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FakeShop FakeShop, New York, 1997. FakeShop is a collaborative group founded and led by the New York artist Jeff Gompertz in 1997. One of its principal characteristics is the mobility of its members according to the piece to be produced. Its activity is centred on technological performances that question and project human reality before technological society, a cyberorganized being observed and conditioned by, and subject to developments derived from the age of computation from a dystopian perspective. Due to the fact that the work of FakeShop is essentially based on installations and complex performances, its work as artefact is limited. They have exhibited at BACC, Bangkok, and Public interventions, Bangkok, 2012, WTF, Bangkok, 2011, BACC, Bangkok, 2010, HYCAC, Beijing, 2008, A-space, Beijing, and 798 arts festival, Beijing, 2007, Super-deluxe, Tokyo 2006, ARCO art fair, Madrid 2005, Cooper Hewitt Museum, NYC, 2003, Franklin Furnace, NYC, 2002, Deitch Projects, NYC and The Kitchen, NYC 2001, Whitney Museum, NYC and Eyebeam, NYC, 2000, Ars Electronica, Linz, 1999, among others. Works at the collection: “HUHB 387” and “HUHB 492” http://fakeshop.com <--Return “HUHB 387” and “HUHB 492”, 2000 The Human Use of Human Beings (HUHB) These prints were created during the installation HUHB, and come from a collection of similar screen grab captures produced during that installation at Eyebeam Atelier, NYC., 2000. In particular they are ‘double monitor’ screen grabs of a somewhat complicated setup of 8 computers each running their own *CU-SeeMe video chat webcam window and running in a live chat session over a public server ‘reflector’ site. The set-up of these computers happened as an off-site project for the Whitney Biennial 2000, as part of the museums first inclusion of net art into the Biennial Eyebeam allowed Fakeshop use the space at that time, which was an empty Chelsea garage building before they started renovation. It was a fun process getting the ISDN line installed there. ​Work on deposit from LaAgencia Collection. ​ ​

Albert Barque Duran and Marc Marzenit Albert Barqué-Duran, Lleida, 1989, & Marc Marzenit, Barcelona, 1983. Albert Barqué-Duran, PhD, is an artist and researcher. Lecturer in Creative Technologies and Digital Art at University of Lleida and Honorary Research Fellow at City, University of London. Albert earned his PhD and Postdoc in Cognitive Science from City, University of London and has been a Visiting Postgraduate Researcher at Harvard University and University of Oxford. His artwork and performances are inspired by his research and combine new media art techniques, A.I., computational creativity, data, experimental electronic music, and classical fine art methods, oil painting, sculpture, to reflect on universal topics, knowledge, digital culture, futures. He leads disruptive projects at the intersection of art, science and technology with the aims of: finding novel formats of generating artistic and scientific knowledge; Reflecting about contemporary and futuristic issues and its cultural implications; Creating powerful experiences to push the boundaries of human perception. Considered 1 of the 64 "Culture Activists" in Europe during 2019 by We Are Europe, and internationally awarded by the "Re:Humanism Prize", the "We Are Equals - MUTEK Music Academy", the "Art of Neuroscience Award", and the "International Award City of Lleida", Albert has exhibited and performed at Sónar+D, Barcelona, Ars Electronica, Linz, ZKM (Karlsruhe, Creative Reactions, London, Cricoteka, Krakow, Albumarte, Rome, SciArt Center New York, IGNITE Fest, Medellín, Mobile World Congress, Barcelona and Ming Contemporary Art Museum, Shanghai, among others. Marc Marzenit is an audio engineer, composer, music producer and Dj with many years of experience touring the world. He performed in places like London, Paris, New York, Los Angeles, Argentina, Mexico, Australia, Canada or Asia, just to name a few. Besides his profile as underground musician, he also created shows like “Suite on Clouds”, a 3D mapping show with 8 violinists, 1 harp, symphonic percussion, synthesizers and a grand piano. These projects draw on his classical background and show his integrated vision of electronic music: combining acoustic, analogue and digital instruments together in the same show. He is currently a Lecturer in "Music and Sound for Interactive Experiences" at ENTI- Universitat de Barcelona; and the Founder of Aulart. https://www.instagram.com/marcmarzenit/ https://twitter.com/marcmarzenit Work at the collection: Vestibular_1 https://albertbarque.com https://www.instagram.com/albertbarque/ https://twitter.com/AlbertBarque <--Return Vestibular_1 VESTIBULAR_1 is an immersive audio-visual installation that invites the audience to wander inside a vestibular system structure. In specific, the installation induces illusory sensations of self-motion by temporarily disrupting the audience’s vestibular functioning via specific patterns and configurations of audio and light stimuli. Any organism moving through its environment receives a constant stream of sensory signals about self-motion: optic flow inputs from vision, proprioceptive information about the position of the body from muscles, joints and tendons, and inputs for acceleration via the vestibular system. This latter seems particularly important for self-motion (Green & Angelaki, 2010). Under normal circumstances, the brain optimally combines sensory signals for self-motion, which are successfully integrated to produce a coherent representation of the organism in the external environment. However, conflicts between sensory modalities may occur when sensory signals carry discrepant information. If the vestibular system is altered with conflicting sensory information, we easily realise that the usual way in which we perceive objects of human expression, such as visual forms, music, and art, does dramatically change (Gallagher, M., Dowsett, R., & Ferrè, E.R., 2019). The installation VESTIBULAR_1 is based on the innovative research from the VeME (Vestibular Multisensory Embodiment) Lab at Royal Holloway, University of London, which investigates the role played by vestibular signals in the perception and representation of the body and the external world and how it affects aesthetic preferences. ​ Co-Producer: .BEEP { collection;} – NewArtFoundation. Technology Partner: Protopixel Technology Collaborators: Sfëar – Eurecat. Silentsystem. In collaboration with: Elisa Ferrè (Vestibular Multisensory Lab - Royal Holloway, University of London), https://vemerhul1.wixsite.com/vemerhul. https://youtu.be/Rf2l9MiYk5U ​ https://youtu.be/yqV1ICrirq0 ​

Jose Manuel Berenguer José Manuel Berenguer, Barcelona, 1955. Director of the Chaos Orchestra and the Música 13 Festival, founder of Nau Côclea, member of the Bourges International Academy of Electroacoustic Music and Honorary President of the UNESCO International Music Council’s International Conference of Electroacoustic Music, he has been bestowed with awards and distinctions from institutions such as the Internationale Ferienkurse Darmstadt, Gaudeamus Foundation, Prix de Musique Electroacoustique de Bourges, Concorso di Musica Elettronica - Fondazione Russolo-Pratella, CIM-UNESCO International Rostrum of Electroacoustic Music, Barcelona Contemporary Music Festival, National Spanish Radio and the Castile-La Mancha Video Award. In recent years, he has tended to express his artistic ruminations through installations and real-time computing devices, therein reflecting on philosophy and scientific history, the limits of language, ethics, life and artificial intelligence, robotics, information metabolism and the limits of human perception and comprehension. His most recent works include installations, such as Silenci, Transfer, La Casa de la Pólvora, Mega kai Mikron and Autofotóvoros, and performances such as Minf, On Nothing, Lambda-Itter (with Jane Rigler), Expanded Piano (with Agustí Fernàndez) and Desde dentro, for microscope, electric guitar and electronic sound and image generation. His work “Luci, sin nombre y sin memoria” won the 3th edition of the ARCO-BEEP Electronic Art Award. Works at the collection: Luci, sin nombre y sin memoria, 64 modules development and 21 modules development (Luci 21 modules is on loan of the NewArtFoundation) http://www.sonoscop.net/jmb <--Return Luci, sin nombre y sin memoria, 2008 “Luci” reproduces the functioning of a self-organising system inspired in the behaviour of fireflies in southeast asian mangrove swamps. It has been observed that when the male launches an intermittent signal the female responds with a similar signal. At first, the emissions tend towards similarity before finally matching entirely. This is just an example of what is a general characteristic of nature: the existence of coupled oscillators, systems that tend to stabilise in certain, periodic sequence states as long as fluctuations sufficiently powerful to interrupt the stability of these configurations are not produced. ​“Luci” consists of 64 units, each composed of 5 transmitters, sensitive to light and sound whose rhythmic behaviour configures innumerable, chaotic patterns that tend towards stability. The individual components lack information regarding the behaviour of the whole and the behaviour of “Luci” is manifestly more complex than that of its components. The alteration of the ambient luminosity produced by the intervention of the visitor stimulates the communication of the components provoking a new coupled configuration. Although the polyrhythmic patterns of adaptation are not always equal, and despite the fact that the starting points and routes may be essentially different, they always end in the same place. Luci is a proof that the world is full of clocks that tend to coincide and whose heartbeats generate a sound of universal dimensions that give us an idea of the order that we believe we perceive in nature. “Luci” is, in the final instance, an allusion to the irreversibleness of nature and the absolute security of death. https://www.youtube.com/watch?v=d8CvsyFvgDg ​

Andres Pachon Andrés Pachón, Madrid, 1985. He has an academic background in Contemporary Art (Fine Arts degree, UCM - CES Felipe II, 2008; Theory and Practice of Contemporary Art master degree, UCM, 2009) and in Social and Cultural Anthropology (Social and Cultural Anthropology master degree, Coimbra University, 2019). In the last years, his visual practice focused on the construction of the colonial imaginary through the use of photographic archives in anthropology and ethnography. In this context, he developed his work through collaborations with institutions such as the Musee du Quai Branly in Paris, National Museum of Anthropology in Madrid and the Photographic Archive of Art Museum of Lima (MALI) in Peru. His visual work reflects on the construction of knowledge through photography, establishing relationships between the practices of the 19th and 20th centuries, and the current uses of technology, as is the case of his current research on socio-technical activity in Computer Vision Systems. His work has been exhibited in solo shows, in places such as National Museum of Anthropology in Madrid and the Alcobendas Art Center. The artist has also collaborated in group shows such as "Colonia Apócrifa" at MUSAC; "Reencontres Internationales. New cinema and contemporary art 2014 "in Gaîté Lyrique - Palais de Tokyo, in Paris; and "VIVA Collections on Tour 2013", in the Lázaro Galdiano Museum, Madrid. He has participated in international fairs such as ARCOmadrid 2014, Art15 London, Volta 11 in Basel and Estampa 2016 and 2018 in Madrid. During this years he has received various awards and grants, such as Leonardo Grant BBVA Foundation to Researches and Cultural Creators in 2019, Comunidad de Madrid Visual Art Grant in 2017, or Transvisiones 2015, developing a residency at the Limas' Center of Image, Peru. His work is in severals international collections, like as Pilar Citoler Collection (Madrid), Jozami Collection (Argentina) or CA2M Museum Collection (Madrid). His work “Tropologías II” won the 9th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Tropologías II https://www.andrespachon.com <--Return Tropologías II, 2014 In the year 1900 Doctor Ripoche sent a collection of photographs, studies of African Types from the Museum of Natural History of Paris to the National Museum of Anthropology of Madrid. In this piece a virtual 3D mask has been created for each portrait by means of a facial recognition programme that needs two photographic images, the same ones necessary for any anthropometric register of this kind: front and profile. Each photographed face has been replaced by its synthesised image, thus questioning the “truth” that these images enclose, and how the post-human can reflect the authentic construction that lies behind the image of the “other”. https://www.youtube.com/watch?v=ZjtEfD_GitI&t=18s ​ ​

Dmitry Gelfand and Evelina Domnitch Dmitry Gelfand, St. Petersburg, 1974 and Evelina Domnitch Minsk, 1972. The duo creates installations and performances that merge physical phenomena with uncanny philosophical practices. Current findings, particularly regarding wave phenomena, are employed by the artists to investigate questions of perception and perpetuity. Such investigations are salient because the scientific picture of the world, which serves as the basis for contemporary thought, still cannot encompass the unrecordable workings of consciousness. Having dismissed the use of recording and fixative media, Domnitch and Gelfand's installations exist as ever-transforming phenomena offered for observation. Because these rarely seen phenomena take place directly in front of the observer without being intermediated, they often serve to vastly extend the observer's sensory envelope. The immediacy of this experience allows the observer to transcend the illusory distinction between scientific discovery and perceptual expansion.​ http://portablepalace.com/​ <--Return Orbihedron, 2017 Installation in collaboration with LIGO and William Basinski. A dark vortex in the middle of a water-filled basin emits prismatic bursts of rotating light. Akin to a radiant ergosphere surrounding a spinning black hole, Orbihedron evokes the relativistic as well as quantum interpretation of gravity – the reconciliation of which is essential for unraveling black hole behaviour and the origins of the cosmos. Descending into the eye of the vortex, a white laser beam reaches an impassible singularity that casts a whirling circular shadow on the basin’s floor. The singularity lies at the bottom of a dimple on the water’s surface, the crown of the vortex, which acts as a concave lens focussing the laser beam along the horizon of the “black hole” shadow. Light is seemingly swallowed by the black hole in accordance with general relativity, yet leaks out as quantum theory predicts. With the generous support of LIGO, Isabel De Sena and Fulcrum Arts. https://vimeo.com/310659758/ ​ ​

Luis Lugan Luis Lugán, Madrid, 1929-2021. Luis García Núñez, is a plastic artist of difficult classification, we cannot look for another painter-sculptor with similar connotations in the artistic panorama. In the late fifties and early sixties his painting has a clearly geometric and constructivist character, in the works of this period, many of them made on cardboard, he still signed with the name of García Núñez, later changing his name to Lugan. Thanks to the knowledge of electronics acquired over many years in the performance of his work in Telefonica, he can from 1967 to begin to apply what he had learned, but under a plastic vision and approach, developing his first audiovisual and tactile works. Lugan develops works in which he involves several senses at the same time: hearing and sight, sight and touch, and sometimes even smell. His sound taps or his hands that give off heat on contact are well known. In 1968 he became part of a group of artists who approached the computer for the first time as a means to develop their works, this experience was developed in the Centro de Cálculo de la Universidad Complutense de Madrid in the Seminars of Automatic Generation of Plastic Forms. This group was formed by José Luis Alexanco, Elena Asins, Tomás García Asensio, José Luis Gómez Perales, Eusebio Sempere, Abel Martín, José Mª Yturralde... What made Lugan's work different from the rest of the components was that he was not interested in the software, but his attention was on the different electronic parts of the machine, that is to say the hardware. In 1972 and on the occasion of the Encuentros de Pamplona, Lugan developed his well-known work Random Telephones, which were telephones that communicated randomly between different places in the city in a totally free way without going through a "controlled" switchboard. That same year he participated in the Venice Biennial and a year later in the Sao Paulo Biennial. He has participated in all the exhibitions dedicated to the Centro de Cálculo, such as the itinerant exhibition "El Centro de Cálculo, 30 años después" in 2003, which toured the halls of the Centro de Exposiciones Municipal de Elche, the Museo de la Universidad Alicante and the Museo de Arte Contemporáneo de Ibiza. Two years later in the Andalusian Center of Contemporary Art in Seville participates in the exhibition "Models, Structures, Forms". And more recently in the exhibition dedicated by the MNCARS to the Encuentros de Pamplona and in "From Numerical Calculus to Open Creativity. El centro de cálculo de la universidad de Madrid (1968-1982)" Exhibition Hall of the Centro de Arte Complutense. Madrid (2012) and Museum of the University of Alicante and Polytechnic University of Valencia (2013).​ Work at the collection: - Mano Térmica - Sin título B/N, Sin título Color (serigrafía) - Sin título 1970, LS-AP4 1970 <--Return Mano Térmica de Artista, 1973 He was the first Spanish artist who thought of real interaction with the viewer. He wanted those who admired his work to be able to touch and feel it, something forbidden until then in any exhibition. In the midst of Franco's dictatorship, specifically in 1973, the Madrid-born artist delved into robotic techniques to create his Thermal Hand, the starting point for the exhibition Faces. https://www.youtube.com/watch?v=BCJMv8x8rGs Sin título B/N, Sin título Color (serigrafía), 1973 Sin título 1970, LS-AP4 1970

Marina Nunez Marina Núñez, Palencia, 1966. Marina Núñez is a multidisciplinary artist who works with different formats, including painting, video and new technologies, she holds a Bachelor’s in Fine Arts from the University of Salamanca and a PhD in Fine Arts from the University of Castilla-La Mancha. She currently combines her artistic career with teaching at the University of Vigo. With her recent works, Marina Núñez invites us to reflect on how our subjectivity and our lives are affected by the interferences between the human and the technological that are produced more frequently each time. Because of this sense of anticipation to many of today's most important philosophical reflections, her work has had a great influence on contemporary debates. ​ A constant in her work is the representation of aberrant, different beings, those that exist on the fringes of the canon. The anomalous bodies that populate her paintings, computer graphics or videos speak to us about an identity that is metamorphic, hybrid and multiple. She recreates an unstable and impure subjectivity so that otherness is not something alien, but that basically constitutes the human being. Thus, her hysteric women, medusas, mummies, monsters or cyborgs —though they belong to the territory of the outcasts— do not seem to be distant but can affect and identify with us. And her images are perceived as slightly deformed mirrors that suggest us that madness or monstrosity are simply a question of degree. ​ Her work is included in the collections of Museo Nacional Centro de Arte Reina Sofía in Madrid, Artium in Vitoria, MUSAC in Leon, Patio Herreriano in Valladolid, TEA in Tenerife, Fundación La Caixa, Fundación Botín, Corcoran Gallery of Art in Washington DC, National Museum of Women in the Arts in Washington DC, Mint Museum of Art in Charlotte, North Carolina, Katzen Arts Center, American University Museum, in Washington DC, Fonds régional d'art contemporain in Corsica. ​ http://www.marinanunez.net ​ ​ Her works “Still Life Swell” and “Still Life Tornadoes” won the 16th edition of the ARCO-BEEP Electronic Art Award. Works at the collection: - Still Life Swell - Still Life Tornadoes https://en.wikipedia.org/wiki/Marina_N%C3%BA%C3%B1ez <--Return Still Life Tornadoes & Still Life Swell, 2021. The works “Still Life Tornadoes”, “Still Life Swell”, are a reformulation of the Neo-Barroc Still Life genre in several videos, allegorizing both the questions related to human existence and its relationship with Nature. Their pictorial tonality is very sophisticated, offering a fascinating hyper-reality approach that presents the viewer with specific details such as the movement of a piece of cloth or the spilling of liquid from a glass due to an inexplicable turbulence. Drama and beauty are intertwined in these works that explain this artist’s maturity. http://www.marinanunez.net/naturaleza-muerta ​ ​

Manu Arregui Manu Arregui, Santander, 1970. Pioneer in the application of 3D animation to his work, Manu Arregui's work focuses on reflection on body policies and the commitment to "non-normative" identities.Always from a critical questioning, his pieces, full of lyricism, fuse virtuosity and experimentation. At the same time, without neglecting irony, the artist analyzes the progressive virtualization of our lives and the future of art in this post-contemporary era. He has a degree in Fine Arts from the University of the Basque Country. His works have been included in important exhibitions such as Trans-sexual Express International curated by Xabier Arakistain and Rosa Martínez, Bad Boys project by Agustín Pérez Rubio made on the occasion of the 50th Venice Biennale, Single Channel Video: 1996-2002 curated by Juan Antonio Álvarez -Reyes and Berta Sichel for the National Museum Reina Sofía Art Center, Animated Sessions project by Juan Antonio Álvarez-Reyes for the same museum and the Atlantic Center for Modern Art in Las Palmas, Chacun à son Goût curated by Rosa Martínez for the commemoration of the tenth anniversary of the Guggenheim Museum in Bilbao. Spanish Art 1957-2007 at the Palazzo Sant’Elia in Palermo. He has participated in important international fairs of Contemporary Art such as ARCO (Madrid), ART BASEL MIAMI BEACH (Miami), or FRIEZE (London). In 2002 he obtained the Plastic Arts Scholarship from the Marcelino Botín Foundation, with which he completed his training at the ISCP in New York. In 2004 he won the First Prize for Video Creation and Digital Formats Caixa Galicia and in 2007 the Altadis Prize for Visual Arts. His work is represented, among others, in the collections of the ARTIUM museums in Vitoria, the Guggenheim in Bilbao, the MUSAC in León and the Reina Sofía National Art Center Museum in Madrid. His work “Ejercicios de medición sobre el movimiento amanerado de las manos” won the 9th edition of the ARCO-BEEP Electronic Art Award ​ Work at the collection: Ejercicios de medición sobre el movimiento amanerado de las manos http://manuarregui.com/ <--Return Ejercicios de medición sobre el movimiento amanerado de las manos, 2014 This video of 6’30” duration that uses time, passing in a linear way, to give form to an investigation into codes and connotations linked to gestures. ​Using as a starting point a recording of hands of various professional dancers in movement and an example of 3D modelling software to replicate those movements and obtain the corresponding positioning and rotation data, the piece uses the theme of dance to reflect upon topics such as the phobia of effeminacy and masculinisation. ​ ​

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

Waldo Balart Waldo Balart, Banes, 1931. Balart studied accounting and political science and economics in Havana before moving to New York to pursue art studies in 1959. From 1959 to 1962 studied art in the Museum of Modern Art, New York. Professionally, on 1967 he develops as lecturer in many cultural centres and universities of USA, Poland, Spain, Germany and Netherlands. He acted in two movies by Andy Warhol, The Life of Juanita Castro,1965, and The Loves of Ondine, 1968. Waldo Balart, referent in the Concrete Art, lectures frequently and his work – explorations of color and light in geometric paintings and light sculpture – has been widely exhibited. He had more than 50 one-man shows in the Netherlands, Belgium, Poland, France, Germany, Spain, Austria, and United States among others. He is the recipient of a Pollock-Krasner Foundation fellowship and his work is in the permanent collections of the Museum of Modern Art and Metropolitan Museum in New York, Centro de Arte Reina Sofía in Madrid, the Mondriaanhuis in Amersfoort, Museum of Modern Art in Huenfeld, Germany, Kurzführer-Museum in Kulturspeicher among others In 1992 he published the book “Waldo Díaz-Balart, Ensayos de Arte”, and in 2011 “La práctica del arte concreto” Work at the collection: Desarrollo Cromático del CEL https://waldobalart.com <--Return Desarrollo Cromático del CEL, 2008 ​Serie: Desarrollo Cromático del CEL Imagen fragmentada Orden Axiomático 1.2.3 Proposición: Imagen Diagonal Módulo 2x2, 1.3.5.7. Waldo Balart examines mathematical forms and studies of the color spectrum. In this way, unique paintings are created according to formulas. https://youtu.be/YJ2Yyt0sRbg ​ ​