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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/

Christa Sommerer, Ohlsdorf, 1964 & Laurent Mignonneau, Angouleme, 1967. With a shared interest in artificial life and intelligence, Sommerer and Mignonneau draw upon their disparate backgrounds to produce deeply engaging and sensory experiences. By wedding Sommerer’s background in botany, anthropology, and sculpture with Mignonneau’s studies in video and modern art, the duo design interfaces that generate open-ended, embodied encounters with living systems and science. For example, in "Interactive Plant Growing" (1992), the artists employ Erkki Huhtamo’s notion of a “tactile gaze” to achieve both visual and physical interactivity with the viewer: a human hand needs to touch the real, living plants in order to trigger a projection of digital #ora counterparts in the installation. Similarly, in "Fly Simulator" (2018) and "Neuro Mirror" (2018), the resulting artwork is unique visual feedback that is reliant on user input and activation (i.e. wearing and manipulating a VR headset, or gesturing in front of a video camera), as well as conceptual aspects of human sentience like memory, emotive perception, and creative visualization. Despite the number of years elapsed between the creation of these works, each piece demonstrates the essential quality of engagement that connects the artists’ work to the physical world. As their research and art often posits, technology increasingly plays a fascinating and complicated role in the archaeology, imitation, and manipulation of nature – despite the generative qualities they both share. Christa Sommerer and Laurent Mignonneau completed their PhD degrees from CAiiA-STAR, University of Wales College of Art, Newport (UK) and Kobe University (Japan), respectively. Sommerer and Mignonneau’s works have been featured in more than 300 exhibitions, and are included in media museums and collections around the world. They are the recipients of several media arts awards, including the "Golden Nica" Prix Ars Electronica Award for Interactive Art in 1994 (Linz, Austria), the "Ovation Award" of the Interactive Media Festival 1995 (Los Angeles, USA), the "Multi Media Award '95" of the Multimedia Association Japan, and the 2001 “World Technology Award” in London. They have published numerous research papers on artificial life, interactivity and interface design, and have lectured extensively at international universities and events. They are Professors at the University of Art and Design in Linz, Austria, where they also head the Department for Interface Culture at the Institute for Media. Their work “Portrait on the Fly” won the 11th edition of the ARCO-BEEP Electronic Art Award ​Work at the collection: Portrait on the Fly Christa Sommerer, Ohlsdorf, 1964 & Laurent Mignonneau, Angouleme, 1967. With a shared interest in artificial life and intelligence, Sommerer and Mignonneau draw upon their disparate backgrounds to produce deeply engaging and sensory experiences. By wedding Sommerer’s background in botany, anthropology, and sculpture with Mignonneau’s studies in video and modern art, the duo design interfaces that generate open-ended, embodied encounters with living systems and science. For example, in "Interactive Plant Growing" (1992), the artists employ Erkki Huhtamo’s notion of a “tactile gaze” to achieve both visual and physical interactivity with the viewer: a human hand needs to touch the real, living plants in order to trigger a projection of digital #ora counterparts in the installation. Similarly, in "Fly Simulator" (2018) and "Neuro Mirror" (2018), the resulting artwork is unique visual feedback that is reliant on user input and activation (i.e. wearing and manipulating a VR headset, or gesturing in front of a video camera), as well as conceptual aspects of human sentience like memory, emotive perception, and creative visualization. Despite the number of years elapsed between the creation of these works, each piece demonstrates the essential quality of engagement that connects the artists’ work to the physical world. As their research and art often posits, technology increasingly plays a fascinating and complicated role in the archaeology, imitation, and manipulation of nature – despite the generative qualities they both share. Christa Sommerer and Laurent Mignonneau completed their PhD degrees from CAiiA-STAR, University of Wales College of Art, Newport (UK) and Kobe University (Japan), respectively. Sommerer and Mignonneau’s works have been featured in more than 300 exhibitions, and are included in media museums and collections around the world. They are the recipients of several media arts awards, including the "Golden Nica" Prix Ars Electronica Award for Interactive Art in 1994 (Linz, Austria), the "Ovation Award" of the Interactive Media Festival 1995 (Los Angeles, USA), the "Multi Media Award '95" of the Multimedia Association Japan, and the 2001 “World Technology Award” in London. They have published numerous research papers on artificial life, interactivity and interface design, and have lectured extensively at international universities and events. They are Professors at the University of Art and Design in Linz, Austria, where they also head the Department for Interface Culture at the Institute for Media. Their work “Portrait on the Fly” won the 11th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Portrait on the Fly http://www.interface.ufg.ac.at/christa-laurent/ https://fr.wikipedia.org/wiki/Christa_Sommerer_et_Laurent_Mignonneau <<-- Back Portrait on the Fly, 2015 Portrait on the Fly, consists of a monitor that shows a swarm of a few thousand flies. When a person positions himself in front of it, the insects try to detect his facial features. They then begin to arrange themselves so as to reproduce them, thereby creating a recognizable likeness of the individual. Posing in front of the monitor attracts the flies. Within seconds they invade the face, but even the slightest movement of the head or of parts of the face drives them off. The portraits are thus in constant flux, they construct and deconstruct. Portrait on the Fly is a commentary on our love for making pictures of ourselves (Selfie-Culture). It has to do with change, transience and impermanence. https://vimeo.com/47768582

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 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/ <<-- Back 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

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 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 <<-- Back 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 To commemorate the six months since the forced disappearance of the 43 students from Ayotzinapa, Lozano-Hemmer reprogrammed a facial recognition system—normally used to locate suspects—to search for the missing. Once a person is captured by a camera, the system searches for biometric matches with the faces of the students and selects the one that shares the most features to then determine a percentage of certainty in their finding. The experience questions both our condition as subjects of new technologies of control and our ethical and personal relationship with the victims of state violence. Work in storage by the Artist https://www.youtube.com/watch?v=mZXfisRoH70

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

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

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

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 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/ <<-- Back 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.

Gender equality Plan: In 2024, the NAF will start a small stable human structure that must accompany the launch of the new New Art Center. In its commitment to gender quality, the NAF has established a series of commitments and actions to promote gender equality in the organization and on the path to promoting women's art works. Gender Policies Privacy Policies ESG Policy GENDER EQUALITY PLAN NEW ART FOUNDATION 2024-2026 Gender equality Plan In 2024, the NAF will start a small stable human structure that must accompany the launch of the new New Art Center. In its commitment to gender quality, the NAF has established a series of commitments and actions to promote gender equality in the organization and on the path to promoting women's art works. Main objective The fundamental objective that the NAF has set is to ensure equal opportunities for women in their professional practice. Target The NAF will direct its actions in gender equality for two fundamental audiences: A new balanced workforce with a male-female composition is guaranteed by the organization's human team. There are currently four women members on the board of trustees of the Foundation. In 2024, there will be a new female patron joining. Likewise, as the representatives of some official entities are expiring in the coming months, a proposal has already been made to the institutions to consider female representatives. This means that by the end of 2024, the members of the Board of Trustees will be gender neutral. The New Art Center's new manager is female and has prioritized hiring women for different roles. In the area of supporting artists, priority should be given to supporting new female artists, promoting their work, artistic residencies, and completing projects. In fact, a residency for a young female artist is planned in the 2024 work plan. Resources In terms of resources, it is possible to distinguish between economic resources, training, and other support tools. Economic resources: The NAF ensures that wages for men and women with equivalent levels of responsibility and training are completely equal. Training: The NAF ensures that training programmes are equal for men and women Supporting tools: The NAF ensures that both men and women have access to the same and appropriate tools to carry out their duties. Timeline The gender equality plan will be implemented by 2024 and will be visible through all organizational communication channels. <-- Return

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