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Manuel Fernández, Málaga, 1977. His artistic practice begins at the intersection of art, popular culture and Internet. He explores the impact of technologies on society and their consequences in the way we perceive and experience reality. He investigates on new processes involved in the creation and production of the art object, in its distribution, presentation and in their consumption in the era of Internet of things. Fernández has several works at the Artbase of Rhizome at the New Museum NYC and has been exhibited in the Americas, Europe and Asia, including The Museum of Moving Image, New York, The Armory Show, New York, PHotoespaña Madrid, Art Basel Miami Beach, ARCO Madrid, The Photographers Gallery, London, Galerie Verney-Carron, Lyon, Paradise. A space for screen addiction, Marseille, Xpo Gallery, Paris and Super Dakota, Brussels. Manuel has been one of the jurors of "ERROR 415" Award in New Media organized by ArtSlant in 2013 and has been awarded with the ARCO-BEEP Electronic Art Award in 2014. His work have been featured in multiple outlets, including El País, Liberation, Triangulation Blog, I like this art, Dazed Digital, FastCo Blog, Complex Blog, O Fluxo Blog, trend magazine Notodo and Minus Space Blog, among others. His work “On Kawara Time Machine” won the 9th edition of the ARCO-BEEP Electronic Art Award. Work at the Collection: On Kawara Time Machine http://www.manuelfernandez.name/ <<-- Back On Kawara Time Machine, 2011 Is a Internet work in progress project. A javascript counter automates the On Kawara time based works from the beginning of "Date paintings" in January 4, 1966, to the actual date checked in the operating system clock. The CSS code takes the look of the paintings, using white futura bold typography on black background. The Project will be completed at the date of the death of On Kawara, including a new variable in the code, the counter will count from the origin of "Date paintings" to the date of his dead. http://www.onkawaratimemachine.com/

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

Paolo Cirio, Torino, 1979. Paolo Cirio’s art practice embodies the conflicts, contradictions, ethics, limits, and potentials inherent to the social complexity of information society through a critical and proactive approach. Cirio’s artworks stimulate ways of seeing, examining, and challenging modern complex social systems, processes, and dynamics. Cirio uses popular language, irony, interventions, and seductive visuals to engage a wide public in works of art about critical issues. His aesthetic investigations are highly conceptual with layered and interconnected meanings, functions and agents presented as whole closed referential system of interrelated ideas and actions. Paolo Cirio’s fine art translates critiques of information systems into artifacts to visually document and illustrate social structures examined by his conceptual work. Cirio’s installation art combines images, photographs, diagrams, documents, public art, and videos to engage the general audience in experiencing and discovering subjects, outcomes, and significance of his interventions and concepts. Paolo Cirio has exhibited at major international institutions including C/O Berlin; Museum für Fotografie, Berlin; Musée National d’Histoire et d’Art of Luxembourg; Victoria and Albert Museum, London; Somerset House, London; ICP Museum, NYC; China Academy of Art, Hangzhou; MoCA Sydney; ZKM, Karlsruhe; CCCB, Barcelona; MAK, Vienna; National Museum of Contemporary Art, Athens; MoCA Taipei; Sydney Biennial; 12th Gwangju Biennale, South Korea; Fondazione Sandretto Re Rebaudengo, Turin; and NTT ICC, Tokyo. Work at the collection: Michael Rogers https://www.paolocirio.net/ https://en.wikipedia.org/wiki/Paolo_Cirio <<-- Back Michael Rogers, 2015 This artwork is part of a series of nine unauthorized photos of high-ranking U.S. intelligence officials of NSA, CIA, NI and FBI that were related to the Edward Snowden’s revelations. Michael S. Rogers has served as Director of the National Security Agency (NSA), Commander of U.S. Cyber Command, and Chief of the Central Security Service since April 3rd, 2014. The photos were found by monitoring the Internet public platforms with selfies and images of informal situations published without the control of the officials. Ultimately, the images were reproduced with the street art HD Stencils technique and they were disseminated onto public walls throughout major cities. The artwork satirizes the era of ubiquitous surveillance and overly-mediated political personas by exposing the main officials accountable for secretive mass surveillance and over-classified intelligence programs. New modes of circulation, appropriation, contextualization, and technical reproduction of images are integrated into this artwork. Work on deposit from LaAgencia Collection. https://youtu.be/bB8Iv8bL5co

Ubermorgen.com, Vienna, 1995. UBERMORGEN.COM is a Swiss-Austrian-American artist duo founded in 1995 and consisting of lizvlx and Hans Bernhard. They are European artists, net.art pioneers and online actionists. They tenaciously convert code & language and concept & aesthetics into digital objects, software art, text, net.art, large-scale installation, post-internet painting, videos, binary press-releases and online actions. They have shown, talked & published in major institutions around the globe and created digital commissions for both Serpentine and Whitney. CNN described them as 'maverick business people', NYT ‘simply brilliant’ and their main influences are: Rammstein & the Futurists, Samantha Fox & Charles Bukowski, Guns N’ Roses & Duran Duran, Sadie Plant & Olanzapine and LSD with Kentucky Fried Chicken's Coconut Shrimps Deluxe. Over the last 25 years as net.art pioneers and media hackers, they have been widely recognised for their high-risk research into data and matter and polarising social commentary. In 2000, UBERMORGEN reached an audience of 500 million with their satirical website Vote-Auction during the US presidential election, challenging the FBI, CIA and NSA. In 2005, they launched their acclaimed EKMRZ Trilogy, a series of conceptual hacks – Google Will Eat Itself, Amazon Noir and The Sound of eBay. UBERMORGEN’s research-based practice is driven by a desire to satisfy their own curiosity, without the constraints of having a defined political agenda or preconceived beliefs. Their open-ended investigations focus on the concept of corporate and governmental authority, power structures, and institutional and individual responsibility. The material they source and sample is eventually used to infiltrate, or hack the net and mass media; even a press release becomes a ’Media-Hack‘, an opportunity to let loose a contentious issue into the world. Once in circulation, it is manipulated and moulded by different agents, constantly evolving and adapting to this journey becoming installations, videos, websites, actions, pixel paintings and photographs, often involving unaware audiences in the process. Recent exhibitions include New Museum, NewYork,2019; Haus der Kulturen der Welt, 2017, ZKM Center for Art and Media Karlsruhe, 2017, Kunsthall Aarhus, 2013, Ars Electronica, Linz, 2013, and ArtScience Museum, Singapore, 2013. They have been awarded among others with the Swiss Art Award, Ars Electronica Award, Transmediale Award and the renowned IBM Award. Their work “The EKRMZ Trilogy” won the 4th edition of the ARCO-BEEP Electronic Art Award Work at the collection: The EKRMZ Trilogy http://ubermorgen.com http://www.ubermorgen.com/manifesto <<-- Back The EKRMZ Trilogy, 2008 “The EKMRZ TRILOGY” is made up of three projects, each one about an online economic giant that is possibly one of the most conflictive and least studied aspects of contemporary digital culture (by art or from any angle). GWEI – Google Will Eat Itself (2005-08) generates money from the self same google ads located in hidden pages. The profits are used to buy shares in the internet’s number one company. A “self-canibalizing” model of the digital economy that reminds of the meme that we have seen circulating: If Google is made by the users, let’s nationalise Google! In Amazon Noir – The Big Book Crime (2006-07) the bad guys (Cirio, Lizvlx, Ludovico, Bernhard) have appropriated 3000 copyrighted books which are sold on Amazon thanks to a robot of “Perversion Technology”. The programme in question has ended up selling Amazon for an undisclosed sum. The Sound of eBay (2008-09) uses data from the users of the platform to generate sound. You enter your username and email and you receive a notification when your song is ready for downloading. The sonic pieces, presented in the “teletext porn style” circulate the web, in the form of audiovisual landscapes.

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

Josecarlos Flórez, Lima, 1978. Josecarlos Flórez, is a Peruvian new media artist and independent researcher, who lives and works in Barcelona. His research area focuses on the fusion of art and open source technologies. He works on projects involving creative programming, sound, robotics, expressive lighting, generative visuals, data visualization, digital manufacturing, IoT (internet of things), VR (virtual reality) and AR (augmented reality), and AI (artificial intelligence) His work has been exhibited in Peru, Europe and the United States. He has participated in art fairs such as ARCO (Madrid) and Swab Art Fair (Barcelona) and in festivals such as Sonar + D (Barcelona) and ARS ELECTRONICA (Linz). In 2022 he was awarded the Artistic Production Scholarship awarded by ISEA 2022 (International Symposium on Electronic Art), and his work became part of the .NewArt { foundation;}. Works at the collection: RAINBEATS https://josecarlosflorez.com/ <<-- Back RAINBEATS, 2022 We live in a time when large amounts of data are being produced by sensors, portable devices and mobile phones. This data is collected, analyzed and used by companies and governments in an attempt to manage and control the city of a decentralized and centralized way. While such management and control are supposed to contribute to the well-being and security of citizens, in most cases the citizens are out of this circuit. In fact, they often do not participate in the generation, the analysis or use of the data, either because they do not have access to it or because they do not have the knowledge to perform such tasks. In an attempt to design new data visualization interfaces, and to bring them closer together viewers to the massive data in a creative way, born RAIN BEATS, a project that seeks to transform data into sensory experiences. This is an installation connected to the Internet, which obtains and processes atmospheric data (BIG DATA) and the it transforms into digital musical scores which are then transformed into sound. It’s a intelligent machine that processes data obtained from satellites that monitor the earth constantly deconstructing the environment into numbers, and using them as raw material to create soundscapes. We could say then that RAIN BEATS is a machine that creates and performs “music made by the forces of nature. https://isea2022.isea-international.org/event/artwork-rain-beats/ https://josecarlosflorez.com/rainbeats/

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

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

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#_=_

Ulrich Muchenberger, Basel, 1951. In 1994 Ulrich Müchenberger first discovered the phenomenon of light art. Synergistic combinations of light and color, changing or still, form the basis of his works. In 1995, the artist presented his first dynamic light project. Many other works followed, on the most diverse scale: from fundamental artistic lighting projects for architectural complexes (e.g. the National Museum in Copenhagen) to local light objects exhibited in galleries, even in the artist's homeland of Basel. In Müchenberger's works, both static and dynamic, there are always basic visual themes: the interplay between darkness and light in space and the optical effects of color combinations. The compositions of light are enclosed in a strict geometric form, like ordinary paintings: they change their harmonies of color, intensity, brightness according to the program established by the author. The viewer is immersed in these images and landscapes that, in response to the artist's message, open our imagination. The author tells of his series: "By engaging in a dialogue with my works, the viewer's consciousness generates a response. This bridge between the emotional experience and its manifestation is the color, that is, the connection between the internal and the external ". Thus, each viewer opens his or her own visual world. The color transitions in the artist's works change in a measured manner, with intervals of three and four minutes, which allows him to slowly consider all optical transformations and combinations. Visiting the exhibition, one can also appreciate the favorable arrangement of light objects in the interior, which is emphasized by the atmosphere of the "PROSVET" studio. http://umuchenberger.weebly.com/ <<-- Back Ojo a Ojo, The exhibition presents seven works from the Eye to Eye series. Light compositions are enclosed in a strict geometric form, like ordinary paintings: they change their color harmonies, intensity, brightness according to the program established by the author. The viewer is immersed in those images and landscapes that, in response to the artist's message, our imagination opens up for us. The author talks about his series: “By entering into dialogue with my works, the viewer's consciousness generates a response. This bridge between the emotional experience and its manifestation is what color is, that is, the connection between the interior and the exterior. Thus, each viewer opens his own visual world. https://vimeo.com/205356184 https://vimeo.com/119499775