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Darya von Berner Darya von Berner, Ciudad de México, 1959. Darya von Berner begins her trajectory at the New York School of Visual Arts with Milton Glaster and continues in Europe with Enzo Cucchi, Wolf Vostell, Janis Kounellis and Tony Cragg. Around 1984 she begins her career as an artist, receiving diverse prizes and grants that lead her first to Paris and then to Italy after receiving the Spanish Academy of Fine Arts Grant in Rome. In 1991 she begins a long international voyage with exhibitions in diverse galleries in Europe and America and a habitual presence in successive editions of Art Basel, ARCOmadrid and Art Cologne. More recently she is involved in public art projects such as the series titled “Atmospheres,” in which she create real clouds around architectural monuments. The first of these interventions took place in Madrid in 2007 when she wrapped the Alcalá Gate in a cloud. This artistic intervention had a widespread media impact and since then she has received numerous invitations to create “Atmospheres” in Paris, Brussels, Córdoba, etc. Her most recent work is “Universal Peace Flag” installed in front of the Palace of Peace in the Hague. Other installations are those which she executes with lineal light in emblematic spaces of modern architecture from the beginning of the 20th century. For Darya von Berner, the practice of art is means for the production of critical significance, always in dialogue with the surrounding world. Work at the collection: Untitled, 1997. https://daryavonberner.net/ <--Return Untitled, 1997 Form a line, never a point! Speed transform the point into a line! Be fast, even while standing still! Cf. Paul Virilio “Vehiculaire, en Nomades et Vagabonds”, 10/18, p.44. Work on deposit from LaAgencia Collection. ​ ​

Flavien Thery and Fred Murie Spéculaire: Flavien Théry, Paris, 1973 & Fred Murie, Rennes, 1972. Spéculaire brings together the artists Flavien Théry and Fred Murie to develop projects that bring into play physical forms, perceptive phenomena and digital technologies. The installations, objects and applications resulting from this association seek to manifest, within the real, the presence of immaterial dimensions, like new unsuspected realities… Flavien Théry was born in Paris in 1973. He graduated from the Ecole Supérieure des Arts Décoratifs de Strasbourg and lives and works in Rennes. After a career in the world of design, his research is now part of a lineage between the optical and kinetic art movement and current practices using new media, with a particular interest in the relationship between art and science. He intends, through his artistic proposals, to explore the whole spectrum of light, visible and invisible, undulatory and corpuscular, material and spiritual. Fred Murie was born in Rennes in 1972. He lives and works in BriSany. Following a scientific career, Fred Murie has affirmed an artistic ambition that continues to be nourished by this initial training. This double identity has led him from painting to digital experimentation until today to develop a practice by which language becomes form. Whether visual, verbal or digital, language allows him to question reality through a system of constraints. The constraint is considered here as a set of rules that must be subverted and transcended in order to reveal their creative force. By emancipating himself from the rules, he produces hybrid and paradoxical forms like so many enigmas aiming at disturbing our senses. Fred Murie works to create frames that open up new perspectives through which our imagination can unfold. Work at the collection: Oracle https://www.speculaire.fr/ <--Return Oracle, 2016. A screen shows a visual ‘noise’ pattern evoking the cathodic snow. When the spectator skims this random image, some typographical forms appear and disappear as soon as the movement stops. As during a spiritualism session, Oracle spells out words which will be as many messages sent by a mysterious entity. Thus, from a seemingly empty space, signs of a hypothetical technological beyond emerge. https://www.speculaire.fr/flavien-thery-fred-murie/oracle ​ https://vimeo.com/76204670 ​

Marie-France Veyrat Marie-France Veyrat, Lyon, 1951. After living in Grenoble, she moves to the province of Tarragona where she still lives and works. She is a versatile artist who brings out a constant interest in investigating and experimenting in art creation using different languages such as textile, paintings, three/dimensional, installations, digital compositions and land art. Her work is based on lived experiences, memories and travels stored in her daily life which she transforms into real objects or virtual works. Every work represents a lived instant which is part of herself at some point in her life. She has been a teacher in Tríptic School in Reus. She is a founding member and the current president of the jury of the ARCO-BEEP Electronic Art Award. She has published three monographic catalogues for the occasion of her solo exhibitions. Veyrat’s work has been exhibited in Art Sacré, Grenoble, Display Departamento, New York, Macula, Santa Cruz de Tenerife, Alicia Rey, Madrid, Àmbit, Barcelona, Lexington, New York, Artnet, L&B Contemporary Art, Atelier, Barcelona, WTC Eurostars Grand Marina Hotel, Barcelona, Caja Madrid, Ciudad Real, Roca Barcelona, Tom Maddock, Barcelona, Centre de Lectura, Reus, Pilar Riberaygua, Andorra, Lleonart, Barcelona, Lisbon Penta Hotel Expo’98, Hotel Catalonia Berna, Barcelona, Anquin’s, Artloft, Antoni Pinyol, Reus, 1st World Meeting of the Arts in small format, Barcelona, Capçanes Caves, Priorat, MAMT, Tarragona, Salvador Vilaseca Museum, Reus, among others. Participation in solo and collective projects, “UrSmile” www.ursmile.org Net Art, ARCO, 2008; “A 33 R.P.M.” Antoni Riera “El otoño del Arte”, Barcelona/Artmadrid, 2010/2011; “Bell Tower: I Love you”, Centre de Lectura Reus, 2002; “VeyrArt” digital projection Gaudí’s Celebrations, Reus, 2002; “CADAF 2019” Jaime De los Ríos, Miami, USA; ”Materials for a new plasticity” retrospective by Arnau Puig, Tinglado Tarragona, 2006; AAF Battersea, London, 2013; “Faces” Es Baluard/BEEP Collection, Palma de Mallorca, 2019; “Plural Femení” by Dr.Antonio Salcedo, MAMT, 2016; “Urban Art “ Reus Catalan Capital Culture 2017; AAF Milan’15; “Creative Approches” BEEP Collection by Roberta Bosco and Stefano Caldana, Reus Museum, 2017; ”Session 09 Let’s talk Contemporary?” Convent de les Arts by Aleix Antillach , Alcover, 2019; ExPortArt – ImPortArt, 1st Contemporary Art Biennial, Tinglado Port of Tarragona, 2013; Performance and Video “Looking for Veyrat” Diego Latorre , art studio, 2018; “Survivals” Forum Berger-Balaguer Caixa Penedès, Vilafranca del Penedès, 2003; Selection of artworks in the modernista Casa Burès, Barcelona, 2019; “100 Textiles. II National Exhibition of Contemporary Tapestry, Finart 85, Madrid; Special mention for the 13Th Salon Saint-Florent, France, 1990; “Marie-France Veyrat vs. Manolo Millares” Torre Baró gallery, La Selva del Camp, 2006; “Artístic Couples” creative experiences for mental health, 2018/2020. Marie-France’s work is part of the following collections in Interior Design, New York, Urban Art, Almoster City Hall, Lisbon Penta Hotel, HP Madrid, Urban Art, Reus City Hall, Sorigué Foundation, Lérida, Grupotel Gran Via, Barcelona, Rovira&Virgili University, Tarragona, Torre Vella, Salou, Cambrils City Hall, Capçanes Caves, Priorat, Josep Santacreu Foundation, Barcelona, WTC Eurostars Grand Marina Hotel, Barcelona, Port of Tarragona, Display Departamento gallery, New York, Caixa Penedès Foundation, Vilafranca del Penedés, Catalonia Berna Hotel, Barcelona, Dexter Design, Los Ángeles, California, Fortuny Theatre Foundation, Reus, Meridiano Hotel, Hospitalet del Infante, Feliu-Sedó, Esparreguera. Work at the collection: Urbetrònica http://www.veyrat.org https://ca.wikipedia.org/wiki/Marie-France_Veyrat <--Return Urbetrònica, 1999 Urbetrònica is an audiovisual installation in the post-technological era where machines and their processes symbolize perfection in series process chains, however, this work draws on the aesthetics of glitch art that emerged at the end of the 20th century. Thus, an amalgamation of numerous computer boards and parts of machines and electronic devices currently obsolete intentionally cast imperfect images to put in crisis the apparent excellence of machines and computer systems that we enjoy today. There where the error does have a place per se, it generates a new aesthetic of the deficient or incorrect, altering from the mere image, audio, or video to the most experienced software. In short, works where digital defects become unique and singular works of art. On the other hand, once again present in Veyrat's work, we find in this piece the idea of architectural construction and recycling. The chaotic contemporary city is first glimpsed in the shapes drawn by buildings whose colophon is glimpsed in its entirety from above. We find ourselves before the urban world in action, that space-time where technique and human advances govern, and that only in its fallacious failure do we approach to capture the whole and its crude dimension. ​ ​

Veyrat - De los Rios Marie-France Veyrat, Lyon (1951) and Jaime de los Ríos, San Sebastián (1982). Marie-France Veyrat. After living in Grenoble, she moves to the province of Tarragona where she still lives and works. She is a versatile artist who brings out a constant interest in investigating and experimenting in art creation using different languages such as textile, paintings, three/dimensional, installations, digital compositions and land art. Her work is based on lived experiences, memories and travels stored in her daily life which she transforms into real objects or virtual works. Every work represents a lived instant which is part of herself at some point in her life. She has been a teacher in Tríptic School in Reus. She is a founding member and the current president of the jury of the ARCO-BEEP Electronic Art Award. She has published three monographic catalogues for the occasion of her solo exhibitions. Jaime de Los Rios. Founder of the open laboratory of Art and Science Arteklab, his career focuses on the intersection of these disciplines and Systemics, in relation to mechanisms, rhythms and natural patterns. His work concerns the space between human aspirations and the politics of technological language, therefore he is a specialist in Free Software and Hardware, finding in his work, much of which is collaborative, immersive environments as well as dynamic works that relate natural behavior with computational. In recent years Jaime has explored the social implications of media, cybernetics and the human-machine relationship, exhibiting, acting and developing open projects in working groups, supporting international artists and developing protocols for horizontal creation and production. Work at the collection: La Forme De l´Eau. https://www.veyrat.org/ https://www.tabakalera.eus/es/jaime-de-los-rios/ <--Return La Forme De l´Eau. Poétique D’un Instant 2019-2022 How do we preserve our memories? Memory tends to dissipate the form. In the drift of our most rational thought, we tend to scientificize our memories: where, how, when... Computable and direct data that in most cases reduces the experience of what has been lived to a list of items. La forme de l’eau converts a tangible memory into its most poetic elements,freezing an instant and making it infinite. An installation made with scientific and physical installation of fluids to capture the fall of water and emulate its shape in 3D printing, which no longer falls, but rises as in the language of dreams opposed to Newtonian laws, and rendered algorithms in real time, which follow one another choreographically in parallel with the first-person account of Marie-France, who shares her voice to narrate a discovery. Ironizing about the speed of consumption and the eagerness for novelty in contemporary society, Veyrat and de los Ríos invite us to reflect from the contemplation and poetics of the moment. It was a spring day when I came across the falling water....​ https://www.youtube.com/watch?v=EcCDufnpqF0 ​ ​

toplap toplap - Barcelona, 2018. toplap is a worldwide community that since 2004 groups people exploring live coding as a creative technique. In 2018 Lina Bautista and Iván Paz started toplap-barcelona which today is a community for free experimentation on writing source code for sound and visuals generation. post-window originates within this context as a collaboration between their authors. Formed as a classical composer, Lina Bautista AKA Linalab, followed her path through modular synthesizers and electronic gadgets framed into the DIY philosophy. Her work explores sonic spaces ranging from analog to digital by including live coding as a creative practice. Looking thought the lenses of mathematics and sound, Iván Paz explores the possibilities of algorithmic music within the creative technique of on-the-fly programming. His work is framed in critical approaches to technology and from-scratch construction as a guide to conceive and develop his pieces. For toplap live coding is a form of scenic art and a creativity technique focused on real-time writing of source code and the use of interactive programming, is a new direction in electronic music, is improvising and formalizing in public. The live coders expose and modify in real time the software generating music and / or images, while the manipulation of the code is projected to allow viewing process. Live coding works in all musical genres, and by the elements that compose it – art, science and technology – it also configures a social and political discourse. Work at the collection: Post-window https://toplapbarcelona.hangar.org <--Return post-window, 2018 post-window reflects on the semantic, semiotic and affective bridges connecting our imaginary sonic and written languages. It is conceived as a high-level device for sound live coding that visualizes algorithmic sentiment analysis. It is a window that invites us to find the nonconformity within the limits of the algorithm. The training bias, the implicit values of humans involved in data collection and processing, might never replicate the plasticity of the individual mind. Yet, the illusion of being read and understood keeps us engaged, while exploring the timbre space as we type, going from harsh electronic soundscapes to smooth cavern spaces. post-window is part of a research and production program held by Hangar in collaboration with the NewArtFoundation and the .Beep { Collection;}.Special acknowledgments: Andrés Costa/ Matics Barcelona. ​ ​

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

Mariano Sardón and Mariano Sigman Mariano Sardón & Mariano Sigman, Bahía Blanca, 1968 / Buenos Aires, 1972. Mariano Sardón is professor and chair of the Electronic Art Degree at the Universidad Nacional de Tres de Febrero, Buenos Aires, Argentina. He obtained the “Konex Prize” in Visual Art Category 2012 given by Konex Foundation, Buenos Aires, and the “Experimentation prize in Non-traditional supports and video 2008” given by Argentinean Association of Art Critics. He studied Physical Sciences in the University of Buenos Aires. Some exhibitions: Pilar Serra Gallery, Madrid, 2018. Artericambi Gallery, Verona, 2018. Artissima 2017, Artericambi Gallery. “Images of Journeys; The New Pushkin Museum”, “Viva Arte Viva”, 57th Bienale di Venezia 2017. “Intuitions”, Pallazzo Fortuny, Bienale di Venezia, 2017. Ars Electronica Berlin, 2017. Ars Electronica Linz 2017, 2016, 2013. Pushkin Museum Moscow, 2016. Ruth Benzacar Gallery, 2016, 2012, 2004. BAPhoto 2017 Ruth Benzacar Gallery. AIPAD Photography Show 2014 Bryce Wolkowitz Gallery, NY. Pulse Miami Beach Bryce Wolkowitz Gallery, 2014. 11th Bienal de La Habana 2012. Bryce Wolkowitz Gallery NY, 2013, 2007. Fundación PROA, 2013 and 1999. Akademie der Künste Berlin, 2010. Museo de Arte Moderno de Buenos Aires (Mamba) 2012, 2010, 2004. Ars Electronica México 2010. Fundación Telefónica Buenos Aires 2008 and Santiago de Chile 2011. Museo de Arte Latinoamericano de Buenos Aires (MALBA) 2003 y 2005. Among others. Mariano Sigman grew up in Barcelona. He obtained a master degree in physics at the University of Buenos Aires and a PhD in neuroscience in New York. He moved to Paris to investigate decision making, cognitive architecture and consciousness. In 2006 he founded the Integrative Neuroscience Laboratory, at the University of Buenos Aires, an interdisciplinary group integrated by physicists, psychologists, biologists, engineers, educational scientists, linguists, mathematicians, artists and computer scientists. His lab has developed an empirical and theoretical approach to decision making, with special focus on understanding the construction of confidence and subjective beliefs. Many aspects of his investigation rely on data mining and computational tools on massive corpus of human behavior (text, decision making…). Recently, he has progressively shifted his research to understand how current knowledge of the brain and the mind may serve to improve educational practice. Many of the projects conduct are developed at schools throughout the country and he is extending these investigations on cognitive development to hundreds of thousands of children through the One Laptop Per Child (OLPC) framework. Throughout his career he developed numerous research interactions with representatives of different domains of human culture including, musicians, professional chess players, mathematicians, magicians, visual artists and chefs. Several of these interactions resulted in exhibits presented in museums and galleries in Argentina, Mexico, Brazil, US, Japan, New York, Austria. Mariano Sigman is the only Latin American scientist to be a director of the Human Brain Project, was awarded a Human Frontiers Career Development Award, the national prize of physics, the young investigator prize of “College de France”, the IBM Scalable Data Analytics award and is a scholar of the James S. McDonnell Foundation. Their work “The Wall of Gazes” won the 14th edition of the ARCO-BEEP Electronic Art Award Work at the collection: The Wall of Gazes http://marianosardon.com.ar/ <--Return The Wall of Gazes, 2011 The Wall of Gazes consists of one screen in which visitors can see how portrait images are revealed by the eye movements of many persons simultaneously. Gazes were captured by an eye tracker device. Around 100 participants were seated in front of a portrait image and the device recorded their gazes for 15 seconds. The screen is connected to a computer and a special software displays the eye tracks stored in a database. Portraits are ever-changing composition, according the gazes captured and displayed by the software. The Wall of Gazes aims to engage people with those parts of the face that are really seen and those parts that remain “unseen” while attention is focused elsewhere on the portrait. Technological collaboration: Germán Ito. Development Team: Cecilia Cisneros, Lucia Carvallo, Nahuel Rodrigues. Eye tracking data generated at the Muntref Centro de Arte y Ciencia. Universidad Nacional de Tres de Febrero. Buenos Aires. ​ ​

Weidi Zhang Weidi Zhang, Beijing, 1991. ​Weidi Zhang is an LA-based new media artist and researcher. Her current research and media art practices investigate A Speculative Assemblage – interactive image-data-based visualization of a human-machine reality in the context of data visualization, responsive Intelligence system design, and immersive media. Her works are featured at international venues, such as the SIGGRAPH Art Gallery Best In Show, ISEA, Times Art Museum (CN), Japan Media Arts Festival, Lumen Prize (UK), SIGGRAPH ASIA, IEEE VISAP, Planetarium 1 (RUS), Zeiss-Planetarium (GE), Society For Arts and Technology (CAN), and others. Currently, she is a Ph.D. candidate in the Media Arts and Technology Program and a graduate researcher in Experimental Visualization Lab. She lectures at UC Santa Barbara and The Ohio State University. She holds her MFA degree in Art + Technology at the California Institute of the Arts and a BFA degree in Photo/Media at the University of Washington, Seattle. https://www.zhangweidi.com/ <--Return Ray ,2021 Ray is an interactive multi-modal Intelligent system that is designed to re-interprets Rayograph, a modern image-making technique, through visualizing the hidden information of live streaming video in the context of AI and surveillance. In the art installation, the intelligent system RAY constantly observes audiences via a camera and translates the live streaming data of audiences into an ever-evolving semantic Rayograph in real-time. https://www.zhangweidi.com/ray ​ ​

Stefan Tiefengraber Stefan Tiefengraber, Baden bei Wien, 1981. After working in a film production company for six years, he changed his main place of residence to Linz where he started studying Timebased and Interactive Media at University of Art and Design Linz in 2010. In 2012/13, he took part in an exchange program at the Korean National University of Arts in Seoul for a year. His work ranges from kinetic sound installations to audio-video noise performances. Tiefengraber experiments with the modification of devices, which are originally manufactured for different purposes. Combined with the perception of the audience, this experimental attempt of exploring old and new materials leads him to new and unpredictable results. The artist’s work has been exhibited at Ars Electronica Garden Barcelona, Barcelona 2021, Ars Electronica Festival 2021-2019 Linz, Galerie gerken Berlin, TodaysArt 2014 Den Haag, New Media Gallery Vancouver, 16th Media Art Biennale WRO 2015 Wroclaw, Piksel Festival 2016 Bergen, among others. Work at the collection: TH-50PH10EK – Wall http://www.stefantiefengraber.com <--Return TH50PH10EK WALL , 2021 The title of the work refers to the device designation of the used plasma monitor. It is a common device that has been used for many years in exhibition and event contexts. However, this monitor has become obsolete due to recent technological developments. With the installation TH 50PH10EK – Wall, this object is transformed from a carrier of art into a work of art. A 50-inch plasma monitor is installed as a pendulum, which swings out freely on the wall after being triggered. As soon as the monitor comes to a standstill, it is pulled back into the original position with the help of a cable winch and is made to swing again – triggered by pulling a ripcord, a performative act that cannot take place without human intervention and which involves the exhibition supervisor in the installation. Each cycle ends when the monitor has come to a standstill and no sound and video is produced by its movement. The sound is generated by the amplification of the friction which the back of the monitor is subjected to on the wall. The visualization on the screen is a direct translation of the analogue audio signal into an analogue video signal. Voltage and frequency are represented by a loudspeaker in sound on the one hand and as flickering horizontal white lines on the monitor itself on the other. There is no processing of the signal, for example by a computer or an effects device. In his works, Stefan plays with the meaning of the function of the devices and objects used, breaks with their predetermined purposes and modifies them. This experimental approach and exploration of old and new technologies and their combination can also be found in this work. http://www.stefantiefengraber.com/th_50ph10ek_wall.php ​ https://vimeo.com/605657689 ​

Rafael Lozano-Hemmer Rafael Lozano-Hemmer, Ciudad de México, 1967. Rafael Lozano-Hemmer received a B.Sc. in Physical Chemistry from Concordia University in Montréal, Canada. Media artist working at the intersection of architecture and performance art. He creates platforms for public participation using technologies such as robotic lights, digital fountains, computerized surveillance, media walls, and telematic networks. Inspired by phantasmagoria, carnival, and animatronics, his light and shadow works are "antimonuments for alien agency". He was the first artist to represent Mexico at the Venice Biennale with an exhibition at Palazzo Van Axel in 2007. He has also shown at Biennials in Cuenca, Havana, Istanbul, Kochi, Liverpool, Melbourne NGV, Moscow, New Orleans, New York ICP, Seoul, Seville, Shanghai, Singapore, Sydney, and Wuzhen. His public art has been commissioned for the Millennium Celebrations in Mexico City 1999, the Expansion of the European Union in Dublin 2004, the Student Massacre Memorial in Tlatelolco 2008, the Vancouver Olympics 2010, the pre-opening exhibition of the Guggenheim in Abu Dhabi 2015, and the activation of the Raurica Roman Theatre in Basel 2018. Collections holding his work include MoMA and Guggenheim in New York, TATE in London, MAC and MBAM in Montreal, Jumex, and MUAC in Mexico City, DAROS in Zurich, MONA in Hobart, 21C Museum in Kanazawa, Borusan Contemporary in Istanbul, CIFO in Miami, MAG in Manchester, SFMOMA in San Francisco, ZKM in Karlsruhe, SAM in Singapore and many others. He has received two BAFTA British Academy Awards for Interactive Art in London, a Golden Nica at the Prix Ars Electronica in Linz, "Artist of the year" Rave Award from Wired Magazine, a Rockefeller fellowship, the Trophée des Lumières in Lyon, an International Bauhaus Award in Dessau, the title of Compagnon des Arts et des Lettres du Québec in Quebec, and the Governor General's Award in Canada. He has lectured at Goldsmiths College, the Bartlett School, Princeton, Harvard, UC Berkeley, Cooper Union, USC, MIT MediaLab, Guggenheim Museum, LA MOCA, Netherlands Architecture Institute, Cornell, UPenn, SCAD, Danish Architecture Center, CCA in Montreal, ICA in London, and the Art Institute of Chicago. In 2016, Rafael Lozano-Hemmer and Daniel Canogar, jointly and honorably, received the ARCO-Beep Electronic Art Award Work at the collection: Redundant Assembly http://www.lozano-hemmer.com https://en.wikipedia.org/wiki/Rafael_Lozano-Hemmer <--Return Redundant Assembly, 2015 In "Redundant Assembly" an arrangement of several cameras composes a live-portrait of the visitor from six perspectives simultaneously, aligned using face detection. The resulting image is uncanny, detached from the laws of symmetry and the depth perception of binocular vision. If several visitors are standing in front of the work, a composite portrait of their different facial features develops in real time, creating a mongrel "selfie". A version of the work for public space includes a time-component that allows the face blending to take place mixing present and the past. Face recognition is a technique often used by police, military, and corporate entities to search for and find suspicious or target people. Here the same technology is used to confuse portraits and emphasize the artificiality and arbitrariness of identification. http://www.lozano-hemmer.com/videos/artwork/redundant_assembly_basel_2016_rlh_001.mp4 Nivel de confianza, 2015 Is an interactive art piece that consists of a facial recognition camera trained with the faces of the 43 disappeared students from the Ayotzinapa normalist school in Iguala, Mexico. ​ https://www.youtube.com/watch?v=mZXfisRoH70 ​