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José Antonio Orts, Meliana, 1955. Between science and art, physics and aesthetics, there is a remote, unknown place where wonderful things happen. That territory, which only a few curious people are willing to know, is populated by the works of José Antonio Orts. Pieces of electronic art and sound sculptures that, rather than remaining indolent in a space, inhabit it. They come to life when they are observed. The studio of this Valènciano artist proves it. The walls, covered with electronic components and solar panels, welcome us to a space where the untrained eye scrutinizes the pieces in search of an explanation that brings it all together. Proof of this is the corridor, invaded by imposing tubes of different lengths. Depending on these, Orts tells us, the viewer can hear different sounds or musical notes. Science is exact; art, pure emotion. Although art and music have always captivated the artist (who has a degree in composition), electronics was the discipline that first appeared in his life; specifically, when he was just 10 years old. He created the circuits as a hobby, not knowing exactly what for. Nearly three decades later, he knows perfectly well: the lights of his works are powered by ambient energy through solar panels. The sculptures whisper or grunt sounds to the steps, movements or gestures of the people who come to interact with them. The dance between spectator and work has just begun. Rome, Paris, Berlin, Valencia. Behind his back, the artist has a long and prolific career that has just earned him the V Prize of the Cañada Blanch Foundation for his work Trio of drops of light. "It is the first time that a work of electronic art has won this award. It creates a valuable precedent," says Orts. For us, for the time being, it serves as an excuse to get to know him and his work. An opportunity we won't miss. Work at the collection: - Duo Fa-la - Sin Titúlo José Antonio Orts, Meliana, 1955. Between science and art, physics and aesthetics, there is a remote, unknown place where wonderful things happen. That territory, which only a few curious people are willing to know, is populated by the works of José Antonio Orts. Pieces of electronic art and sound sculptures that, rather than remaining indolent in a space, inhabit it. They come to life when they are observed. The studio of this Valènciano artist proves it. The walls, covered with electronic components and solar panels, welcome us to a space where the untrained eye scrutinizes the pieces in search of an explanation that brings it all together. Proof of this is the corridor, invaded by imposing tubes of different lengths. Depending on these, Orts tells us, the viewer can hear different sounds or musical notes. Science is exact; art, pure emotion. Although art and music have always captivated the artist (who has a degree in composition), electronics was the discipline that first appeared in his life; specifically, when he was just 10 years old. He created the circuits as a hobby, not knowing exactly what for. Nearly three decades later, he knows perfectly well: the lights of his works are powered by ambient energy through solar panels. The sculptures whisper or grunt sounds to the steps, movements or gestures of the people who come to interact with them. The dance between spectator and work has just begun. Rome, Paris, Berlin, Valencia. Behind his back, the artist has a long and prolific career that has just earned him the V Prize of the Cañada Blanch Foundation for his work Trio of drops of light. "It is the first time that a work of electronic art has won this award. It creates a valuable precedent," says Orts. For us, for the time being, it serves as an excuse to get to know him and his work. An opportunity we won't miss. Work at the collection: - Duo Fa-la - Sin Titúlo https://joseantonioorts.com/ <<-- Back Duo Fa-la , 2004 Sin Titúlo , 2004 The installations, visual and sound, are made with electronic objects (sculptures) sensitive to the presence and movements of the spectator. The form of these objects has emerged from their function, so there is a very intimate relationship between their visual form and the sound, light or effect produced. These electronic objects capture the presence of the spectator (by the changes of luminosity and the shadows that they project, or by the small movements of air that they cause when passing) and transform these movements of the spectator into progressive variations of sound rhythm or luminous rhythm.

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” 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” <<-- Back “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.

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 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 <<-- Back 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

Marcela Armas, Durango, 1976. BFA by the Universidad de Guanajuato, and studies in the Universitat Politècnica de València. Prize for Iberoamerican Production VIDA 16.0 of Telefonica Foundation. Member of the National System of Art Creators in Mexico. Program of Support for Research in New Media of the Multimedia Center of the National Center for the Arts in Mexico City. ​Currently she is researching the magnetic properties of minerals and their possibilities for storing information through sound as a means of interpretation and induction. Her work articulates disciplines, techniques, work processes and research to inquire into the relationships of society with matter, energy, space-time and the construction of memory. ​She has participated in Mercosur Biennial in Porto Alegre, 2009 and Habana 11th Biennial “Social practices and imaginaries”, 2012. Directed with Gilberto Esparza, experimental electronics workshops Fundación Telefónica VIDA 10 in Lima, Buenos Aires, Santiago de Chile and Mexico City. Recently she directed Implant, a public space art project based in Denver and Mexico City, developed for the Biennial of the Americas. Armas is part of Triodo collective with Gilberto Esparza and Iván Puig. With Arcángelo Constantini directs the sound art cycle Meditatio Sonus. Her work “Máquina Stella” won the 7th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Máquina Stella Marcela Armas, Durango, 1976. BFA by the Universidad de Guanajuato, and studies in the Universitat Politècnica de València. Prize for Iberoamerican Production VIDA 16.0 of Telefonica Foundation. Member of the National System of Art Creators in Mexico. Program of Support for Research in New Media of the Multimedia Center of the National Center for the Arts in Mexico City. Currently she is researching the magnetic properties of minerals and their possibilities for storing information through sound as a means of interpretation and induction. Her work articulates disciplines, techniques, work processes and research to inquire into the relationships of society with matter, energy, space-time and the construction of memory. She has participated in Mercosur Biennial in Porto Alegre, 2009 and Habana 11th Biennial “Social practices and imaginaries”, 2012. Directed with Gilberto Esparza, experimental electronics workshops Fundación Telefónica VIDA 10 in Lima, Buenos Aires, Santiago de Chile and Mexico City. Recently she directed Implant, a public space art project based in Denver and Mexico City, developed for the Biennial of the Americas. Armas is part of Triodo collective with Gilberto Esparza and Iván Puig. With Arcángelo Constantini directs the sound art cycle Meditatio Sonus. Her work “Máquina Stella” won the 7th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Máquina Stella https://www.marcelaarmas.net/ <<-- Back Máquina Stella, 2011 “Máquina Stella” is a sculpture in the form of a dodecahedron whose interconnecting parts receive an electrical charge according to which part demands more potency. The impossibility of finding a perfect distribution of energy leads to a partial collapse. “The piece is, in the end, a metaphor for the unequal distribution of riches in our society,using as a starting point an abstract artistic thought regarding the distribution of energy”, says Armas. He adds, “For me, machines in general are apparatus that are much more vulnerable than they appear”. The artist explains that he has created a system that metaphorically demonstrates the unsustainability of the society of today. “Stella Machine” is a sculpture that by its very nature, constantly seeks a dynamic equilibrium after collecting electric energy and distributing it through a system of resistive filaments. https://vimeo.com/118967086

Paul Friedlander, Manchester, 1951. Has spent more than two decades researching all kinds of technologies and procedures in order to make light a malleable and flexible material that can acquire any shape and volume. Friedlander's "kinetic light sculptures" are indebted to the work of other great names that have preceded him in the art of light or kinetics, from László Moholy-Nagy to Flavin or Turrell, taking advantage of computerized lighting control systems to highlight the impression of incorporeity and dynamism of his sculptures. Like many other creators who have developed their careers at the crossroads between art, science and technology, Friedlander situates his work in a hybrid space. On the one hand, his works rest on the broad tradition of 20th century kinetic art, which he does not hesitate to vindicate. But, in addition, the British artist cannot dissociate his career from the discipline of large-scale stage lighting in which he began his career and which has been a decisive factor in the development of lighting technology in recent decades. The plastic heritage of the one and the procedures of the other have enabled Friedlander to develop an instantly recognizable body of work. Friedlander's work is also an example of how scientific research can expand the expressive vocabulary of artists today, to allow them to model physical reality and create images that we would previously have thought only possible in the realm of the imagination and the dreamlike. Paul Friedlander's works have been shown in several ArtFutura in Barcelona, Buenos Aires, Madrid and Montevideo. as well as in the exhibition "Machines&Souls" (Museo de Arte Moderno Reina Sofía de Madrid 2008) and in "Digital Creatures" (Rome 2017). Although works such as The Wave Equation or The Energy Core are not strictly holograms, what the viewer discovers when standing in front of them are large disembodied forms in motion, suspended in mid-air, which by turning on themselves endow the light with a three-dimensionality that we are not used to contemplating in the immediate physical space. In their names, Friedlander's kinetic light sculptures often make references to different aspects of modern science, from quantum physics to string theory. However, their aesthetic construction and the reception of his work by his viewers inevitably hark back to the spiritual and the magical. After all, the physical elements on which Friedlander's sculptures are based are concealed by the mystery of a basic but striking optical effect. Works at the collection: - Tycho;test one - Dancing waves Paul Friedlander, Manchester, 1951. Has spent more than two decades researching all kinds of technologies and procedures in order to make light a malleable and flexible material that can acquire any shape and volume. Friedlander's "kinetic light sculptures" are indebted to the work of other great names that have preceded him in the art of light or kinetics, from László Moholy-Nagy to Flavin or Turrell, taking advantage of computerized lighting control systems to highlight the impression of incorporeity and dynamism of his sculptures. Like many other creators who have developed their careers at the crossroads between art, science and technology, Friedlander situates his work in a hybrid space. On the one hand, his works rest on the broad tradition of 20th century kinetic art, which he does not hesitate to vindicate. But, in addition, the British artist cannot dissociate his career from the discipline of large-scale stage lighting in which he began his career and which has been a decisive factor in the development of lighting technology in recent decades. The plastic heritage of the one and the procedures of the other have enabled Friedlander to develop an instantly recognizable body of work. Friedlander's work is also an example of how scientific research can expand the expressive vocabulary of artists today, to allow them to model physical reality and create images that we would previously have thought only possible in the realm of the imagination and the dreamlike. Paul Friedlander's works have been shown in several ArtFutura in Barcelona, Buenos Aires, Madrid and Montevideo. as well as in the exhibition "Machines&Souls" (Museo de Arte Moderno Reina Sofía de Madrid 2008) and in "Digital Creatures" (Rome 2017). Although works such as The Wave Equation or The Energy Core are not strictly holograms, what the viewer discovers when standing in front of them are large disembodied forms in motion, suspended in mid-air, which by turning on themselves endow the light with a three-dimensionality that we are not used to contemplating in the immediate physical space. In their names, Friedlander's kinetic light sculptures often make references to different aspects of modern science, from quantum physics to string theory. However, their aesthetic construction and the reception of his work by his viewers inevitably hark back to the spiritual and the magical. After all, the physical elements on which Friedlander's sculptures are based are concealed by the mystery of a basic but striking optical effect. Works at the collection: - Tycho;test one - Dancing waves http://www.paulfriedlander.com/ https://www.artfutura.org/v3/a1-paul-friedlander/ <<-- Back Dancing Waves - Tycho;test one, 2018 This is the latest work of this creator, the installation Tycho; Test One. The creation consists of a monolith of luminous cement, a new material developed by Eurecat for the company Escofet, with which the artist has been able to work for the first time. Translucent concrete: It is "an innovative translucent white concrete that can be used in facade panels, interior design or street furniture," says Eurecat's director of Product Development, Irene Rafols, who highlights the "broad future applications offered by this new material" developed by the technology center and Escofet. The installation "Tycho; Test One" has won the first call of the ATA Program for artistic creation and training with advanced technologies. https://www.facebook.com/ArtDomains/videos/tycho-test-one-paul-friedlander-uk/1937324059643754/

Andy Gracie, London, 1967. He works in disciplines including installation, robotics, sound, video and electronic media. He employs scientific theory and practice to question our relationships with exploration and experiment whilst simultaneously bringing into focus the very relationship between art and science. His work involves engagements with space research, cosmology and deep time, and features an ongoing examination of semiotics, simulation theory and or post-apocalyptic scenarios. Andy Gracie, London, 1967. He works in disciplines including installation, robotics, sound, video and electronic media. He employs scientific theory and practice to question our relationships with exploration and experiment whilst simultaneously bringing into focus the very relationship between art and science. His work involves engagements with space research, cosmology and deep time, and features an ongoing examination of semiotics, simulation theory and or post-apocalyptic scenarios. <<-- Back Massive Binaries, 2023 The work develops two overlapping narratives about the processes and phenomena of interactions within binary systems. The gravitational wave detection of merging neutron stars serves as one system, and contemporary polarized ideologies serve as the other. The bridging mechanism between them is the use of AI as a tool for enhancing information on the one hand, and as an eraser of truth and meaning on the other. Interactions between massive systems generate strange outcomes and new forms of information, while artificial intelligence plays a sort of schizophrenic role in data manipulation. While the gravitational waves from the neutron star merger rippled through spacetime over tens of millions of years, clashes between increasingly entrenched belief systems caused destabilizing and coercive reinterpretations of value and truth. Massive Binaries is the result of the RANDA Art|Science Residency, organized by the Institut Ramon Llull and hosted by Ars Electronica and the Barcelona Institute of Science and Technology (BIST), in collaboration with the Hac Te, produced by the NewArtFoundation. https://ars.electronica.art/who-owns-the-truth/en/massive-binaries/ https://www.hostprods.net/work#/massive-binaries/

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 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 <<-- Back 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.

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

Analivia Cordeiro, São Paulo, 1954. ​Analivia Cordeiro is a dancer, choreographer and architect. She studied the Laban Method of dance in Brazil and modern dance with Alvin Nikolais, Merce Cunningham and Gus Solomons Jr. and at Viola Farber Dance Studios in New York and later studied the Eutony Corporal Method in Brazil. She graduated in Architecture from the University of São Paulo en Brasil, she has a Masters in multimedia from the University of Campinas, and a Doctorate in Comunicación and Semiotics from PUCNSP, Brazil. Considered one of the pioneers of video art in Brazil, she has created both performances and videos, of special importance is a system of notation of human movement “Nota Anna”, based on the Laban Method. Her work has been exhibited in diverse countries such as USA, Switzerand, Argentina, Czechoslovakia and Yugoslavia. ​Her work is presented in international collections as the Museu de Arte Contemporanea da Universidade de São Paulo - MAC USP, Museo Nacional Centro de Arte Reina Sofia, Oskar Schlemmer Archives, Museum für Konkrete Kunst, Ingolstadt, Victoria&Albert Museum, England Museum of Modern Art, and the MoMA among others. Her work “M3X3” won the 10th edition of the ARCO-BEEP Electronic Art Award.​ Work at the collection: M3X3 Analivia Cordeiro, São Paulo, 1954. Analivia Cordeiro is a dancer, choreographer and architect. She studied the Laban Method of dance in Brazil and modern dance with Alvin Nikolais, Merce Cunningham and Gus Solomons Jr. and at Viola Farber Dance Studios in New York and later studied the Eutony Corporal Method in Brazil. She graduated in Architecture from the University of São Paulo en Brasil, she has a Masters in multimedia from the University of Campinas, and a Doctorate in Comunicación and Semiotics from PUCNSP, Brazil. Considered one of the pioneers of video art in Brazil, she has created both performances and videos, of special importance is a system of notation of human movement “Nota Anna”, based on the Laban Method. Her work has been exhibited in diverse countries such as USA, Switzerand, Argentina, Czechoslovakia and Yugoslavia. Her work is presented in international collections as the Museu de Arte Contemporanea da Universidade de São Paulo - MAC USP, Museo Nacional Centro de Arte Reina Sofia, Oskar Schlemmer Archives, Museum für Konkrete Kunst, Ingolstadt, Victoria&Albert Museum, England Museum of Modern Art, and the MoMA among others. Her work “M3X3” won the 10th edition of the ARCO-BEEP Electronic Art Award. Work at the collection: M3X3 https://www.analivia.com.br/ <<-- Back M3X3, 1973 It is a computer-dance for TV (In 1973, there was no VHS in Brazil), considered the first Brazilian video-art work. The interpreters are regularly placed in a matrix 3x3, in a high-contrast black&white scene, they move mechanically, as critics to the digital society. https://vimeo.com/46551344

Yolanda Uriz Elizalde, Pamplona-Iruña, 1982 Admiring the potential of olfactory language to communicate with the non-human, Yolanda Uriz's work focuses on inventing peculiar environments that encourage expanding subjectivities. She employs sound, scent, and digital technology in interdisciplinary installations, presented at festivals such as ISEA, Ars Electronica, Eufònic, Sonar+D, Schemerlicht, Wroclaw Biennale, and Sonic Acts, among others. She is a founding member of the collective iii (instrumentinventors.org NL), with whom she regularly collaborates. Yolanda Uriz Elizalde, Pamplona-Iruña, 1982 Admiring the potential of olfactory language to communicate with the non-human, Yolanda Uriz's work focuses on inventing peculiar environments that encourage expanding subjectivities. She employs sound, scent, and digital technology in interdisciplinary installations, presented at festivals such as ISEA, Ars Electronica, Eufònic, Sonar+D, Schemerlicht, Wroclaw Biennale, and Sonic Acts, among others. She is a founding member of the collective iii (instrumentinventors.org NL), with whom she regularly collaborates. https://yolandauriz.info/ <<-- Back "Chemical Calls of Care" 2024-25 The installation is a science-fiction machine for wired chemical telecommunication. Attempting to establish olfactory communication with plant species, it consists of tubes and fans transmitting chemical information from plants to a receiving terminal. From another transmitting terminal, visitors can send messages—limited in this case to messages of care—by choosing among various beneficial substances that promote the health and balance of the ecosystem. Plants respond by emitting their volatile organic compounds (VOC), odors we might be able to decode. Additionally, Chemical Calls of Care includes gas sensors that provide data on air composition, translating it into sound—a language potentially easier to understand than olfactory signals. https://erfanabdi.com/chemical-calls-of-care/