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Santi Vilanova, Vila-Real, 1980. Graduate in graphic design and passionate about sound art, Santi Vilanova has been able to combine these two disciplines through the catalyst of "creative technologies", of which he is a self-taught developer. (de)Formed at the rave scene of the early 2000, his sound work has been evolving to integrate this underground influence into new territories. His recent research blend together digital algorithms or sonification engines with classic staves and acoustic ensembles, focusing on the idea of a visual music. He is founder, with Eloi Maduell, of the Playmodes audiovisual research studio, where they develop projects at the edge of design, art and science. Interests related to acoustics, mathematics, perception psycology or light phenomena crystallize at the shelter of Playmodes. Their projects, eclectic in nature -from opera scenography to immersive installations- always have as a common element a creative use of digital tools and the search for a unified audio+visual language. As part of this collective, his works have been exhibited at light festivals (Fête des Lumieres, Signal, LlumBCN, Mapping Festival, LIT Bogotá, Chartres a Lumière ...), at electronic music events ( Sónar, Mira, LEV, DGTL, D4N Houston ...), at contemporary art or performing arts institutions (ZKM, Macau Arts Festival, In Between Time, Copenhagen Opera), and has been awarded with international distinctions in the field of new media (Ars Electronica Honorary Mention, LAUS, Visual Music Awards or LAMP awards). He is also currently a university professor at the EINA school (Universitat Autònoma de Barcelona), UOC and BAU (Universitat de Vic), teaching new generations of multimedia creators. Work at the collection: Forms - Screen Ensemble Santi Vilanova, Vila-Real, 1980. Graduate in graphic design and passionate about sound art, Santi Vilanova has been able to combine these two disciplines through the catalyst of "creative technologies", of which he is a self-taught developer. (de)Formed at the rave scene of the early 2000, his sound work has been evolving to integrate this underground influence into new territories. His recent research blend together digital algorithms or sonification engines with classic staves and acoustic ensembles, focusing on the idea of a visual music. He is founder, with Eloi Maduell, of the Playmodes audiovisual research studio, where they develop projects at the edge of design, art and science. Interests related to acoustics, mathematics, perception psycology or light phenomena crystallize at the shelter of Playmodes. Their projects, eclectic in nature -from opera scenography to immersive installations- always have as a common element a creative use of digital tools and the search for a unified audio+visual language. As part of this collective, his works have been exhibited at light festivals (Fête des Lumieres, Signal, LlumBCN, Mapping Festival, LIT Bogotá, Chartres a Lumière ...), at electronic music events ( Sónar, Mira, LEV, DGTL, D4N Houston ...), at contemporary art or performing arts institutions (ZKM, Macau Arts Festival, In Between Time, Copenhagen Opera), and has been awarded with international distinctions in the field of new media (Ars Electronica Honorary Mention, LAUS, Visual Music Awards or LAMP awards). He is also currently a university professor at the EINA school (Universitat Autònoma de Barcelona), UOC and BAU (Universitat de Vic), teaching new generations of multimedia creators. Work at the collection: Forms - Screen Ensemble http://www.playmodes.com <<-- Back Forms -Screen Ensemble, 2020 Forms - Screen Ensemble is a generative visual music jukebox. Driven by chance and probability, this automata creates endless, unrepeatable graphic scores that are immediately transformed into sound by means of sonification algorithms. Images become sound spectrums, making it possible to -literally- hear what you see. The dream of Kandinski. Each screen of this networked ensemble plays a particular instrumental role: Rhythm, Harmony or Texture. Performed by this trio of automats, a visual music symphony evolves over time giving birth to unique sonic landscapes that will never be repeated again: from tonal ambient music to raging rhythms, surreal electronic passages or dance-floor beats. Forms – Screen Ensemble was presented at 2020’s edition of Ars Electronica festival in Barcelona, thanks to a grant given by NewArtFoundation, Institut Ramón Llull and Hangar.org. Design Forms is thought to be a flexible instrument in terms of formats and aspects. Because its fundamental nature is rooted in visual music algorithms rather than in a matter-specific phisicality, it can take many different forms. Although the Screen Ensemble takes the form of an automata inside boxes containing screens and speakers, we’re working on multiple derivatives that transcend this format: a live performance where a string quartet interprets the realtime generated scores; an immersive installation based on video-projection and multichannel audio; a software for live computer music or an internet streaming bot. Engineering Forms is engineered by means of 2 main processes: -A generative graphics software coded in Processing (javascript) -A sonification algorithm developed in Max/MSP On the graphic side, a deep mathematical research has been done in order to code timbrically and musically coherent graphics that create appealing rhythms, harmonies or textures. On the sonic side, a number of ideas from the field of spectral synthesis and FFT are deployed. In addition, a set of control routines command the evolution of compositions over time through weighted probabilities, Markov chains and chance algorithms. Music The main feature of Forms is its visual music nature. It creates music you can see in an appealing yet scientifically coherent way. It is also a step forward towards a way of presenting and enjoying algorithmic compositions. It is a whole new way of creating music, based on visual compositions rather than on staves or piano-rolls. Its generative nature provides endless, unique, unrepeatable and rich music detached from the constrains of traditional language. Forms embraces the expressivity of drawn gestures and microtonality, unifying the visual and aural experience. Forms - Screen Ensemble was funded by a production and exhibition grant by Institut Ramon Llull, NewArtFoundation and Hangar for Ars Electronica Garden Barcelona 2020. https://www.playmodes.com/home/forms-screen-ensemble/ https://vimeo.com/464531284 https://www.twitch.tv/playmodes

Antoni Muntadas, Barcelona, 1942. Considered one of the pioneers of media art and conceptual art in Spain, he has been working for more than four decades on projects in which he poses a critical reflection on key issues in the configuration of contemporary experience. His objective is to detect and decode the mechanisms of control and power through which the hegemonic gaze is constructed, exploring the decisive role played by the mass media in this process. In his works, which always have a clear processual dimension and in which he often appeals directly to the participation of the spectators, Muntadas resorts to multiple supports, languages and discursive strategies, from interventions in public space to video and photography, from the edition of printed publications to the use of the Internet and new digital tools, from multimedia installations to the implementation of multidisciplinary and collaborative research projects. Throughout his career, Antoni Muntadas, who conceives his works as "artifacts" (in the anthropological sense of the term, that is, as something that can be activated in different ways depending on the context and the moment in which it is presented), has addressed issues such as the changing relationships between the public and the private, the naturalization of consumerist logic, the processes of cultural homogenization imposed by globalization, the use of architecture as a tool to legitimize political and economic power, the importance of the mass media in the expansion of financial capitalism, the functioning of the artistic ecosystem or the use of fear of the "other" as a strategy of social control. Work at the collection: “Tasmanian Tiger: case study of the Museum of Extinction” Antoni Muntadas, Barcelona, 1942. Considered one of the pioneers of media art and conceptual art in Spain, he has been working for more than four decades on projects in which he poses a critical reflection on key issues in the configuration of contemporary experience. His objective is to detect and decode the mechanisms of control and power through which the hegemonic gaze is constructed, exploring the decisive role played by the mass media in this process. In his works, which always have a clear processual dimension and in which he often appeals directly to the participation of the spectators, Muntadas resorts to multiple supports, languages and discursive strategies, from interventions in public space to video and photography, from the edition of printed publications to the use of the Internet and new digital tools, from multimedia installations to the implementation of multidisciplinary and collaborative research projects. Throughout his career, Antoni Muntadas, who conceives his works as "artifacts" (in the anthropological sense of the term, that is, as something that can be activated in different ways depending on the context and the moment in which it is presented), has addressed issues such as the changing relationships between the public and the private, the naturalization of consumerist logic, the processes of cultural homogenization imposed by globalization, the use of architecture as a tool to legitimize political and economic power, the importance of the mass media in the expansion of financial capitalism, the functioning of the artistic ecosystem or the use of fear of the "other" as a strategy of social control. Work at the collection: “Tasmanian Tiger: case study of the Museum of Extinction” https://es.wikipedia.org/wiki/Antoni_Muntadas <<-- Back “Tasmanian Tiger: case study of the Museum of Extinction” (2022). Faithful to his personal language, alien to any current and label, Muntadas presents a project about an extinct animal, the Tasmanian Tiger, and he does it with an endangered technology, holography, and a totally strange installation in high tech aesthetics, which rather evokes the charm of the old natural science museums. The work raises the debate on obsolescence and the eternal race to create new and sophisticated technologies, which ultimately generate a deepening social gap. The work recreates a room in a natural history museum, with three showcases and a 1.5 m. hologram, which had to be produced in Lithuania, as it is the only place capable of making it of such dimensions. The showcases contain photographs of the research carried out and some moving images on tablets; another showcase shows DNA studies on how to revive disappeared animals, the Tasmanian tiger being one of the most studied cases; and there is a third showcase with merchandising, which is what keeps the Tasmanian tiger alive in popular culture (T-shirts, beers, coasters, postcards...). These are elements that allow it to remain very present in Tasmania. https://www.arshake.com/en/antoni-muntadas-and-the-tasmanian-tiger-at-ars-electronica/ https://bist.eu/science-and-art-ibec-collaborates-on-a-work-by-antoni-muntadas-at-ars-electronica-2022/

Concha Jerez (Las Palmas de Gran Canaria, 1941) José Iges (Madrid, 1951) Concha Jerez and José Iges are two prominent artists who have collaborated closely since 1989, exploring the intersection of conceptual art, performance, and audiovisual media. Concha Jerez is a pioneer of conceptual art in Spain. She studied piano at the Royal Conservatory of Music in Madrid and Political Science at the Complutense University of Madrid. Since 1970, she has developed a prolific artistic career focused on the critique of media, censorship, and self-censorship. Her work encompasses installations, performances, and sound art and has been recognized with awards such as the Gold Medal for Merit in Fine Arts (2011), the National Award for Visual Arts (2015), and the Velázquez Award for Plastic Arts (2017). José Iges is a composer, sound artist, and industrial engineer. He studied composition at the Royal Conservatory of Music in Madrid and has built an extensive career creating works that integrate electroacoustic music, radio art, and sound installations. He was the director of the Ars Sonora program on Radio Clásica (RNE) from 1985 to 2008, promoting the dissemination of sound art and experimental music in Spain. Together, Jerez and Iges have created numerous works that merge visual and sound elements, exploring interactivity and audience participation. Their collaboration has materialized in projects such as Media Mutaciones, presented at La Tabacalera in Madrid in 2015, where they revisited their joint career and evolution in the use of technological and conceptual media, or in the exhibition Resignifications at the Galician Center for Contemporary Art, revisiting their work 10 years later. Throughout their collaboration, they have addressed themes such as memory, identity, and communication, using various formats including interactive installations, performances, and radio works. Their joint work has been exhibited at numerous international festivals and exhibitions, establishing them as key figures in the field of interdisciplinary contemporary art. Concha Jerez (Las Palmas de Gran Canaria, 1941) José Iges (Madrid, 1951) Concha Jerez and José Iges are two prominent artists who have collaborated closely since 1989, exploring the intersection of conceptual art, performance, and audiovisual media. Concha Jerez is a pioneer of conceptual art in Spain. She studied piano at the Royal Conservatory of Music in Madrid and Political Science at the Complutense University of Madrid. Since 1970, she has developed a prolific artistic career focused on the critique of media, censorship, and self-censorship. Her work encompasses installations, performances, and sound art and has been recognized with awards such as the Gold Medal for Merit in Fine Arts (2011), the National Award for Visual Arts (2015), and the Velázquez Award for Plastic Arts (2017). José Iges is a composer, sound artist, and industrial engineer. He studied composition at the Royal Conservatory of Music in Madrid and has built an extensive career creating works that integrate electroacoustic music, radio art, and sound installations. He was the director of the Ars Sonora program on Radio Clásica (RNE) from 1985 to 2008, promoting the dissemination of sound art and experimental music in Spain. Together, Jerez and Iges have created numerous works that merge visual and sound elements, exploring interactivity and audience participation. Their collaboration has materialized in projects such as Media Mutaciones, presented at La Tabacalera in Madrid in 2015, where they revisited their joint career and evolution in the use of technological and conceptual media, or in the exhibition Resignifications at the Galician Center for Contemporary Art, revisiting their work 10 years later. Throughout their collaboration, they have addressed themes such as memory, identity, and communication, using various formats including interactive installations, performances, and radio works. Their joint work has been exhibited at numerous international festivals and exhibitions, establishing them as key figures in the field of interdisciplinary contemporary art. <<-- Back Diario, 1997-2024. The work originates from the InterMedia concert "El Diario de Jonás", commissioned by the CDMC for its premiere at the Alicante Festival in 1997. For that occasion, all the scores were prepared, along with forty phrases, and the sequences were mixed. In 1998, the artists created a first version as an installation at La Gallera (Valencia), within the framework of the ENSEMS festival. Additionally, they produced a radio work titled "Tagebuch", commissioned and produced by WDR in Cologne. Studio recordings of selected scores from the concert, made to assemble this radio work, were the sole material for that installation, along with phrases recorded by the two authors with their individual memories; these phrases became the starting point for the entire compositional process. This new version, which is a reinterpretation of the concert in installation format, introduces new materials not included in the original 1998 installation, such as the sequences mixed in 1997 for the concert. Furthermore, the eight sound sources projecting the work are controlled by an application that, through a computer and sound card, selects in real time, based on pre-established patterns, the sound to be played and the speaker through which it is broadcast. In this way, the process partially retains the mobile and unpredictable nature of the concert, where chance and randomness were also welcomed. The software for the artwork was developed by sound artist Josep Manuel Berenguer. This project, produced by the NewArtFoundation, has been made possible thanks to a research program carried out in collaboration with the General Directorate of Innovation and Digital Culture of the Department of Culture of the Generalitat de Catalunya.

Julius von Bismarck & Benjamin Maus, Breisach, 1983 / Berlin, 1984. ​Julius Von Bismark y Benjamin Maus are two German artists, based in Berlin, who often work together on diverse projects, always related to media art. Julius von Bismarck, studied visual communication at the University of the Arts in Berlin and was a member of Joachim Sauter’s ‘Digital Class’. In 2013, he was doing his Master as a student of Olafur Eliasson and his Institute for Space Experiments at University of Arts in Berlin. He also participated in the MFA program at Hunter College in New York. Julius von Bismarck shows his works worldwide and was awarded with several prizes, among others: The Golden Nica Award 2008 and Prix Ars Electronica Collide @ CERN 2011. Benjamin Maus, works as an experimental designer and artist in Berlin. After he had finished his studies at the University of Arts in Berlin, he took a semester focusing on research at the Tokyo Daigaku University. Benjamin Maus is the co-founder of Studio FELD and is mainly working on projects exploring the interface between crafts and digital media. Their work “Perpetual Storytelling Apparatus” won the 5th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Perpetual Storytelling Apparatus Julius von Bismarck & Benjamin Maus, Breisach, 1983 / Berlin, 1984. Julius Von Bismark y Benjamin Maus are two German artists, based in Berlin, who often work together on diverse projects, always related to media art. Julius von Bismarck, studied visual communication at the University of the Arts in Berlin and was a member of Joachim Sauter’s ‘Digital Class’. In 2013, he was doing his Master as a student of Olafur Eliasson and his Institute for Space Experiments at University of Arts in Berlin. He also participated in the MFA program at Hunter College in New York. Julius von Bismarck shows his works worldwide and was awarded with several prizes, among others: The Golden Nica Award 2008 and Prix Ars Electronica Collide @ CERN 2011. Benjamin Maus, works as an experimental designer and artist in Berlin. After he had finished his studies at the University of Arts in Berlin, he took a semester focusing on research at the Tokyo Daigaku University. Benjamin Maus is the co-founder of Studio FELD and is mainly working on projects exploring the interface between crafts and digital media. Their work “Perpetual Storytelling Apparatus” won the 5th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Perpetual Storytelling Apparatus http://juliusvonbismarck.com https://www.allesblinkt.com <<-- Back Perpetual Storytelling Apparatus, 2009 The “Perpetual Storytelling Apparatus” is a drawing machine illustrating a never-ending story by the use of patent drawings. The machine translates words of a text (e.g. a novel) into a stream of patent drawings. Eight million patents – linked by over 22 million references – form the vocabulary. By using references to earlier patents, it is possible to find paths between the patents that have been found for word-combinations in the story. Those connections form a subtext. New visual connections and narrative layers emerge through the interweaving of the story with the depiction of technical developments. The apparatus takes a combination of words in the story and searches for a patent document, whose text contains those words. Then it extracts the main drawing from the patent document and draws it. Advancing in the story, it finds the next patent document. Between the found patent and the previously drawn patent, the patents that connect the two are drawn in between. This process repeats and ingests one story after another, and generates an endless stream of patent drawings. The first two instances of the “Perpetual Storytelling Apparatus” are using the database of the US Patent and Trademark Office. The third apparatus, which has recently been installed at the German Patent Office in Munich, uses the whole backlog of patents applied for in Germany.

Weidi Zhang, Beijing, 1991. ​Weidi Zhang is an LA-based new media artist and researcher. Her current research and media art practices investigate A Speculative Assemblage – interactive image-data-based visualization of a human-machine reality in the context of data visualization, responsive Intelligence system design, and immersive media. Her works are featured at international venues, such as the SIGGRAPH Art Gallery Best In Show, ISEA, Times Art Museum (CN), Japan Media Arts Festival, Lumen Prize (UK), SIGGRAPH ASIA, IEEE VISAP, Planetarium 1 (RUS), Zeiss-Planetarium (GE), Society For Arts and Technology (CAN), and others. Currently, she is a Ph.D. candidate in the Media Arts and Technology Program and a graduate researcher in Experimental Visualization Lab. She lectures at UC Santa Barbara and The Ohio State University. She holds her MFA degree in Art + Technology at the California Institute of the Arts and a BFA degree in Photo/Media at the University of Washington, Seattle. Weidi Zhang, Beijing, 1991. Weidi Zhang is an LA-based new media artist and researcher. Her current research and media art practices investigate A Speculative Assemblage – interactive image-data-based visualization of a human-machine reality in the context of data visualization, responsive Intelligence system design, and immersive media. Her works are featured at international venues, such as the SIGGRAPH Art Gallery Best In Show, ISEA, Times Art Museum (CN), Japan Media Arts Festival, Lumen Prize (UK), SIGGRAPH ASIA, IEEE VISAP, Planetarium 1 (RUS), Zeiss-Planetarium (GE), Society For Arts and Technology (CAN), and others. Currently, she is a Ph.D. candidate in the Media Arts and Technology Program and a graduate researcher in Experimental Visualization Lab. She lectures at UC Santa Barbara and The Ohio State University. She holds her MFA degree in Art + Technology at the California Institute of the Arts and a BFA degree in Photo/Media at the University of Washington, Seattle. https://www.zhangweidi.com/ <<-- Back Ray ,2021 Ray is an interactive multi-modal Intelligent system that is designed to re-interprets Rayograph, a modern image-making technique, through visualizing the hidden information of live streaming video in the context of AI and surveillance. In the art installation, the intelligent system RAY constantly observes audiences via a camera and translates the live streaming data of audiences into an ever-evolving semantic Rayograph in real-time. https://www.zhangweidi.com/ray

Mark Amerika, Miami, 1960 ​Artist, theorist, writer and teacher. Founder of the Ph. Program in Intermedia Art, Writing and Performance in the School of Media, Communication and Information. Considered a pioneer of net.art, since the 90s he has developed a solid career based on experimentation with new technologies and media. ​He has held solo exhibitions at venues such as the Denver Art Museum, the Institute of Contemporary Art in London and the Walker Art Center in Minneapolis. His work has been shown in over 100 international group exhibitions on five continents and, in 2009-2010, the National Museum of Contemporary Art in Athens hosted the exhibition entitled UNREALTIME. Other exhibitions were shown at The Power Plant (Toronto), the Eli and Edith Broad Museum of Art, the Denver Museum of Contemporary Art, the ZKM and the Montreal Biennale. The Abandon Normal Devices Festival in the UK, in conjunction with the London 2012 Olympics commissioned Amerika’s large-scale transmedia artwork, Museum of Glitch Aesthetics [MOGA] which was shown in a solo exhibition in Manchester. He is the author of numerous books, including the cult novels The Kafka Chronicles (FC2/University of Alabama Press, 1993) and Sexual Blood (FC2/ University of Alabama Press, 1995), as well as two books documenting his experiences as one of the first digital artists investigating Internet and remix culture: META/DATA: A Digital Poetics (The MIT Press, 2007) and remixthebook (University of Minnesota Press, 2011). In 2022, Amerika published My Life as an Artificial Creative Intelligence (Stanford University Press), a book of artist writings focused on his experiments with artificial intelligence. Mark Amerika, Miami, 1960 Artist, theorist, writer and teacher. Founder of the Ph. Program in Intermedia Art, Writing and Performance in the School of Media, Communication and Information. Considered a pioneer of net.art, since the 90s he has developed a solid career based on experimentation with new technologies and media. He has held solo exhibitions at venues such as the Denver Art Museum, the Institute of Contemporary Art in London and the Walker Art Center in Minneapolis. His work has been shown in over 100 international group exhibitions on five continents and, in 2009-2010, the National Museum of Contemporary Art in Athens hosted the exhibition entitled UNREALTIME. Other exhibitions were shown at The Power Plant (Toronto), the Eli and Edith Broad Museum of Art, the Denver Museum of Contemporary Art, the ZKM and the Montreal Biennale. The Abandon Normal Devices Festival in the UK, in conjunction with the London 2012 Olympics commissioned Amerika’s large-scale transmedia artwork, Museum of Glitch Aesthetics [MOGA] which was shown in a solo exhibition in Manchester. He is the author of numerous books, including the cult novels The Kafka Chronicles (FC2/University of Alabama Press, 1993) and Sexual Blood (FC2/ University of Alabama Press, 1995), as well as two books documenting his experiences as one of the first digital artists investigating Internet and remix culture: META/DATA: A Digital Poetics (The MIT Press, 2007) and remixthebook (University of Minnesota Press, 2011). In 2022, Amerika published My Life as an Artificial Creative Intelligence (Stanford University Press), a book of artist writings focused on his experiments with artificial intelligence. https://markamerika.com/ https://www.youtube.com/watch?v=p9feoVWv7H0 <<-- Back Cookie Monster (Gloyaglitch 1) [MOGA], 2005-2006 It was created between 2005 and 2006 when Mark Amerika was beginning to experiment with the low quality imageshe obtained with a cell phone camera. He captured details of important works of art history, such as Saturn devouring his son, one of Goya's black paintings. The animated GIF is a format inherent to today's popular culture, somewhere between photography and video, and where quality is the least relevant. In fact, these images were captured by the artist in the years when cell phones with video cameras were really popular, something that transformed the way we communicate and that was incorporated by some creators to their artistic practices, as it happens with all communication technologies that have emerged in recent decades. The GIF becomes a perfect vehicle to tell a short story, an emotion. We can appreciate how some of these images are directly linked to the history of art, appropriating, reworking with a contemporary vision, and decontextualizing, sometimes in a humorous way. Lake Como Remix [MOGA], 2012 It represents a journey via Google Street View through the Italian Lake Como and the landscape that surrounds it. Described by the artist as a “cyberpsychogeographic” journey, he experiments with the functions of the software, creating images that show the glitch aesthetics inherent to the images that are produced by this type of program. The work is part of the MOGA_Museum of Glitch Aesthetics, a virtual museum and transmedia artwork that hosts various forms of glitch art (video, animated GIF, still images, sound art and electronic literature). It was commissioned by the Abandon Normal Devices Festival on the occasion of the 2012 London Olympics. This virtual museum displays the expressive capacity of error, of failure, and ruptures our mental construction of reality. We live in a post-digital era in which the hyper-real, high-resolution image is being pursued for its resemblance to reality. Glitch art questions this sort of image, typical of the present, through deformation. Value [Value Propositions], 2021 During the pandemic, with the surge of NFTs, digital art became a rising commodity for the first time in art history. Amerika, seeing the recent explosion of interest in digital art online, in 2021, working with an archive on a 1994 Powerbook, the same one he used to create his most iconic artwork, GRAMMATRON, decided to address this new speculative art market and began creating a new series of artwork entitled Value Propositions. These short, conceptual sentences, created on his old laptop and using 30-year-old software, are a direct and playful response to the rapid commodification of digital art. He uses an old Netscape web browser as a framing device to produce fictitious web pages that have been transformed into digital prints whose titles include the word NFT in a 1994 web browser, creating a disruption in the history of net.art. Value Propositions represents a satirical critique of the contemporary art market, especially now that digital art is taken more seriously only because it has increased in monetary value. This series of works is influenced by the work of John Baldessari, Joseph Kosuth and Jenny Holzer.

<-- Return PATRONAGE OF THE NEW ART FOUNDATION President Farovey, SL - Sr. Andreu Rodríguez Valveny Vocals Associació Catalana d’Enginyers de Telecomunicacions (ACET) - Sr. Gonçal Bonhome Altable Col·legi Oficial d’Enginyers Industrials de Catalunya - Sr. Miquel Manuel Obradors Melcior Col·legi Oficial d’Enginyeria Informàtica de Catalunya (COEINF) - Dra. Karina Gibert Oliveras Universitat Oberta de Catalunya (UOC) - Sr. Pau Alsina González Art Futura - Sr. Santi Fort Fernández Pausovia 2004, SL - Sr. Joaquim Barriach Sugrañes Masergrup SLU - Sra. Amèlia Ribera Gironés Piman Rova, SL - Sr. Jordi Gibert Bru Sra. Pilar Rodríguez Valveny Sra. Marie-France Veyrat Mr. Vicente Matallana - Director of the New Art Foundation Mrs. Beatriz Niño - Secretary of the Board of Trustees

Darya von Berner, Ciudad de México, 1959. Darya von Berner begins her trajectory at the New York School of Visual Arts with Milton Glaster and continues in Europe with Enzo Cucchi, Wolf Vostell, Janis Kounellis and Tony Cragg. Around 1984 she begins her career as an artist, receiving diverse prizes and grants that lead her first to Paris and then to Italy after receiving the Spanish Academy of Fine Arts Grant in Rome. In 1991 she begins a long international voyage with exhibitions in diverse galleries in Europe and America and a habitual presence in successive editions of Art Basel, ARCOmadrid and Art Cologne. More recently she is involved in public art projects such as the series titled “Atmospheres,” in which she create real clouds around architectural monuments. The first of these interventions took place in Madrid in 2007 when she wrapped the Alcalá Gate in a cloud. This artistic intervention had a widespread media impact and since then she has received numerous invitations to create “Atmospheres” in Paris, Brussels, Córdoba, etc. Her most recent work is “Universal Peace Flag” installed in front of the Palace of Peace in the Hague. Other installations are those which she executes with lineal light in emblematic spaces of modern architecture from the beginning of the 20th century. For Darya von Berner, the practice of art is means for the production of critical significance, always in dialogue with the surrounding world. Work at the collection: Untitled, 1997. Darya von Berner, Ciudad de México, 1959. Darya von Berner begins her trajectory at the New York School of Visual Arts with Milton Glaster and continues in Europe with Enzo Cucchi, Wolf Vostell, Janis Kounellis and Tony Cragg. Around 1984 she begins her career as an artist, receiving diverse prizes and grants that lead her first to Paris and then to Italy after receiving the Spanish Academy of Fine Arts Grant in Rome. In 1991 she begins a long international voyage with exhibitions in diverse galleries in Europe and America and a habitual presence in successive editions of Art Basel, ARCOmadrid and Art Cologne. More recently she is involved in public art projects such as the series titled “Atmospheres,” in which she create real clouds around architectural monuments. The first of these interventions took place in Madrid in 2007 when she wrapped the Alcalá Gate in a cloud. This artistic intervention had a widespread media impact and since then she has received numerous invitations to create “Atmospheres” in Paris, Brussels, Córdoba, etc. Her most recent work is “Universal Peace Flag” installed in front of the Palace of Peace in the Hague. Other installations are those which she executes with lineal light in emblematic spaces of modern architecture from the beginning of the 20th century. For Darya von Berner, the practice of art is means for the production of critical significance, always in dialogue with the surrounding world. Work at the collection: Untitled, 1997. https://daryavonberner.net/ <<-- Back Untitled, 1997 Form a line, never a point! Speed transform the point into a line! Be fast, even while standing still! Cf. Paul Virilio “Vehiculaire, en Nomades et Vagabonds”, 10/18, p.44. Work on deposit from LaAgencia Collection.

Marina Núñez, Palencia, 1966. Marina Núñez is a multidisciplinary artist who works with different formats, including painting, video and new technologies, she holds a Bachelor’s in Fine Arts from the University of Salamanca and a PhD in Fine Arts from the University of Castilla-La Mancha. She currently combines her artistic career with teaching at the University of Vigo. With her recent works, Marina Núñez invites us to reflect on how our subjectivity and our lives are affected by the interferences between the human and the technological that are produced more frequently each time. Because of this sense of anticipation to many of today's most important philosophical reflections, her work has had a great influence on contemporary debates. ​ A constant in her work is the representation of aberrant, different beings, those that exist on the fringes of the canon. The anomalous bodies that populate her paintings, computer graphics or videos speak to us about an identity that is metamorphic, hybrid and multiple. She recreates an unstable and impure subjectivity so that otherness is not something alien, but that basically constitutes the human being. Thus, her hysteric women, medusas, mummies, monsters or cyborgs —though they belong to the territory of the outcasts— do not seem to be distant but can affect and identify with us. And her images are perceived as slightly deformed mirrors that suggest us that madness or monstrosity are simply a question of degree. ​ Her work is included in the collections of Museo Nacional Centro de Arte Reina Sofía in Madrid, Artium in Vitoria, MUSAC in Leon, Patio Herreriano in Valladolid, TEA in Tenerife, Fundación La Caixa, Fundación Botín, Corcoran Gallery of Art in Washington DC, National Museum of Women in the Arts in Washington DC, Mint Museum of Art in Charlotte, North Carolina, Katzen Arts Center, American University Museum, in Washington DC, Fonds régional d'art contemporain in Corsica. ​ ​ Her works “Still Life Swell” and “Still Life Tornadoes” won the 16th edition of the ARCO-BEEP Electronic Art Award. Works at the collection: - Still Life Swell - Still Life Tornadoes Marina Núñez, Palencia, 1966. Marina Núñez is a multidisciplinary artist who works with different formats, including painting, video and new technologies, she holds a Bachelor’s in Fine Arts from the University of Salamanca and a PhD in Fine Arts from the University of Castilla-La Mancha. She currently combines her artistic career with teaching at the University of Vigo. With her recent works, Marina Núñez invites us to reflect on how our subjectivity and our lives are affected by the interferences between the human and the technological that are produced more frequently each time. Because of this sense of anticipation to many of today's most important philosophical reflections, her work has had a great influence on contemporary debates. A constant in her work is the representation of aberrant, different beings, those that exist on the fringes of the canon. The anomalous bodies that populate her paintings, computer graphics or videos speak to us about an identity that is metamorphic, hybrid and multiple. She recreates an unstable and impure subjectivity so that otherness is not something alien, but that basically constitutes the human being. Thus, her hysteric women, medusas, mummies, monsters or cyborgs —though they belong to the territory of the outcasts— do not seem to be distant but can affect and identify with us. And her images are perceived as slightly deformed mirrors that suggest us that madness or monstrosity are simply a question of degree. Her work is included in the collections of Museo Nacional Centro de Arte Reina Sofía in Madrid, Artium in Vitoria, MUSAC in Leon, Patio Herreriano in Valladolid, TEA in Tenerife, Fundación La Caixa, Fundación Botín, Corcoran Gallery of Art in Washington DC, National Museum of Women in the Arts in Washington DC, Mint Museum of Art in Charlotte, North Carolina, Katzen Arts Center, American University Museum, in Washington DC, Fonds régional d'art contemporain in Corsica. Her works “Still Life Swell” and “Still Life Tornadoes” won the 16th edition of the ARCO-BEEP Electronic Art Award. Works at the collection: - Still Life Swell - Still Life Tornadoes http://www.marinanunez.net https://en.wikipedia.org/wiki/Marina_N%C3%BA%C3%B1ez <<-- Back Still Life Tornadoes & Still Life Swell, 2021. The works “Still Life Tornadoes”, “Still Life Swell”, are a reformulation of the Neo-Barroc Still Life genre in several videos, allegorizing both the questions related to human existence and its relationship with Nature. Their pictorial tonality is very sophisticated, offering a fascinating hyper-reality approach that presents the viewer with specific details such as the movement of a piece of cloth or the spilling of liquid from a glass due to an inexplicable turbulence. Drama and beauty are intertwined in these works that explain this artist’s maturity. http://www.marinanunez.net/naturaleza-muerta

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