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Marcel li Antunez Marcel·lí Antúnez, Moià, 1959. Marcel·lí Antúnez studied Fine Arts at the Universitat de Barcelona. A multidisciplinary practitioner, he is one of the leading figures in the field of electronic art and experimental scenography. In the eighties, he was the founder and leader of the company La Fura dels Baus, which popularised action theatre. With Sergi Caballero and Pau Nubiola, he founded the group Los Rinos, initially focusing on graffiti. Later, his activity extended to painting, video action performance, the concert and wall installation, such as Rinodigestió (1987), a system of interconnected wooden and glass boxes containing decaying organic matte. In the nineties, he began to focus on the visual arts and video, and their interaction with technology. Since then, he has created a unique iconoclastic universe based on the incorporation of computational and electronic systems. His mechatronic performances and interactive installations incorporate robots and all kinds of electronic systems. Often applied to the human body, they are described as Sistematurgia. His graphic work production features unusual materials such as human fluids, foodstuffs, textual and visual elements, using the technique of collage and improvisation. He has created installations and performances in museums, galleries, theatres and unconventional spaces in more than 40 countries, among which are the European Museum of Photography of la Ville De Paris, the Institute of Contemporary Arts of London, the DAF of Tokyo, the MACBA of Barcelona or the ZDB of Lisbon. His work includes Macatronic performances, on occasion with robots, interactive installations and collaborations with collectives among which the most noteworthy is la Fura Dels Baus of which he was the founder and leader in the 80s. His works have been mentioned in multiple publications throughout the world. Antúnez has recieved, among others, the following prizes and distinctions: First Prize in the Etrange Festival Paris 1994, Best New Media Noveaux Cinéma Noveaux Médias Montreal 1999, Max Prize, Spain 2001, FAD Prize 2001 Barcelona, Mención d’Honor a Prix Ars Electronica 2003, Premi Ciutat de Barcelona en 2004. ​Since 2010 Marcel•lí has been working on what he calls l’Arsenale della Apparizioni in which he includes his last three pieces, the first is a performance called Cotrone (2010), a film El Peix Sebastiano released in the Stiges Film Festival and his last performance, Pseudo (2012), first performed at the Grec in Barcelona. ​In 2014 he presented the exhibition Sistematurgia. Actions, Devices and Drawings, in the Arts Santa Mònica de Barcelona, with the intention of making known his personal method of creation based on this neologism, Sistematurgia, understood as a dramaturgy of computational systems. Work at the collection: Alfabeto http://marceliantunez.com <--Return Alfabeto, 1999 “Alfabeto” comprises a wooden column with tactile sensors, a platform, an audio system and a computer system. A radar detects the presence of the spectator in the room and when someone comes in the pillar moans. When the user finally touches or embraces the column, it utters sounds. They are onomatopoeic sounds organized in four emotive states: anguish, pleasure, happiness and pain. A sensor situated in the top part of the column identifies and chooses the "emotive state". Alfabeto emphasizes the idea of body interaction; the size of the trunk, its acoustic reaction and the need to take part physically all encourage the spectator to become involved in the game. It is normal to become emotional when listening to music or to cry when watching a film. These devices are good substitutes for human emotions. However, our relationship towards artistic devices is almost always passive. Alphabet, on the contrary, is an emotional prosthesis and, by its reaction, it invites us to shake off our passive receptor role and to become emotional players. ​ ​

Peter Weibel Peter Weibel, Odessa, 1944 - 2023 Peter Weibel studied literature, medicine, logic, philosophy, and film in Paris and Vienna. He became a central figure in European media art on account of his various activities as artist, media theorist, curator, and as a nomad between art and science. From 1984 until 2017, he has been a professor at the University of Applied Arts Vienna. From 1984 to 1989, he was head of the digital arts laboratory at the Media Department of New York University in Buffalo, and in 1989 he founded the Institute of New Media at the Städelschule in Frankfurt on the Main, which he directed until 1995. Between 1986 and 1995, he was in charge of the Ars Electronica in Linz as artistic director. From 1993 to 2011 he was chief curator of the Neue Galerie Graz and from 1993 to 1999 he commissioned the Austrian pavilion at the Venice Biennale. He was artistic director of the Seville Biennial (BIACS3) in 2008 and of the 4th Moscow Biennial of Contemporary Art, in 2011. From 2015–2017, he was curator of the lichtsicht 5 + 6 – Projection Biennale in Bad Rothenfelde. Peter Weibel was granted honorary doctorates by the University of Art and Design Helsinki, in 2007 and by the University of Pécs, Hungary, in 2013. In 2008, he was awarded with the French distinction »Officier dans l’Ordre des Arts et des Lettres«. The following year he was appointed as full member of the Bavarian Academy of Fine Arts Munich, and he was awarded the Europäischer Kultur-Projektpreis [European Cultural Project Award] of the European Foundation for Culture. In 2010, he was decorated with the Austrian Cross of Honor for Science and Art, First Class. In 2013 he was appointed an Active Member of the European Academy of Science and Arts in Salzburg. In 2014, he received the Oskar-Kokoschka-Preis [Oskar-Kokoschka-Prize] and in 2017 the Österreichische Kunstpreis – Medienkunst [Austrian Art Prize – Media Art]. In 2015 he was appointed as Honorary Member of the Russian Academy of Arts in Moscow. Since 1999, Peter Weibel is Chairman and CEO of the ZKM | Center for Art and Media Karlsruhe and since 2017 director of the Peter Weibel Research Institute for digital Cultures at the University of Applied Arts Vienna. Works at the collection: Das Tangible Bild, The Endless Sandwich, Media May Rewind Reality http://peter-weibel.at <--Return Das Tangible Bild, 1991 / 2019 In the interactive computer installation Das tangible Bild [The Tangible Image], you are standing in front of a Cartesian coordinate grid. You are filmed standing in front of this grid by a camera, you see the image projected on the opposite wall. When you touch the rubber screen of the monitor, which stands on a pedestal in the middle of the room, the projected image warps. Thus, you can interact with the image via a three-dimensional “touch screen” in real time. Each time you touch the screen, behind which sensors are installed, information is sent to a computer to which the camera’s live images are transferred. In the computer, the signals of the warping of the screen converted into digital data influence the data representing your image within the space. The screen and the Cartesian grid become identical. Real distortions of the rubber screen appear in the projection image as distortions of the grid in front of you. An interface (the rubber screen) is switched on between the grid and the projection image. It is not the changes in the grid that affect the projection, but the changes in the interface. Is our world merely the product of an interface technology, the interface of the natural body? The Endless Sandwich, 1969 Between the TV set and viewer, a function exists whereby the user switches on and off the appliance. He has reproduced this function and made it the content of the TV programme. Sandwich character of real process and reproduction process, of reflection and action. On the screen, a series of viewers is seen sitting in front of TV sets. A fault occurs in the last set shown, meaning the next viewer has to get up in order to repair the fault. This repair brings about a disruption in the next viewer’s screen. The disruption propagates itself until it reaches the real TV set, meaning the real viewer has to rise and eliminate the fault. Time delay: the real procedure is the conclusion of the reproduced procedure. https://youtu.be/FVTlqewBTo4 Media May Rewind Reality, 1969 A video of a lighted candle plays in reverse in a TV set, gradually growing as time passes, while a physical candle sitting on the monitor slowly dwindles.​​ “Media May Rewind Reality” is a sort of “vanitas” in which the simple image of a candle flame rethinks temporariness and finitude in a loop in which whatever is consumed also grows in a sort of strange spectacle that inverts appearances. Awarded with the XVIII ARCO-BEEP Electronic Art Award. ​

Patricio Rivera 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 <--Return 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. ​ ​

Santi Vilanova 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 <--Return 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://www.twitch.tv/playmodes ​ https://vimeo.com/464531284

Paolo Cirio Paolo Cirio, Torino, 1979. Paolo Cirio’s art practice embodies the conflicts, contradictions, ethics, limits, and potentials inherent to the social complexity of information society through a critical and proactive approach. Cirio’s artworks stimulate ways of seeing, examining, and challenging modern complex social systems, processes, and dynamics. Cirio uses popular language, irony, interventions, and seductive visuals to engage a wide public in works of art about critical issues. His aesthetic investigations are highly conceptual with layered and interconnected meanings, functions and agents presented as whole closed referential system of interrelated ideas and actions. Paolo Cirio’s fine art translates critiques of information systems into artifacts to visually document and illustrate social structures examined by his conceptual work. Cirio’s installation art combines images, photographs, diagrams, documents, public art, and videos to engage the general audience in experiencing and discovering subjects, outcomes, and significance of his interventions and concepts. Paolo Cirio has exhibited at major international institutions including C/O Berlin; Museum für Fotografie, Berlin; Musée National d’Histoire et d’Art of Luxembourg; Victoria and Albert Museum, London; Somerset House, London; ICP Museum, NYC; China Academy of Art, Hangzhou; MoCA Sydney; ZKM, Karlsruhe; CCCB, Barcelona; MAK, Vienna; National Museum of Contemporary Art, Athens; MoCA Taipei; Sydney Biennial; 12th Gwangju Biennale, South Korea; Fondazione Sandretto Re Rebaudengo, Turin; and NTT ICC, Tokyo. Work at the collection: Michael Rogers https://www.paolocirio.net/ https://en.wikipedia.org/wiki/Paolo_Cirio <--Return Michael Rogers, 2015 ​This artwork is part of a series of nine unauthorized photos of high-ranking U.S. intelligence officials of NSA, CIA, NI and FBI that were related to the Edward Snowden’s revelations. Michael S. Rogers has served as Director of the National Security Agency (NSA), Commander of U.S. Cyber Command, and Chief of the Central Security Service since April 3rd, 2014. The photos were found by monitoring the Internet public platforms with selfies and images of informal situations published without the control of the officials. Ultimately, the images were reproduced with the street art HD Stencils technique and they were disseminated onto public walls throughout major cities. The artwork satirizes the era of ubiquitous surveillance and overly-mediated political personas by exposing the main officials accountable for secretive mass surveillance and over-classified intelligence programs. New modes of circulation, appropriation, contextualization, and technical reproduction of images are integrated into this artwork. Work on deposit from LaAgencia Collection. https://youtu.be/bB8Iv8bL5co ​ ​

Eugenio Ampudia Eugenio Ampudia, Melgar, 1958. As a multidisciplinary artist, his work approaches the artistic processes from a critical point of view; the artist as a promoter of ideas, the political role of creators, the meaning of art pieces, the strategies that allow to bring them to life, their mechanisms of production, promotion and consumption, the efficiency of spaces assigned to art, as well as the analysis and experience of those who watch and interprets them. His work has been internationally exhibited in places as ZKM, Karlsruhe, Jordan National Gallery of Fine Arts, Amman, Museo de Arte Carrillo Gil, Mexico DF, Centro de las Artes de Monterrey and Museo de Arte Contemporáneo de Oaxaca, Boston Center for the Arts, Boston Ayala Museum, Manila, The Whitechapel Gallery in London, Abierto X Obras, Matadero, Madrid, MAC Gas Natural Fenosa, La Coruña, Ars Electronica, Linz, and in Biennials such as Singapore and Havana’s The End of the World Biennial. And it is also held in collections of museums as MNCARS, MUSAC, ARTIUM, IVAM, and La Caixa, among others. His work “Try Not To Think So Much” won the 13th edition of the ARCO-BEEP Electronic Art Award ​ His works at the collection: Try Not To Think So Much, Mala Hierba, and Perec http://www.eugenioampudia.net <--Return Try Not To Think So Much, 2018 With this piece Ampudia continues his line of work of emphasizing on art as an effective communication method. In this case, the artist plays with the paradox of breaking that flow through communicational noise. By applying the term “noise” to communication, he not only addresses an unpleasant sound but also any interference in this process. With this work, he alludes to the communicational noise with which we cohabit and which surrounds us, and transforms into a silent method of influence in our everyday environment. The artist aims at communication in the art world, that tends to be endogamic and self-referencing while proclaiming discourses which are supposedly intended to bring culture to the spectator. The fact that the piece´s noise is made from the appropriation and superposition of conferences related to the art world which are hardly understandable, is an ironic nod to the theoretical apparatus and the codes on which the art system relies. The phrase is a composed amplifier, and every letter comprising it has a pertubing mission, allowing Ampudia to configure a faltering narrative, which also speaks about subjetivity of the discourse and opens doors towards ideas sunch as the discourse of powers or the power of Foucalt´s discourse. https://vimeo.com/279637148 Mala Hierba, 2015 ​“Mala Hierba” (Bad Weeds) is a sculpture that plays at giving life to a referential element such as weeds, breaking this space in which we recognise ourselves by making it breathe, exploring our fears. “It’s too late to be afraid. Nothing is more disturbing than impotently watching the movement of the grass below our feet. Those that prefer injustice to disorder cannot stand the drive to advance of those who express no other destiny than measuring their own disordered, convulsive and messy, strength. The risk is the message.” https://vimeo.com/139689380 Perec bajando una escalera, 2013 ​A library whose books lack the strength to express themselves and need the help of the moving word at their back. And sometimes the words are too specific. Or maybe they have always been too specific for the world, for art, but especially for the present moment, and we find ourselves in urgent need of different codes and strategies. Work on deposit from LaAgencia Collection.

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

Ken Matsubara Ken Matsubara, Tokyo, 1949. Ken Matsubara graduated from Musashino Art University in Tokyo in 1974. His work often examines our understanding of memory. Matsubara lives and works in Tokyo. Using photos, movies, objects and collages, Matsubara’s work addresses memories and histories to which we can all relate, regardless of our backgrounds, statuses or age. He incorporates photographs, videos, object installations, and collages to bring forth the past and to converse with future generations. The artist sees human consciousness as recollections of the same ancient knowledge that transcends the individual, passed down through generations and across peoples, at a microcosmic level. By recollecting shared memories, Matsubara believes that we can overcome individuality. His work is part of several international collections as the Newport Harbor Art Museum, Newport, California, Maison du Livre de L' image et du Son, La Bibliotheque de Villeurbanne, Lyon, Bayly Art Museum, Virginia, Museum of Fine Arts, Houston, Texas, Bell Atlantic Corpolation, New York, Readers Digest, New York, Goldman Sachs Corporation, New York, Nippon Polalroid "Polaroid Corpolation of Japan", Tokyo, International Polaroid Collection, Cambrige, Massachusetts, Tokyo Metropolitan Art Museum, Tokyo, Deutsche Bank Collection / Bulgari Collection, New York, among others. Work at the collection: Moon Bowl http://www.kenmatsubara.com <--Return Moon Bowl, 2016. Moon Bowl Just as hands scooping water, the bowl serves as if a vessel of acceptance, where images sink to the depths of the basin as memories. As the water reflects the moon’s ever-shifting presence, one comes to embrace its fragile state as the beauty of impermanence and discover its coming hopes as restoration. The Bodhisattva statue, plaster figurine, glass bottle, bird’s corpse all shatter for means to restore once again in a continuous state of repetition. Houjyoki: The flowing river never stops and yet the water never stays the same. Foam floats upon the pools, scattering, re-forming, never lingering long. So it is with man and all his dwelling places here on earth. http://www.kenmatsubara.com/Bowl5.html ​ https://vimeo.com/569817265#_=_ ​

Lua Coderch-Julia Mugica-Lluis Nacenta and Ivan Paz Lúa Coderch, Julia Múgica, Lluís Nacenta & Iván Paz Lúa Coderch Artist and associate professor at BAU, Centro Universitario de Diseño de Barcelona. She has a master's degree in Artistic Production and Research and a PhD in Fine Arts from the University of Barcelona, and also trained as a sculptor at the Massana School. She combines narrative and objectual practices in videos, performances and installations that she configures as research devices. Her work is part of the collection of museums and centers such as the MACBA, the Museo de Arte Contemporáno de Castilla y León or the Contemporary Art Collection Cal Cego, among others, and has been exhibited in exhibitions such as Bienalsur (Argentina), the Joan Miró Foundation, Domus Artium, the University Museum of Contemporary Art (Mexico) or SMART (Netherlands). ​https://www.baued.es/profesores/lua-coderch ​ ​Julia Múgica is a Mexican scientist currently exploring artistic practices on complex processes in nature. With an interdisciplinary background spanning biology and computational physics, she is deeply interested in understanding how collectives make decisions that result in behavioral synchrony. ​https://mutek.org/es/artistas/julia-mugica-ivan-paz ​ ​Lluís Nacenta Lluís Nacenta is a professor, writer and curator in the fields of music and contemporary art. Degree in Mathematics and Music (piano), Master’s Degree in Comparative Studies in Literature, Art and Philosophy and Doctor of Humanities, with a PhD thesis about musical repetition, his research proposes a philosophical perspective on the sonic arts. He has published numerous articles in digital and paper publications, such as Cultura/s de La Vanguardia and Nativa, and has curated exhibitions and concerts for Sónar+D, Arts Santa Mònica, Centre de Cultura Contemporància de Barcelona (CCCB) and Fundació Antoni Tàpies, among others. Since January 2018 is the director of Hangar. ​https://www.cccb.org/es/participantes/ficha/lluis-nacenta/45208 ​​​ Iván Paz, Mexico City, 1978 I studied physics and mathematics at the National Autonomous University of Mexico (UNAM). During this period, I have also experimented with music and photography. My main interests involve science, art, technology and how their interaction can create new aesthetic, conceptual and thinking directions. In 2006, I have started working as a professor of sound engineering. From this process, in 2011 I conceived and led a seminar in mathematical methods applied to musical composition at UNAM. The activity developed there produced numerous collaborations and work processes, for example, live coding sessions in collaboration with the Centro Nacional de las Artes de México (CNA). ​ 17th EDITION OF THE ARCO/BEEP ELECTRONIC ART AWARD. Work at the collection: “Echo” <--Return “Echo”, 2021 The work Echo has won the ARCO/Beep Electronic Art Award. The prestigious contemporary art fair, held in Madrid from February 23 to 27, has recognized the piece by Lúa Coderch, head of studies of the Bachelor of Fine Arts and BAU professor, Julia Múgica, Lluís Nacenta and Iván Paz. The jury highlighted her contemporary reformulation of the myth of the nymph Echo through a posthuman object (made of upholstered wood and synthetic hair) next to which there is a small stool that allows interaction with the public. So close, so far away According to the authors, the piece functions as "a body among bodies" and points to the difficulties of communication and the search for meaning. "It poses an allegory of our need to find correspondence," they explain. Summoning Echo, therefore, means rescuing the nymph from oblivion and recovering her word after Narcissus' scorn. An eight-handed project Echo was presented at Dilalica during this season's Barcelona Gallery Weekend, and has landed at ARCO by the hand of àngels Barcelona. The collaborative philosophy behind the piece, the result of the joint work of two galleries and four artists, has been one of the most valued aspects of the event. The ARCO/Beep award promotes research, production and exhibition of art linked to new technologies and electronic art. ​ ​

Keith Armstrong Keith Armstrong, Heaton, Newcastle. Keith Armstrong is an experimental artist profoundly motivated by issues of social and ecological justice. His engaged, participative practices provoke audiences to comprehend, envisage and imagine collective pathways towards sustainable futures. He has specialised for over twenty-three years in collaborative, experimental practices with emphasis upon innovative performance forms, site-specific electronic arts, networked interactive installations, alternative interfaces, art-science collaborations and socially and ecologically engaged practices. ​Keith’s research asks how insights drawn from scientific and philosophical ecologies can help us to better invent and direct experimental art forms, in the understanding that art practitioners are powerful change agents, provocateurs and social catalysts. Through inventing radical research methodologies and processes he has led and created over sixty major art works and process-based projects, which have been shown extensively in Australia and overseas, supported by numerous grants from the public and private sectors. In late 2019 he showed his new work Elegy for Life, Anthem for Artifice in The 5th International Art and Science Exhibition and Symposium: The Integration of Art and Science in the Age of Artificial Intelligence at the National Museum of China, and in 2022 he was the installation artist for the large-scale collaborative artwork Uramat Mugas showcased for the Asia Pacific Triennial (APT10) at the Gallery of Modern Art (GOMA), Brisbane. A full history of his work can be viewed at www.embodiedmedia.com . ​ Work at the collection: "Common Thread" 2022 <--Return "Common Thread" 2022 Common Thread is an audiovisual work installation presented in the peer-reviewed, curated exhibition ‘Possibles’ as part of ISEA 2022 (27th International Symposium of Electronic Art). The artwork presents slow, mysterious passages through thickly forested landscapes, comprised solely of silver-grey dots and lines; whilst affected sounds of those forests commingle with the distant voices of myriad species. Set within those uncanny landscapes, indistinct 3D forms enigmatically appear and disappear, collectively evoking richly mysterious, unknowable and extraordinary complexities. http://embodiedmedia.com/homeartworks/common-thread ​