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

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

Ken Matsubara, Tokyo, 1949. Ken Matsubara graduated from Musashino Art University in Tokyo in 1974. His work often examines our understanding of memory. Matsubara lives and works in Tokyo. Using photos, movies, objects and collages, Matsubara’s work addresses memories and histories to which we can all relate, regardless of our backgrounds, statuses or age. He incorporates photographs, videos, object installations, and collages to bring forth the past and to converse with future generations. The artist sees human consciousness as recollections of the same ancient knowledge that transcends the individual, passed down through generations and across peoples, at a microcosmic level. By recollecting shared memories, Matsubara believes that we can overcome individuality. His work is part of several international collections as the Newport Harbor Art Museum, Newport, California, Maison du Livre de L' image et du Son, La Bibliotheque de Villeurbanne, Lyon, Bayly Art Museum, Virginia, Museum of Fine Arts, Houston, Texas, Bell Atlantic Corpolation, New York, Readers Digest, New York, Goldman Sachs Corporation, New York, Nippon Polalroid "Polaroid Corpolation of Japan", Tokyo, International Polaroid Collection, Cambrige, Massachusetts, Tokyo Metropolitan Art Museum, Tokyo, Deutsche Bank Collection / Bulgari Collection, New York, among others. Work at the collection: Moon Bowl Ken Matsubara, Tokyo, 1949. Ken Matsubara graduated from Musashino Art University in Tokyo in 1974. His work often examines our understanding of memory. Matsubara lives and works in Tokyo. Using photos, movies, objects and collages, Matsubara’s work addresses memories and histories to which we can all relate, regardless of our backgrounds, statuses or age. He incorporates photographs, videos, object installations, and collages to bring forth the past and to converse with future generations. The artist sees human consciousness as recollections of the same ancient knowledge that transcends the individual, passed down through generations and across peoples, at a microcosmic level. By recollecting shared memories, Matsubara believes that we can overcome individuality. His work is part of several international collections as the Newport Harbor Art Museum, Newport, California, Maison du Livre de L' image et du Son, La Bibliotheque de Villeurbanne, Lyon, Bayly Art Museum, Virginia, Museum of Fine Arts, Houston, Texas, Bell Atlantic Corpolation, New York, Readers Digest, New York, Goldman Sachs Corporation, New York, Nippon Polalroid "Polaroid Corpolation of Japan", Tokyo, International Polaroid Collection, Cambrige, Massachusetts, Tokyo Metropolitan Art Museum, Tokyo, Deutsche Bank Collection / Bulgari Collection, New York, among others. Work at the collection: Moon Bowl http://www.kenmatsubara.com <<-- Back Moon Bowl, 2016. Moon Bowl Just as hands scooping water, the bowl serves as if a vessel of acceptance, where images sink to the depths of the basin as memories. As the water reflects the moon’s ever-shifting presence, one comes to embrace its fragile state as the beauty of impermanence and discover its coming hopes as restoration. The Bodhisattva statue, plaster figurine, glass bottle, bird’s corpse all shatter for means to restore once again in a continuous state of repetition. Houjyoki: The flowing river never stops and yet the water never stays the same. Foam floats upon the pools, scattering, re-forming, never lingering long. So it is with man and all his dwelling places here on earth. http://www.kenmatsubara.com/Bowl5.html https://vimeo.com/569817265#_=_

Evru, Barcelona, 1946. Evru (born Alberto Porta, called Evru since 2001 and previously Zush from 1968) has maintained an absolutely personal trajectory in which his will to represent a reality that he himself has conceptualised while in the Evrugo mental state takes precedence over any other concept. Few artists have had the genius to create their own parallel world, full of the symbols of an independent state. Evru began his career young at the hand of gallery owner René Metras and is currently working on an interactive work in progress, Tecura, based on the premise that the artist defends, «art for healing». Every person has an artist inside themselves. Evru, who works indistinctly with traditional media and digital technology has also developed his musical and performance facets. His work is characterised by the construction of a personal mythology, autobiographical in nature. A cartography that feeds on accumulative images, as well as the creation of a script, a personal code that attempts to express that which cannot be explained rationally. In his work, multiple, parallel universes that maintain a tense and delicate equilibrium between chaos and rational order converge. Founder and inhabitant of an imaginary state, Evrugo Mental State, conceived as a self-sufficient space whose energy expands with a clearly universalistic intention. Evrugo Mental State is born of necessity, as a utopia of physical and mental liberation that faces off with the historical situation of Spain in the moment of its creation, and the surrounding international context at the end of the seventies. He has participated in international exhibitions such as Documenta VI of Kassel, 1977, New Images from Spain, 1980, in the Solomon R. Guggenheim Museum of New York, Les magiciens de la terre, 1989, organized by the Centre Georges Pompidou de París, among others. He has been the subject of important retrospectives such as in Today Art Museum, Beijing, 2007, Shanghai DuoLun MoMA, 2007, NUS NX Gallery, Singapore, MACBA, Barcelona, 2001, or in the MNCARS, Madrid, 2000. In 2001 he received the City of Barcelona Prize for his two retrospectives, [Zush. La Campanada], MNCARS, 2000, and [Zush-Tecura], MACBA, 2000-2001). ​ Work at the collection: Expanded Eye, Tecura, Opaulo Evru, Barcelona, 1946. Evru (born Alberto Porta, called Evru since 2001 and previously Zush from 1968) has maintained an absolutely personal trajectory in which his will to represent a reality that he himself has conceptualised while in the Evrugo mental state takes precedence over any other concept. Few artists have had the genius to create their own parallel world, full of the symbols of an independent state. Evru began his career young at the hand of gallery owner René Metras and is currently working on an interactive work in progress, Tecura, based on the premise that the artist defends, «art for healing». Every person has an artist inside themselves. Evru, who works indistinctly with traditional media and digital technology has also developed his musical and performance facets. His work is characterised by the construction of a personal mythology, autobiographical in nature. A cartography that feeds on accumulative images, as well as the creation of a script, a personal code that attempts to express that which cannot be explained rationally. In his work, multiple, parallel universes that maintain a tense and delicate equilibrium between chaos and rational order converge. Founder and inhabitant of an imaginary state, Evrugo Mental State, conceived as a self-sufficient space whose energy expands with a clearly universalistic intention. Evrugo Mental State is born of necessity, as a utopia of physical and mental liberation that faces off with the historical situation of Spain in the moment of its creation, and the surrounding international context at the end of the seventies. He has participated in international exhibitions such as Documenta VI of Kassel, 1977, New Images from Spain, 1980, in the Solomon R. Guggenheim Museum of New York, Les magiciens de la terre, 1989, organized by the Centre Georges Pompidou de París, among others. He has been the subject of important retrospectives such as in Today Art Museum, Beijing, 2007, Shanghai DuoLun MoMA, 2007, NUS NX Gallery, Singapore, MACBA, Barcelona, 2001, or in the MNCARS, Madrid, 2000. In 2001 he received the City of Barcelona Prize for his two retrospectives, [Zush. La Campanada], MNCARS, 2000, and [Zush-Tecura], MACBA, 2000-2001). Work at the collection: Expanded Eye, Tecura, Opaulo http://evru.org https://en.wikipedia.org/wiki/Alberto_Porta_y_Mu%C3%B1oz <<-- Back Tecura, 2008 In 1999 Evru (FKA Zush) begins to develop “Tecura” an interactive application for audiovisual creation online, based on tools created by the artist, putting at the disposal of the users a bank of sounds and images with which to produce their own artistic creations. In this way, Evru attempts to decentralise the author in favour of a new democratisation of art. In 2008 Devru develloped version 4.0 and incorporated it into the platform. The artwork at the collection is a digital print generated by this software. Work on deposit from LaAgencia Collection. http://www.tecura.org Opaulo, 1990 This digital print on canvas bears witness to Zush's pioneering experiments with computer generated images. This figure stems out of the artist's relentless generation of alternative worlds, myths and iconographies. A god-like appearance, a summoning of the forces of nature personified. Awarded with the XVIII ARCO BEEP Prize.

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The digital and technological art space of southern Europe. (New Art Centre). New Art Centre (NAC) Services Activities Press Room The digital and technological art space of southern Europe.

Waldo Balart, Banes, 1931 - 2025 Balart studied accounting and political science and economics in Havana before moving to New York to pursue art studies in 1959. From 1959 to 1962 studied art in the Museum of Modern Art, New York. Professionally, on 1967 he develops as lecturer in many cultural centres and universities of USA, Poland, Spain, Germany and Netherlands. He acted in two movies by Andy Warhol, The Life of Juanita Castro,1965, and The Loves of Ondine, 1968. Waldo Balart, referent in the Concrete Art, lectures frequently and his work – explorations of color and light in geometric paintings and light sculpture – has been widely exhibited. He had more than 50 one-man shows in the Netherlands, Belgium, Poland, France, Germany, Spain, Austria, and United States among others. He is the recipient of a Pollock-Krasner Foundation fellowship and his work is in the permanent collections of the Museum of Modern Art and Metropolitan Museum in New York, Centro de Arte Reina Sofía in Madrid, the Mondriaanhuis in Amersfoort, Museum of Modern Art in Huenfeld, Germany, Kurzführer-Museum in Kulturspeicher among others In 1992 he published the book “Waldo Díaz-Balart, Ensayos de Arte”, and in 2011 “La práctica del arte concreto” Work at the collection: Desarrollo Cromático del CEL Waldo Balart, Banes, 1931 - 2025 Balart studied accounting and political science and economics in Havana before moving to New York to pursue art studies in 1959. From 1959 to 1962 studied art in the Museum of Modern Art, New York. Professionally, on 1967 he develops as lecturer in many cultural centres and universities of USA, Poland, Spain, Germany and Netherlands. He acted in two movies by Andy Warhol, The Life of Juanita Castro,1965, and The Loves of Ondine, 1968. Waldo Balart, referent in the Concrete Art, lectures frequently and his work – explorations of color and light in geometric paintings and light sculpture – has been widely exhibited. He had more than 50 one-man shows in the Netherlands, Belgium, Poland, France, Germany, Spain, Austria, and United States among others. He is the recipient of a Pollock-Krasner Foundation fellowship and his work is in the permanent collections of the Museum of Modern Art and Metropolitan Museum in New York, Centro de Arte Reina Sofía in Madrid, the Mondriaanhuis in Amersfoort, Museum of Modern Art in Huenfeld, Germany, Kurzführer-Museum in Kulturspeicher among others In 1992 he published the book “Waldo Díaz-Balart, Ensayos de Arte”, and in 2011 “La práctica del arte concreto” Work at the collection: Desarrollo Cromático del CEL https://waldobalart.com <<-- Back Desarrollo Cromático del CEL, 1993 Serie: Desarrollo Cromático del CEL Imagen fragmentada Orden Axiomático 1.2.3 Proposición: Imagen Diagonal Módulo 2x2, 1.3.5.7. Waldo Balart examines mathematical forms and studies of the color spectrum. In this way, unique paintings are created according to formulas. https://youtu.be/YJ2Yyt0sRbg Discriminación del código de la estructura de la Luz , 1983

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.

Christophe Bruno, Bayonne, 1964. Christophe Bruno lives and works in Paris. He began his artistic activity in September 2001. His polymorphic work (installations, hacks, performances, conceptual pieces, drawing, sculpture…) has a critical take on network phenomena and globalisation in the field of language and images. He was awarded at the Prix Ars Electronica 2003 and the Piemonte Share Festival in 2007. His work has been shown internationally: Jeu de Paume in Paris, ARCO Madrid, FIAC Paris, Diva Fair in New-York, Palais de Tokyo in Paris, ArtCologne, MOCA Taipei, Modern Art Museum of the city of Paris, Biennale of Sydney, New Museum of Contemporary Art in New-York, National Museum of Contemporary Art in Athens, SMAK in Ghent, NIMk Amsterdam, galerie Aeroplastics Bruxelles, Tirana Biennale of Contemporary Art, HMKV Dortmund, Gallery West in The Hague, Vooruit Arts Center in Gent, Share Festival in Torino, Transmediale in Berlin, Laboral Cyberspaces in Gijon, galerie Sollertis in Toulouse, ICC in Tokyo, Nuit Blanche de Paris, File Festival in Sao Paulo, Centre Pompidou for the Rencontres Paris-Berlin-Madrid, f.2004@shangai, ReJoyce Festival in Dublin, P0es1s.net in Berlin, Microwave Media Art Festival in Honk-Kong, Read_Me Festival in Dortmund and Aarhus, Vidarte in Mexico City, among others. He divides his time between his artistic activity, curating, teaching, lectures and publications. Since october 2013, he teaches art and new media at the École Supérieure d’Art d’Avignon. His work “Fascinum” won the 2nd edition of the ARCO-BEEP Electronic Art Award Work at the collection: Fascinum Christophe Bruno, Bayonne, 1964. Christophe Bruno lives and works in Paris. He began his artistic activity in September 2001. His polymorphic work (installations, hacks, performances, conceptual pieces, drawing, sculpture…) has a critical take on network phenomena and globalisation in the field of language and images. He was awarded at the Prix Ars Electronica 2003 and the Piemonte Share Festival in 2007. His work has been shown internationally: Jeu de Paume in Paris, ARCO Madrid, FIAC Paris, Diva Fair in New-York, Palais de Tokyo in Paris, ArtCologne, MOCA Taipei, Modern Art Museum of the city of Paris, Biennale of Sydney, New Museum of Contemporary Art in New-York, National Museum of Contemporary Art in Athens, SMAK in Ghent, NIMk Amsterdam, galerie Aeroplastics Bruxelles, Tirana Biennale of Contemporary Art, HMKV Dortmund, Gallery West in The Hague, Vooruit Arts Center in Gent, Share Festival in Torino, Transmediale in Berlin, Laboral Cyberspaces in Gijon, galerie Sollertis in Toulouse, ICC in Tokyo, Nuit Blanche de Paris, File Festival in Sao Paulo, Centre Pompidou for the Rencontres Paris-Berlin-Madrid, f.2004@shangai, ReJoyce Festival in Dublin, P0es1s.net in Berlin, Microwave Media Art Festival in Honk-Kong, Read_Me Festival in Dortmund and Aarhus, Vidarte in Mexico City, among others. He divides his time between his artistic activity, curating, teaching, lectures and publications. Since october 2013, he teaches art and new media at the École Supérieure d’Art d’Avignon. His work “Fascinum” won the 2nd edition of the ARCO-BEEP Electronic Art Award Work at the collection: Fascinum https://christophebruno.com <<-- Back Fascinum, 2001 The piece shows in real time the most searched and seen photos in Yahoo ranked from 1 to 100. It was a Yahoo Hack, that became a Google Hack in 2004 after Google’s IPO. It shows in real-time the news pictures the most viewed on different national news feeds. The viewer surfs at the top of the infotainment wave and experiments in a panoptic view the paradoxes of the unique thought. With a selector inside the internet, the most searched images from U.S.A, UK, Italy, France, Spain, Germany and India (updated approximately every two minutes) can be observed. This allows one to make connections between “accounting and globalisation”. http://www.unbehagen.com/fascinum

Roc Parés, Mexico City, 1968. Research artist in interactive communication. Doctor in Audiovisual Communication (UPF, 2001), Bachelor of Fine Arts (UB, 1992). Professor at Pompeu Fabra University and Member of the National System of Art Creators of Mexico. His artistic works have been presented in museums, art centers and festivals in Europe, America and Asia. He has published with British Computer Society, Academic Press, MIT Press, among others. Committed to an interdisciplinary culture, which he defends for its emancipatory potential, Parés has spent thirty years exploring the intersections between art, science, technology, thought and society. Work at the collection: Doble Consciència Roc Parés, Mexico City, 1968. Research artist in interactive communication. Doctor in Audiovisual Communication (UPF, 2001), Bachelor of Fine Arts (UB, 1992). Professor at Pompeu Fabra University and Member of the National System of Art Creators of Mexico. His artistic works have been presented in museums, art centers and festivals in Europe, America and Asia. He has published with British Computer Society, Academic Press, MIT Press, among others. Committed to an interdisciplinary culture, which he defends for its emancipatory potential, Parés has spent thirty years exploring the intersections between art, science, technology, thought and society. Work at the collection: Doble Consciència http://roc-pares.net <<-- Back Doble Consciència, 2020 Doble Consciència is an interactive audiovisual installation, inspired by the stereoscope, invented by Sir Charles Wheatstone, during the first third of the 19th century. Paradoxically, while Wheatstone studied how binocular vision allows us to perceive two different images as a single “solid” object, Parés’s intention is to experiment with binocular rivalry as a way of deconstructing and questioning individual subjectivity: hacking into vision to hack into consciousness. Currently, stereoscopy is used in cartography, surgery, astronomy, microscopy and virtual reality, but the pairs of discrepant images, seen through conventional devices, always construct a unitary vision. According to his proposal, the discrepant vision of our two eyes can become the gateway to a splitting of conscious attention. Technically, the installation is a Digital Haploscope. The images are presented on two side monitors, which are looked at through the two mirrors located in the center of the elevating table, in front of the eyes. Initially the pairs of images presented to the visitor form stereoscopic pairs that present three-dimensional images. Progressively, variations are introduced in the pairs of images, accentuating the difference between them, taking the discrepancy to the limit of binocular rivalry. Finally, the experience ends with pairs of images made expressly in order to overcome the binocular rivalry and to propitiate the hypothetical emergence of the Double Consciousness of each participant. Doble Consciència was funded by a production and exhibition grant by Institut Ramon Llull, NewArtFoundation and Hangar for Ars Electronica Garden Barcelona 2020. With the support of: https://vimeo.com/457495209