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Kenneth Dow, Ellwangen, 1992. In his projects, Kenneth Dow navigates through a fictionalized world, heavily inspired by his own biography and present surroundings. His artistic work is concerned with strategies to make the absent, absentees, the invisible perceived, absent as in no longer present, invisible as in interiority. Subjective states are made palpable through choice, combination and recursion of procedures, together forming a representation apparatus. The representation machine set in motion then conceives the work of art, as seen on display. Kenneth Dow has studied in Milan, Hamburg and Shanghai and holds a MFA from Stuttgart Academy of Fine Art. In 2015, he was admitted to the German Academic Study Fund. He has participated in numerous institutional group shows, theatre and film Festivals. Work at the collection: PsyCHO TRance // K-Hole Kenneth Dow, Ellwangen, 1992. In his projects, Kenneth Dow navigates through a fictionalized world, heavily inspired by his own biography and present surroundings. His artistic work is concerned with strategies to make the absent, absentees, the invisible perceived, absent as in no longer present, invisible as in interiority. Subjective states are made palpable through choice, combination and recursion of procedures, together forming a representation apparatus. The representation machine set in motion then conceives the work of art, as seen on display. Kenneth Dow has studied in Milan, Hamburg and Shanghai and holds a MFA from Stuttgart Academy of Fine Art. In 2015, he was admitted to the German Academic Study Fund. He has participated in numerous institutional group shows, theatre and film Festivals. Work at the collection: PsyCHO TRance // K-Hole https://kenneth-dow.com/ http://angelsbarcelona.com/en/artists/kenneth-dow/bio/ <<-- Back PsyCHO TRance // K-Hole, 2019. The last few years have witnessed art spaces and clubs reaching out to each other, each seeking the others’ prestige, credibility and audience. It seems as if clubs as cultural spaces were able respond better to the current discourse in and around art than white cubes. In their very struggle for survival, art spaces are the spitting image of capitalist conformity. The white cube is capable of digesting even the most fierce critique, by separating it in time and space. In small portions it is made indigestible to the observer without poisoning the productive, working brain. It is sane. It allows for sober consideration, reflection. It allows the observer to remain in their position as body-less bystander, possibly a freecam. Like when you’ve been shot dead in Counter Strike and are waiting for a new game to start. The club is its antithesis. Visitors may experience loss of their ego, but never their body. It denies its inhabitants space for observant reflection. The mere presence of the physical body makes it participant. Possibly, this insistence on the body is what makes the club so appealing to the art world. Clubs are struggling to survive in coexistence with their neighborhoods. The interests of the working bourgeois in recreating their workforce is valued above a crowd spending their vital energies without feeding them back into the labor market. They are site to (chemically induced) psychosis, the broken body (mind) neither willing nor apt for wage labor. The ill are the strongest form of resistance. This observation coincides with the notion that the end of the world seems more likely than the end of neoliberalism. Rave hedonism read as auto aggression, really is aggression against the internalized disciplinary. PsyCHO TRance // K-Hole is part of a research and production program held by Hangar in collaboration with the NewArtFoundation and the .BEEP { collection;}. Special acknowledgments: Fabolous St. Pauli, Hamburg. Xīnchējiān 新车间, Shanghai

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

The foundation puts forth production and research programs with leading partners in the field, inviting artists, scientists and researchers to work together, generating exhibitions and symposia. Production/Research Randa Art|Science Residency Ars Electronica x Institut Ramon Llull x Hac Te x .NewArt { foundation;} The Randa Art|Science Residency enables artistic research through scientific expertise. The partners invite together an artist or artist group from Catalonia to develop a new work in collaboration with the scientific partner, the Barcelona Institute of Science and Technology. The goal is to exhibit an artwork dedicated to the challenging questions around the digital transformation of our society and its impact at the Ars Electronica Festival in September 2023. The first edition of the Randa residency was awarded to artist Andy Gracie with his work Massive Binaries. https://ars.electronica.art/festival/en/randa2023/ Research, production, and exhibition program developed with Hangar and the Institut Ramon Llull, Barcelona. Artists: Monica Rikić, Roc Parés and Santi Vilanova. 2020 https://hangar.org/en/convocatories-3/beques-de-produccio-i-exhibicio-de-linstitut-ramon-llull-new-art-foundation-i-hangar/ Production program developed with Sektor Institute, Ljubljana. Artist: Robertina Šebjanič 2019 https://robertina.net/aurelia-1hz_proto-viva-generator/ Research and production program developed with Hangar, Barcelona. Artists: TopLap, PAtricio Rivera and Kenneth Dow. 2019 https://ars.electronica.art/outofthebox/en/beep-electronic-art/ Research program on preservation of Technological Art developed with the Polytechnic University of Valencia. Since 2016. Presented at the Ars Electronica Festival 2019 panel “Preservation of Media Art”. https://ars.electronica.art/error/en/preservation-conservation/ Presented at the “20th Conference of Conservation of Contemporary Art”, Museo Nacional Centro de Arte Reina Sofía. https://www.museoreinasofia.es/actividades/20a-jornada-conservacion-arte-contemporaneo Publication: https://www.museoreinasofia.es/sites/default/files/publicaciones/conservacion_20a_on_linede_arte_contemporanea_20a_jornada_1-260_media.pdf ATA (Adavanced Technology Art) Program. Training, production and research program developed with Eurecat. Participant artists to the training program: Chiara Passa, Paul Friedlander, Jaime de los Ríos, César Escudero Andaluz, Maja Kalogera, Pedro Lopes, Equipo Cafeína, Shu Lea Cheang, Anna Carreras, Olga Kisseleva. Artist selected for the production program: Paul Friedlander. Since 2015. ISEA2022 Barcelona production grants in support of artistic creation: ISEA2022 Barcelona in collaboration with the NewArtFoundation and Hac Te , Barcelona Hub of Art, Science and Technology, with the participation of Fundació Privada Reddis , Fundació Sorigué , Fundación Ernesto Ventós / Nasevo International Prize , DKV Seguros and .BEEP { collection;} announces the calls for five grants for production and research of artistic works in the field of the confluence between art, science and technology. The result of the grants will be exhibited in the course of ISEA2022 Barcelona, the 27th edition of the International Symposium on Electronic Art. https://isea2022.isea-international.org/grants/ Production-research grants from Institut Ramon Llull, NewArtFoundation, UOC, La Caldera and Hangar. The Institut Ramon Llull , New Art Foundation , Universitat Oberta de Catalunya (UOC) , La Caldera and Hangar open a call for five grants for the production-research of artistic pieces in the field of the confluence between art, science and technology. This grant program is part of the residency program of Hac Te , the art, science and technology hub of Barcelona, with the participation of the research centers Barcelona Supercomputing Center (BSC) Institute of Photonic Sciences (ICFO), or other centers attached to the Barcelona Institute of Science and Technology (BIST). The selected projects may be presented in the framework of the Ars Electronica 2021 festival, which for the second year will be held in distributed mode with Barcelona as one of its main locations, or other related events.

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

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

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

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

Robertina Šebjanič, Murska Sobota, 1975. Robertina Šebjanič is based in Ljubljana. Her art – research focus is since several years into cultural, (bio)political, chemical and biological realities of aquatic environments, which serves as a starting point to investigate and tackle the philosophical questions on the intersection of art, technology and science. Her ideas and concepts are often realized in collaboration with others, through interdisciplinary and informal integration in her work. She is a member of Hackteria Network and Theremidi Orchestra. She was awarded with Honorary Mention @Prix Ars Electronica 2016, STARTS2016 nomination and nomination for the White Aphroid award. Robertina was SHAPE platform 2017 artist. 2018 she was a resident artist at Ars Electronica (EMARE / EMAP). She exhibited / performed at solo and group exhibitions as well as in galleries and festivals: Ars electronica Linz, Kosmica festival_ Laboratorio Arte Alameda_Mexico City, La Gaîté Lyrique_ Paris, Le Cube_Paris, MONOM_ CTM Berlin, Art Laboratory Berlin, ZKM_Karlsruhe, re:publica_Berlin, Mladi Levi_Ljubljana, Centro de Cultura Digita_ Mexico City, Piksel_Bergen, OSMO/ZA_Ljubljana, Device art 5.015 at Klovičevi dvori_Zagreb, Eastern Bloc_Montreal, Eyebeam_New York, PORTIZMIR#3_ Izmir, Kiblix festival_Maribor, Spektrum_Berlin, KIKK festival_ Namur, +MSUM (Museum of Contemporary Art Metelkova)_Ljubljana and more…. Work at the collection: Aurelia 1+Hz / proto viva generator Robertina Šebjanič, Murska Sobota, 1975. Robertina Šebjanič is based in Ljubljana. Her art – research focus is since several years into cultural, (bio)political, chemical and biological realities of aquatic environments, which serves as a starting point to investigate and tackle the philosophical questions on the intersection of art, technology and science. Her ideas and concepts are often realized in collaboration with others, through interdisciplinary and informal integration in her work. She is a member of Hackteria Network and Theremidi Orchestra. She was awarded with Honorary Mention @Prix Ars Electronica 2016, STARTS2016 nomination and nomination for the White Aphroid award. Robertina was SHAPE platform 2017 artist. 2018 she was a resident artist at Ars Electronica (EMARE / EMAP). She exhibited / performed at solo and group exhibitions as well as in galleries and festivals: Ars electronica Linz, Kosmica festival_ Laboratorio Arte Alameda_Mexico City, La Gaîté Lyrique_ Paris, Le Cube_Paris, MONOM_ CTM Berlin, Art Laboratory Berlin, ZKM_Karlsruhe, re:publica_Berlin, Mladi Levi_Ljubljana, Centro de Cultura Digita_ Mexico City, Piksel_Bergen, OSMO/ZA_Ljubljana, Device art 5.015 at Klovičevi dvori_Zagreb, Eastern Bloc_Montreal, Eyebeam_New York, PORTIZMIR#3_ Izmir, Kiblix festival_Maribor, Spektrum_Berlin, KIKK festival_ Namur, +MSUM (Museum of Contemporary Art Metelkova)_Ljubljana and more…. Work at the collection: Aurelia 1+Hz / proto viva generator https://robertina.net/ <<-- Back Aurelia 1+Hz / proto viva generator, 2019 “Aurelia 1+Hz/proto viva generator” addresses the possibilities of coexistence of humans, animals and machines. The project uses living organisms to process “aliveness” of a simple robotic machine.The installation addresses two entities – jellyfish and robot – separated, but if they merged into one, causing new biocybernetic organism to occur: Would “it” be able to live forever ? https://vimeo.com/126742083

Peter Halley , 1953 New York, USA He lives and works in New York Peter Halley is one of the most influential artists on the international scene. He became known in the mid-eighties as the promoter of the so-called neo-geo movement. Although he uses geometry as a fundamental support for his works, he always insists on his figurative reference: the space and time of our society, its political and social terrain, the closed order in which we live. Its cold and rectilinear forms are the plastic expression of our complex urban landscape: rectangular cells connected by networks of conduits, prisons, diagrams, isolated organisms. Its characteristic Roll-a-tex texture and expressive use of colors also refer us to our social environment, establishing affiliations with Pop Art, digital information and mass culture. ​Work at the collection: Exploding Cell, 1983 Peter Halley , 1953 New York, USA He lives and works in New York Peter Halley is one of the most influential artists on the international scene. He became known in the mid-eighties as the promoter of the so-called neo-geo movement. Although he uses geometry as a fundamental support for his works, he always insists on his figurative reference: the space and time of our society, its political and social terrain, the closed order in which we live. Its cold and rectilinear forms are the plastic expression of our complex urban landscape: rectangular cells connected by networks of conduits, prisons, diagrams, isolated organisms. Its characteristic Roll-a-tex texture and expressive use of colors also refer us to our social environment, establishing affiliations with Pop Art, digital information and mass culture. Work at the collection: Exploding Cell, 1983 https://www.peterhalley.com/ <<-- Back Exploding Cell, 1983 Exploding Cell (1983), is a pioneering work in "computer animation" that generates spaces from lines. These cells allude to both the "grid" of Foucault's society of control and the circuits of computers. This two-minute computer animation from 1983 is Halley’s only work with the moving image. Aline drawn from left to right; it becomes a horizon with a cell. A black conduit appears underneath and is ‘lit up by an illuminating gas’,with escapes via a smokestack before the cell turns red and explodes, leaving a pile of ashes that flicker with stroboscopic effect. Halley explains: ‘The idea had something to do with Cold War politics and the threat of nuclear destruction, as the exploding cell was originally about civilisation ending. But the narrative of the exploding cell very quickly became an ongoing part of my work. Then as time went on, the narrative became less important to me, and eventually I began to focus solely on the icon of the explosion. The more I think about it, the more I’m convicted that the explosion is also a central image in our culture. It goes back a hundred years to the beginning of modern warfare and terrorism. I’ve used the image of the explosion over and over in my wall-size digital prints, in contrast to the cells and prisons which are depicted in my paintings. The two motifs have really allowed me to set up an opposition between classicism and romanticism. The cells represent confinement, but they also allude to order, a classical order that doesn’t change. On the other hand, the explosion is always an icon of change, it references a transformation between one state and another. I find it interesting to juxtapose those two opposing attitudes. Nietzsche used the terms Apollonian and Dionysian to describe the dichotomy between classicism and romanticism.’ ARCO/BEEP Electronic Art Award - 19th Edition https://www.youtube.com/watch?v=CjY-MsyIlas https://galeriasenda.com/wp-content/uploads/2024/03/00PH-EXPLODING-CELL-DOSSIER.pdf

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