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The importance of ethical and sustainable business practices is on the rise in a world that is constantly changing and interconnected. ESG policies (Environment, Social and Governance) are frameworks that guide organizations to operate in a responsible manner, ensuring that they are respectful of the care of the environment, social responsibility, and the implementation of governance structures robust. ESG Policies <-- Return Privacy Policies Gender Policies The importance of ethical and sustainable business practices is on the rise in a world that is constantly changing and interconnected. ESG policies (Environment, Social and Governance) are frameworks that guide organizations to operate in a responsible manner, ensuring that they are respectful of the care of the environment, social responsibility, and the implementation of governance structures robust. The New Art Foundation integrates ESG policies that help it: Enhance its corporate reputation. Increase the confidence of the institutions and companies that support it Boost the trust and loyalty of its stakeholders. Contribute to the creation of long-term value. The leadership of the 21st century is committed to these principles, and at the New Art Foundation, they integrate our values into their mission.

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

Patricio Rivera, Buenos Aires, 1976. He studied art direction and photography and has a master’s degree in business administration from Universidad del Salvador and Universidad de Deusto. He was professor of the photography career track at University of Palermo. In 2012 he was selected in Salón Nacional de Artes Visuales. Between 2016 and 2018 he was a long-time resident artist at Hangar. His works were acquired by collections such as Banc Sabadell. He intervenes in the development of projects that involve programming, mechatronics, robotics and digital manufacturing, preferably with free licenses. He is co-founder of Fase, center of thought and production of contemporary art based in L’Hospitalet de Llobregat and of TMTMTM, a production, research and technological experimentation collective resident at Hangar.org. Work at the collection: Agism Patricio Rivera, Buenos Aires, 1976. He studied art direction and photography and has a master’s degree in business administration from Universidad del Salvador and Universidad de Deusto. He was professor of the photography career track at University of Palermo. In 2012 he was selected in Salón Nacional de Artes Visuales. Between 2016 and 2018 he was a long-time resident artist at Hangar. His works were acquired by collections such as Banc Sabadell. He intervenes in the development of projects that involve programming, mechatronics, robotics and digital manufacturing, preferably with free licenses. He is co-founder of Fase, center of thought and production of contemporary art based in L’Hospitalet de Llobregat and of TMTMTM, a production, research and technological experimentation collective resident at Hangar.org. Work at the collection: Agism http://www.patriciorivera.com <<-- Back Agism, 2019. The piece addresses the declarative character of the shot as a force of performative enunciation and exclamation point of an intention; a statement, although regulated by law, free to be executed within the elusive alibi of an artwork. The kinesis of the weapon becomes an allegory of the visceral drive contained in the fragility of a ball of paint, which faces the inescapable confrontation of a neat wall that always wins. The spill is the defeat that becomes the pleasure and merchandise of the other, but which will forever preserve the trace and sample of an asymmetry of power that subjugates the weakest link in the artistic food chain. Agism is part of a research and production program held by Hangar in collaboration with the NewArtFoundation and the .BEEP { collection;}. Special acknowledgments: TMTMTM and Intra Automation.

Xin Liu (b.Xinjiang) Is a multidisciplinary artist and engineer who creates sculptures, digital experiences, and films that feature machinery, genetic material, petroleum, and rocket debris to explore the verticality of space, extraterrestrial explorations, and cosmic metabolism. Xin is an artist-in-residence at the SETI Institute and the founding Arts Curator in the Space Exploration Initiative at MIT Media Lab, a Visiting Fellow at Cornell Tech and an advisor for LACMA Art+Tech Lab. Currently, she is a resident artist at Somerset House and Delfina Foundation. Her work has been shown at Shanghai Biennale, Thailand Biennale, M+ Museum, Yuz Museum, MoMA PS1, MAXXI Rome, Sundance Film Festival, Ars Electronica, and Onassis Foundation, Sapporo International Art Festival, among others. Xin Liu (b.Xinjiang) Is a multidisciplinary artist and engineer who creates sculptures, digital experiences, and films that feature machinery, genetic material, petroleum, and rocket debris to explore the verticality of space, extraterrestrial explorations, and cosmic metabolism. Xin is an artist-in-residence at the SETI Institute and the founding Arts Curator in the Space Exploration Initiative at MIT Media Lab, a Visiting Fellow at Cornell Tech and an advisor for LACMA Art+Tech Lab. Currently, she is a resident artist at Somerset House and Delfina Foundation. Her work has been shown at Shanghai Biennale, Thailand Biennale, M+ Museum, Yuz Museum, MoMA PS1, MAXXI Rome, Sundance Film Festival, Ars Electronica, and Onassis Foundation, Sapporo International Art Festival, among others. https://xinliu.art/ <<-- Back A Book of Mine 2025 DNA and astrology are both used to seek answers about oneself. And yet these questions might never be answered. In December 2018, the artist Xin Liu sampled and sequenced her entire DNA genome. The reads were mapped to the Human X chromosome reference sequence UCSC hs38. The bases covered by her sequencing are annotated in black, and those uncovered in grey. For this installation, A Book of Mine is available as a print-on-demand publication, though printing it in its entirety is a nearly impossible task. In its sheer scale, the project illuminates the possibilities and limits of genetics as a form of self-knowledge and ownership. Collaborator: Ross McBee https://xinliu.art/a-book-of-mine

Marnix de Nijs, Rotterdam, 1970. Marnix de Nijs, is a Rotterdam based installation artist. Graduated as a sculptor in 1992, he focused his early career on sculpture, public space and architecture. Since the mid 90's, he has been a pioneer in researching the experimental use of media and technologies in Art. Impelled by the idea that technology acts as a driving force behind cultural change and therefore capable of generating new experiences where societal habits and communication are rethought, his work thrives on the creative possibilities offered by new media, while critically examining their impact on contemporary society and human perception. The interface between the body and technology forms an important basis for De Nijs’s work. Technology must literally merge, become absorbed into the body so that it becomes a co-determiner of perception. And here perception not only refers to how external stimuli are interpreted by the five senses, but also the feelings that come from within the body itself, the information that is derived from one’s own muscles and nerves (the technical term being proprioception). Because De Nijs’s work often involves the entire body of the observer, they therefore become less of an observer and more of a participator; someone who experiences the work. The techniques employed in the construction of his work mediate this experience. One of the characteristics of a technological culture is that change is constant. Everyone who wants to keep pace is continually required to adjust; which does not happen automatically and can, in time lead to cultural-pathological anomalies. In this way, travelers had to get used to the first trains and airplanes. The introduction of such travel technology initially led to disorientation and required a new outlook. It is pre-eminently these cultural processes that are given artistic form by Marnix de Nijs. De Nijs' works have been widely exhibited at international art institutes, museums and festivals. He won the Art Future Award (Taipei 2000) and received honourly mentions at the Transmediale award ( Berlin 2000), the Vida 5.0 award (Madrid 2002), and Prix Ars Electronica ( Linz 2013, 2005 & 2001). In 2005, he collected the prestigious Dutch Witteveen & Bos Art and Technology Price 2005, for his entire oeuvre. Work at the collection: “Non-dimensional cities” Marnix de Nijs, Rotterdam, 1970. Marnix de Nijs, is a Rotterdam based installation artist. Graduated as a sculptor in 1992, he focused his early career on sculpture, public space and architecture. Since the mid 90's, he has been a pioneer in researching the experimental use of media and technologies in Art. Impelled by the idea that technology acts as a driving force behind cultural change and therefore capable of generating new experiences where societal habits and communication are rethought, his work thrives on the creative possibilities offered by new media, while critically examining their impact on contemporary society and human perception. The interface between the body and technology forms an important basis for De Nijs’s work. Technology must literally merge, become absorbed into the body so that it becomes a co-determiner of perception. And here perception not only refers to how external stimuli are interpreted by the five senses, but also the feelings that come from within the body itself, the information that is derived from one’s own muscles and nerves (the technical term being proprioception). Because De Nijs’s work often involves the entire body of the observer, they therefore become less of an observer and more of a participator; someone who experiences the work. The techniques employed in the construction of his work mediate this experience. One of the characteristics of a technological culture is that change is constant. Everyone who wants to keep pace is continually required to adjust; which does not happen automatically and can, in time lead to cultural-pathological anomalies. In this way, travelers had to get used to the first trains and airplanes. The introduction of such travel technology initially led to disorientation and required a new outlook. It is pre-eminently these cultural processes that are given artistic form by Marnix de Nijs. De Nijs' works have been widely exhibited at international art institutes, museums and festivals. He won the Art Future Award (Taipei 2000) and received honourly mentions at the Transmediale award ( Berlin 2000), the Vida 5.0 award (Madrid 2002), and Prix Ars Electronica ( Linz 2013, 2005 & 2001). In 2005, he collected the prestigious Dutch Witteveen & Bos Art and Technology Price 2005, for his entire oeuvre. Work at the collection: “Non-dimensional cities” http://marnixdenijs.nl <<-- Back “Non-dimensional cities” (2022). 'Non-dimensional Cities' is an immersive cinematic experience in which participants journey through an endlessly unfolding virtual cityscape that expands over all axes. This dimensionless cityscape is constructed from a large collection of point clouds and sounds. While the user is standing on the controller platform and navigates through this virtual world, a sense of physical instability takes over. The building blocks of the world are generated from depth map information and panoramic photographs obtained from Google Street View’s API. Depending on the user’s position in the virtual world these blocks are dynamically repositioned on a three-dimensional grid. By subtle manipulation of motion and sound, perspective distortion and shifts in balance Non-dimensional Cities unquestionably re-calibrates the viewer's perception of dimensionality. http://marnixdenijs.nl/non-dimensional-cities.htm

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

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

Eduardo Kac, Rio de Janeiro, 1962. Eduardo Kac is internationally recognized for his telepresence and bio art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac (pronounced "Katz") emerged in the early '90s with his radical works combining telerobotics and living organisms. His visionary integration of robotics, biology and networking explores the fluidity of subject positions in the post-digital world. His work deals with issues that range from the mythopoetics of online experience (Uirapuru) to the cultural impact of biotechnology (Genesis), from the changing condition of memory in the digital age (Time Capsule) to distributed collective agency (Teleporting an Unknown State), from the problematic notion of the "exotic" (Rara Avis) to the creation of life and evolution (GFP Bunny). At the dawn of the twenty-first century Kac opened a new direction for contemporary art with his "transgenic art"--first with a groundbreaking piece entitled Genesis (1999), which included an "artist's gene" he invented, and then with "GFP Bunny," his fluorescent rabbit called Alba (2000). Kac’s work has been exhibited internationally at venues such as Exit Art and Ronald Feldman Fine Arts, New York, Maison Européenne de la Photographie, Paris, Castello di Rivoli, Turin, Mori Art Museum, Tokyo, Reina Sofia Museum, Madrid, Zendai Museum of Modern Art, Shanghai, and Seoul Museum of Art. Kac's work has been showcased in biennials such as Yokohama Triennial, Biennial of the End of the World, Ushuaia, Gwangju Biennale, Bienal de Sao Paulo, International Triennial of New Media Art, National Art Museum of China, Beijing, and Bienal de Habana. His work is in the permanent collections of the Tate, London, the Victoria & Albert Museum, London, the Museum of Modern Art in New York, Frac Occitanie—Regional collections of contemporary art, Les Abattoirs—Museum of Modern and Contemporary Art, Toulouse, the Museum of Modern Art of Valenci, Spain, the ZKM Museum, Karlsruhe, Art Center Nabi, Seoul, and the Museum of Contemporary Art of São Paulo, among others. Kac has received many awards, including the Golden Nica Award, the most prestigious award in the field of media arts and the highest prize awarded by Ars Electronica. His work “Time Capsule” won the 1st edition of the ARCO-BEEP Electronic Art Award Eduardo Kac, Rio de Janeiro, 1962. Eduardo Kac is internationally recognized for his telepresence and bio art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac (pronounced "Katz") emerged in the early '90s with his radical works combining telerobotics and living organisms. His visionary integration of robotics, biology and networking explores the fluidity of subject positions in the post-digital world. His work deals with issues that range from the mythopoetics of online experience (Uirapuru) to the cultural impact of biotechnology (Genesis), from the changing condition of memory in the digital age (Time Capsule) to distributed collective agency (Teleporting an Unknown State), from the problematic notion of the "exotic" (Rara Avis) to the creation of life and evolution (GFP Bunny). At the dawn of the twenty-first century Kac opened a new direction for contemporary art with his "transgenic art"--first with a groundbreaking piece entitled Genesis (1999), which included an "artist's gene" he invented, and then with "GFP Bunny," his fluorescent rabbit called Alba (2000). Kac’s work has been exhibited internationally at venues such as Exit Art and Ronald Feldman Fine Arts, New York, Maison Européenne de la Photographie, Paris, Castello di Rivoli, Turin, Mori Art Museum, Tokyo, Reina Sofia Museum, Madrid, Zendai Museum of Modern Art, Shanghai, and Seoul Museum of Art. Kac's work has been showcased in biennials such as Yokohama Triennial, Biennial of the End of the World, Ushuaia, Gwangju Biennale, Bienal de Sao Paulo, International Triennial of New Media Art, National Art Museum of China, Beijing, and Bienal de Habana. His work is in the permanent collections of the Tate, London, the Victoria & Albert Museum, London, the Museum of Modern Art in New York, Frac Occitanie—Regional collections of contemporary art, Les Abattoirs—Museum of Modern and Contemporary Art, Toulouse, the Museum of Modern Art of Valenci, Spain, the ZKM Museum, Karlsruhe, Art Center Nabi, Seoul, and the Museum of Contemporary Art of São Paulo, among others. Kac has received many awards, including the Golden Nica Award, the most prestigious award in the field of media arts and the highest prize awarded by Ars Electronica. His work “Time Capsule” won the 1st edition of the ARCO-BEEP Electronic Art Award http://www.ekac.org/ https://en.wikipedia.org/wiki/Eduardo_Kac <<-- Back Time Capsule, 1997 On 11 November 1997, Eduardo Kac created his “Time Capsule” in the cultural centre Casa das Rosas of Sao Paulo (Brasil). Transmitting on live television and the internet, the artist implanted a digital microchip before a series of sepia coloured photographs that documented the life of his family in Europe previous to 1939. In this way, Kac became the first human carrier of a microchip. To celebrate its 10th anniversary and with the piece in its final form, including all the diverse original elements of this live performance, he activated a webcast and a web scanner to allow an interactive, tele-robotic tracing of the chip in internet. https://vimeo.com/320053560 https://www.ekac.org/timcap.html ADSUM Consists of a 1x1x1 cm glass cube that contains a message in symbols, which traveled to the Moon aboard Firefly's Blue Ghost where it landed on Sunday, excuse the redundancy, perfectly. Eduardo Kac is one of the leading figures in contemporary art. Throughout his long career he has created numerous works at the confluence of art, technology and organic and biological processes. ADSUM is a trip to the Moon but also to the processes of territorialization and deterritorialization characteristic of the Smithsonian dialectic. It is an anthropological and cosmological work whose title ADSUM, I am here, speaks of the processes of terraforming and our place in the universe. The trip to the moon in the background allows us to locate ourselves both from the WORK that is on the Moon and from the object that is exhibited at ARCO, to think about the dimension of destiny and also about our existential crossroads. XX - ARCO_BEEP Electronic Art Award 2025. NewArtAward@ARCO First Edition 2025.

Anaisa Franco, Uberlândia, 1981. Searching for the expansion of the senses, Anaisa Franco creates interfaces that artistically elaborate an “affective” situation where people expand their senses through the interaction with the sculptures, creating new forms, relationships and experiences between people, the subjects chosen and the technological material that we have available in the market. She has a Master of Advanced Architecture at IAAC Institute for Advanced Architecture of Catalonia in Barcelona. One year of M-Arch 1 at SCI-Arc in Los Angeles, a master’s degree MA in Digital Art and Technology from the University of Plymouth in England and a BA Bachelor of Arts in Visual Arts from FAAP in São Paulo. In the last years she has been developing Responsive Public art Installations and New media Artworks for Museums, Public spaces, Galleries, Medialabs, Residencies and Commissions such as Shanghai City Life Festival, Medialab Prado, Mecad, MIS, Hangar, Taipei Artist Village, China Academy of Public Art Research Center, Mediaestruch, Cite des Arts, ZKU, SP_Urban, MAC Fenosa, VIVID Sydney, EXPERIMENTA Biennale Melbourne, RUMOS Itaú Cultural, URBE, and many others. Her work “Expanded Eye” won the 6th edition of the ARCO-BEEP Electronic Art Award Works at the collection: - Expanded Eye - Neuronnection Anaisa Franco, Uberlândia, 1981. Searching for the expansion of the senses, Anaisa Franco creates interfaces that artistically elaborate an “affective” situation where people expand their senses through the interaction with the sculptures, creating new forms, relationships and experiences between people, the subjects chosen and the technological material that we have available in the market. She has a Master of Advanced Architecture at IAAC Institute for Advanced Architecture of Catalonia in Barcelona. One year of M-Arch 1 at SCI-Arc in Los Angeles, a master’s degree MA in Digital Art and Technology from the University of Plymouth in England and a BA Bachelor of Arts in Visual Arts from FAAP in São Paulo. In the last years she has been developing Responsive Public art Installations and New media Artworks for Museums, Public spaces, Galleries, Medialabs, Residencies and Commissions such as Shanghai City Life Festival, Medialab Prado, Mecad, MIS, Hangar, Taipei Artist Village, China Academy of Public Art Research Center, Mediaestruch, Cite des Arts, ZKU, SP_Urban, MAC Fenosa, VIVID Sydney, EXPERIMENTA Biennale Melbourne, RUMOS Itaú Cultural, URBE, and many others. Her work “Expanded Eye” won the 6th edition of the ARCO-BEEP Electronic Art Award Works at the collection: - Expanded Eye - Neuronnection http://www.anaisafranco.com/ <<-- Back Expanded Eye, 2008 Expanded Eye is an interactive light sculpture composed by a big transparent eye sculpture suspended from the ceiling; the big eye looks to the user, but it's in fact user's eye which is projected inside the sculpture. The sculpture recognizes the user’s eye blinking and generates an interactive animation based on it. Each blink of the user multiplies the number of eyes in the projection in a fragmented, hexagonal and dislocated way. The core of the piece is to expand the view of human beings, transforming the view into a multiple and hexagonal expansion as the ultra complex insect’s compounds eyes structure. Expanded Eye project was developed during Interactivos 2008 at Medialab Prado in Madrid. It was developed in collaboration with: Jacqueline Steck, Alvaro Cassinelli, Carles Gutiérrez, Oswald Aspilla Pérez https://www.anaisafranco.com/expandedeye https://vimeo.com/47768582 Neuronnection. 2021 NEURONNECTION is an interactive installation that connects the thoughts of the spectators inside a parametric light sculpture that allows people to play and control sensitive light reactions using their own thoughts. The installation creates an interface with the brain, which immerses the user inside their own thoughts. The creation of the shape and interactivity was inspired on how our thoughts are created inside the mind. Our thoughts come from the activity of neurotransmitters that generates electrical signals (synapses) in neighbouring neurons, which propagate like a wave to thousands of neurons, leading to thought formation. The user will wear the device Nextmind to interact with the work. interactivity of the installation occurs when people look to Neurotags, which activates movement of ligts. The main idea o the project is to immerse and mirror humans inside their own thoughts and let them control and play with their own imagination. Team: Parametric structure by In_generic Interactive software by Antonio Mechas Visuals, mapping and documentation by VPMAP Sound design by Inertia 3D print Fabrication by Ana Correa and Agustin Cervai Neuronnection was funded by a production and exhibition grant by Institut Ramon Llull, Universitat Oberta de Catalunya, La Caldera, NewArtFoundation and Hangar for Ars Electronica Garden Barcelona 2021. https://www.anaisafranco.com/neuronnection https://youtu.be/3raOcr2iKI8

Libres Para Siempre is a Spanish pop-inspired artist collective founded in 1989, composed of Beatriz Alegre, Almudena Baeza, Alberto Cortés, Juan Jarén, Miguel Ángel Martín, Álvaro Monge, Ana Parga, and Mª Luz Ruiz. Their first exhibition took place in 1990 at Sala Estrujenbank, associated with the collective of the same name. This experience established a lasting professional and personal relationship between the two groups. In their initial phase, the group remained anonymous and used various names for their projects (such as Arigato Obrigado, La Rubia, G.A., Agradezco Esta Oportunidad, Artistas Todos, and more). These names often changed with each exhibition. In their next phase, as they transitioned to electronic art and began engaging with the Internet, they adopted the permanent name Libres Para Siempre. They have exhibited in both commercial galleries (Fúcares, Almagro, 1991; Buades, 1992; DoblEspacio, 1998; Valle Quintana, 2000) and alternative spaces (El Ojo Atómico, Sala Cruce). They have also participated in fairs (ARCO 1992, ARCO 1996, ARCO 2001), performance festivals (IIFIARP, 1992; Faculty of Fine Arts Performance Festival, Cuenca, 1998; Cha Cha Chá, 1999; Pasen y Vean at CCCB, 1999; Doméstico 2000; Faculty of Fine Arts Performance Festival, Madrid, and Los Lunes de La Fábrica, 2002), and electronic art festivals (Art Futura, 1997; Existencias Agotadas, 1999). The collective has produced prints and videos, published the book Arte en las Redes (Anaya Multimedia, 1997), and organized an online competition during the Observatori 2000 festival. Their website, libresparasiempre.net, serves as a platform for periodic open calls (e.g., Devorolor, las plantillas que devoran el olor. El Plantillazo, 2003) and as a gallery for their digital artworks, such as the illustrated alphabet ¡Libres, 2003. In February 2013, an exhibition connected the group with a neopop movement that began with Luis Gordillo, continued through the Nueva Figuración Madrileña and its successors (e.g., Jaime Aledo, Elena Blasco), followed by Juan Ugalde, Patricia Gadea, and Estrujenbank, culminating with Libres Para Siempre themselves. Their electronic artwork Composite was acquired by the MEIAC (Museo Extremeño e Iberoamericano de Arte Contemporáneo). The Museo del Barro in Asunción (Paraguay) includes works by the collective in its Spanish contemporary graphic art collection. Despite working in a wide range of expressive media (painting, photography, performance, digital animation, video, virtual reality, and Net Art), Libres Para Siempre maintains a consistent formal and symbolic coherence. This is reflected in their recurring use of characters, settings, and a playful domestic irreverence across their body of work. Libres Para Siempre is a Spanish pop-inspired artist collective founded in 1989, composed of Beatriz Alegre, Almudena Baeza, Alberto Cortés, Juan Jarén, Miguel Ángel Martín, Álvaro Monge, Ana Parga, and Mª Luz Ruiz. Their first exhibition took place in 1990 at Sala Estrujenbank, associated with the collective of the same name. This experience established a lasting professional and personal relationship between the two groups. In their initial phase, the group remained anonymous and used various names for their projects (such as Arigato Obrigado, La Rubia, G.A., Agradezco Esta Oportunidad, Artistas Todos, and more). These names often changed with each exhibition. In their next phase, as they transitioned to electronic art and began engaging with the Internet, they adopted the permanent name Libres Para Siempre. They have exhibited in both commercial galleries (Fúcares, Almagro, 1991; Buades, 1992; DoblEspacio, 1998; Valle Quintana, 2000) and alternative spaces (El Ojo Atómico, Sala Cruce). They have also participated in fairs (ARCO 1992, ARCO 1996, ARCO 2001), performance festivals (IIFIARP, 1992; Faculty of Fine Arts Performance Festival, Cuenca, 1998; Cha Cha Chá, 1999; Pasen y Vean at CCCB, 1999; Doméstico 2000; Faculty of Fine Arts Performance Festival, Madrid, and Los Lunes de La Fábrica, 2002), and electronic art festivals (Art Futura, 1997; Existencias Agotadas, 1999). The collective has produced prints and videos, published the book Arte en las Redes (Anaya Multimedia, 1997), and organized an online competition during the Observatori 2000 festival. Their website, libresparasiempre.net, serves as a platform for periodic open calls (e.g., Devorolor, las plantillas que devoran el olor. El Plantillazo, 2003) and as a gallery for their digital artworks, such as the illustrated alphabet ¡Libres, 2003. In February 2013, an exhibition connected the group with a neopop movement that began with Luis Gordillo, continued through the Nueva Figuración Madrileña and its successors (e.g., Jaime Aledo, Elena Blasco), followed by Juan Ugalde, Patricia Gadea, and Estrujenbank, culminating with Libres Para Siempre themselves. Their electronic artwork Composite was acquired by the MEIAC (Museo Extremeño e Iberoamericano de Arte Contemporáneo). The Museo del Barro in Asunción (Paraguay) includes works by the collective in its Spanish contemporary graphic art collection. Despite working in a wide range of expressive media (painting, photography, performance, digital animation, video, virtual reality, and Net Art), Libres Para Siempre maintains a consistent formal and symbolic coherence. This is reflected in their recurring use of characters, settings, and a playful domestic irreverence across their body of work. http://www.libresparasiempre.net <<-- Back Viva el Paro, 1998. Lightbox, 90 x 120 cm. This work was created by the collective Libres Para Siempre (LPS) for the exhibition Pinturas paranormales, held at the Doble Espacio gallery in Madrid in 1998. Doble Espacio was a gallery dedicated to multiple art, which included this artwork in its digital catalog alongside other works, such as paintings offered at multiple art prices, i.e., affordable prices. In that context, the collective expressed the following: ¨The collective offers original works cheaper than multiples because manual production costs less than mechanical production. In the end, the group finances its reproducible works through the non-reproducible ones, thus losing the added value enjoyed by unique works made by hand. This honesty with the buyer exposes the hypocritical stance of the alternative art market for multiple works, which offers cheaper artworks at the expense of the artist, who is usually the one financing the multiples, while making the public believe that the lower cost of the artwork lies in it not being unique¨. The multiple art produced by Libres Para Siempre always reflected the technological moment the group was experiencing. This practice was driven by a vanguardist concern to connect art with the technological models of each era. This approach was termed by the group as advanced versions of painting, which they called Advanced Painting. The path towards Advanced Painting was carried out using various programs. One of them was Animator Pro, an animation software released in 1989 by Autodesk under the license of Yost Group, created by Peter Kennard, Gary Yost, and Jim Ken. This program, which ran on MSDOS with a palette of 256 colors and whose native formats were FLI or FLC, was used in 1995 to create electronic works that the collective contributed to Pandora, a program by Simon Birrel. In Pandora, a digital museum was created—an illusory digital space where these works were exhibited in a conventional manner. In 1996, during the exhibition Ciberchic (at Cruce), photographs of computer screens were presented alongside animations created with Animator Pro and virtual worlds designed with the Russian program Virtual Home Space Builder (VHSB). For this exhibition, the studio was relocated to the gallery space, where some videos were edited, allowing the audience to interact with the artists and observe their working methods. In No hay nadie (Art Futura, 1997), plastic tarpaulins printed by mechanical injection were juxtaposed with virtual reality environments created with Virtual Home Space Builder (VHSB). This program allowed the design of 3D domestic spaces for integration into the emerging web, combining text, digital images, animations, digital video, sound, and hyperlinks. Moreover, with rapid rendering, these created worlds could be visualized in real- time. The artwork Viva el paro, presented as a lightbox, takes advantage of all the digital resources acquired by the group. It was created in a moment of crisis in Spanish society, where, faced with brutal unemployment, the collectives best response was to continue creating art. Hence the slogan: ¡VIVA EL PARO! HIP HIP HOORAY LONG LIVE UNEMPLOYMENT! With Viva el paro, the collective began developing its first website. Today, their digital space is: www.libresparasiempre.net Artwork in storage by the LaAgencia