golden Nica Award, the most prestigious award in the field of media arts and the highest prize awarded by Ars Electronica. His work “Time Capsule” won the 1st edition of the ARCO-BEEP Electronic Art Award http://www.ekac.org/ https://en.wikipedia.org/wiki/Eduardo_Kac <--Return Time Capsule, 1997 On 11 November 1997, Eduardo Kac created his “Time Capsule” in the cultural centre Casa das Rosas of Sao Paulo (Brasil). Transmitting on live television and the internet, the artist implanted a digital microchip before a series of sepia coloured photographs that documented the life of his family in Europe previous to 1939. In this way, Kac became the first human carrier of a microchip. To celebrate its 10th anniversary and with the piece in its final form, including all the diverse original elements of this live performance, he activated a webcast and a web scanner to allow an interactive, tele-robotic tracing of the chip in internet. https://vimeo.com/320053560 ​ ​

Ricardo Iglesias and Gerald Kogler Ricardo Iglesias, Madrid, 1965 & Gerald Kogler, Linz, 1974. Ricardo Iglesias and Gerald Kogler are artists of reference in Digital Art. Their net.art artworks are a complex metaphor regarding society and the web itself. They are pioneers in the field of interactive robotics. Ricardo Iglesias, Philosophy Bachelor , Universidad Autónoma de Madrid, Fine Arts PhD , Universitat de Barcelona. European Scope and Extraordinary Doctorate Prize ,2012. Currently he teaches interactive systems and videoart at Fine Arts Faculty, Complutense University, Madrid. He has participated in numerous national and international art exhibitions such as, Wunderkammer, Madrid, 2019, Noviembre Electrónico, Buenos Aires, 2017, FASE9 ,Buenos Aires, 2017, HarddiskMuseum, Barcelona, 2017, Electronic Timing, Valencia, 2017, 1840s GIF Party,TATE -London, 2014, Video Guerrilla Festival, Sao Paulo, 2012, , (.mov) Videoarte en mOvimiento, Lima, 2012, FILE | Electronic Language International Festival, Sao Paulo, 2011, Río de Janeiro, 2006, Les Rencontres Internationales,Paris, 2008, Madrid, 2008 Banquete. Nodos y redes ,ZKM -Karlsruhe, 2009, LaBoral-Gijón, 2008, Sintopía(s, New York, 2008, Pekín, 2007, Juego Doble, México, 2006, Sala Metronòm, Barcelona, 2005, BCN, t`ho Porto, BCN to Porto, Oporto, 2004, MediaLab Prado, Madrid, 2003, LOOP´00, Barcelona, 2003, Cyberia 02, Santander, 2002, ARTCologne, 35th Internacional Fair for Modern Art, Colonia, 2005, 2002, Webby Prize Competition, SFMOMA - San Francisco, 2000, Mediaterra Festival , Atenas, 1999, Net_Condition, Karlsruhe, Graz, Tokyo, Barcelona, 1999. Gerald Kogler, computer engineer specialized in digital cartography. His work focuses on the relationships between technology and social transformation through free software and hardware, open data and data visualization. He worked in the Ars Electronica Future Lab, was part of several hacklabs of BCN and co-founded ZZZINC. His media art works have been exhibited at FILE, ARCO and Ars Electronica. He organizes creative programming workshops and develops applications for Culture and Education. In digital cartography he runs projects for several European city councils and NGOs, including the Historical Charter ,MUHBA, WWF and OSF. Their work “Independent Robotic Community” won the 1st edition of the ARCO-BEEP Electronic Art Award Work at the collection: Independent Robotic Community https://www.ricardoiglesias.net https://geraldo.github.io <--Return Independent Robotic Community, 2005 This installation is based on their concerns and studies on the search for and representation of new forms of interaction/communication between mechanical components ,robots and carbon-based representations ,humans. Our goal is to foster communication by showing how it increases the degree of socialization while developing higher levels of communication The installation consists of ten robots, several cameras that record their movements in space and communicate the encounters that are generated to a social network system. These encounters are shown on a projector as a graphic display of crisscrossing lines. One of the robots is also equipped with a spy camera that represents one individual’s subjective point of view versus the graphic display of social statistics. https://vimeo.com/31244864 ​ ​

Hong SungChul Hong SungChul, Seoul, 1969. Completed a master's degree and a bachelor's degree in sculpture at Hongik University in Seoul, before completing a master's degree in integrated media at the California Institute of the Arts in the United States. Since graduating, he has exhibited numerous times in the Far East, the United States and Europe, and his work is included in several international collections. His work takes the form of sculptural constructions, mostly wall reliefs, (although some pieces are freestanding). Sequences of bungee cords are printed with photographic images and stretched across canvases or within steel frames. These images, from a distance, appear whole. On closer inspection, however, they become increasingly fragmented and fleeting, as the viewer becomes aware of their mode of fabrication. From this rupture in the perception of pictorial flatness a tension emerges. The images are of arms and hands grasping, holding and intertwining, sometimes manipulating a string of beads or a wad of paper. There is an emphasis on intimacy in their depiction of mutual touch and interrelationship. The nature of the construction interrupts this and references the artist's desire to "reanimate communication"; the interruption makes us pay attention. In Hong Sungchul's subtle and artful constructions we are posed with questions about how we live in the sometimes disconnected virtual world. His works aim to recapture a sense of intimacy, engagement and understanding. Fast and blurred perceptions are slowed down and examined; the rich quality and beauty of the simple and everyday is revealed. Work at the collection: Perceptual http://hongsungchul.net/ https://pontonegallery.com/artists/hong-sungchul/works/ <--Return Perceptual, 2006 Mirror between digital and analog. In his Perceptual mirror works, made from gridded arrangements of identical solar LCD solar units that produce patterns of random, flickering pixelation, he affirms this sense of impermanence and constant flux. A possible feeling of anxiety and alienation is offset by the fascinating aesthetic qualities of his pictorial form. ​ ​