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Eugenio Ampudia, Melgar, 1958. As a multidisciplinary artist, his work approaches the artistic processes from a critical point of view; the artist as a promoter of ideas, the political role of creators, the meaning of art pieces, the strategies that allow to bring them to life, their mechanisms of production, promotion and consumption, the efficiency of spaces assigned to art, as well as the analysis and experience of those who watch and interprets them. His work has been internationally exhibited in places as ZKM, Karlsruhe, Jordan National Gallery of Fine Arts, Amman, Museo de Arte Carrillo Gil, Mexico DF, Centro de las Artes de Monterrey and Museo de Arte Contemporáneo de Oaxaca, Boston Center for the Arts, Boston Ayala Museum, Manila, The Whitechapel Gallery in London, Abierto X Obras, Matadero, Madrid, MAC Gas Natural Fenosa, La Coruña, Ars Electronica, Linz, and in Biennials such as Singapore and Havana’s The End of the World Biennial. And it is also held in collections of museums as MNCARS, MUSAC, ARTIUM, IVAM, and La Caixa, among others. His work “Try Not To Think So Much” won the 13th edition of the ARCO-BEEP Electronic Art Award His works at the collection: Try Not To Think So Much, Mala Hierba, and Perec http://www.eugenioampudia.net <<-- Back Try Not To Think So Much, 2018 With this piece Ampudia continues his line of work of emphasizing on art as an effective communication method. In this case, the artist plays with the paradox of breaking that flow through communicational noise. By applying the term “noise” to communication, he not only addresses an unpleasant sound but also any interference in this process. With this work, he alludes to the communicational noise with which we cohabit and which surrounds us, and transforms into a silent method of influence in our everyday environment. The artist aims at communication in the art world, that tends to be endogamic and self-referencing while proclaiming discourses which are supposedly intended to bring culture to the spectator. The fact that the piece´s noise is made from the appropriation and superposition of conferences related to the art world which are hardly understandable, is an ironic nod to the theoretical apparatus and the codes on which the art system relies. The phrase is a composed amplifier, and every letter comprising it has a pertubing mission, allowing Ampudia to configure a faltering narrative, which also speaks about subjetivity of the discourse and opens doors towards ideas sunch as the discourse of powers or the power of Foucalt´s discourse. https://vimeo.com/279637148 Mala Hierba, 2015 “Mala Hierba” (Bad Weeds) is a sculpture that plays at giving life to a referential element such as weeds, breaking this space in which we recognise ourselves by making it breathe, exploring our fears. “It’s too late to be afraid. Nothing is more disturbing than impotently watching the movement of the grass below our feet. Those that prefer injustice to disorder cannot stand the drive to advance of those who express no other destiny than measuring their own disordered, convulsive and messy, strength. The risk is the message.” https://vimeo.com/139689380 Perec bajando una escalera, 2013 A library whose books lack the strength to express themselves and need the help of the moving word at their back. And sometimes the words are too specific. Or maybe they have always been too specific for the world, for art, but especially for the present moment, and we find ourselves in urgent need of different codes and strategies. Work on deposit from LaAgencia Collection.

Lluis Barba (Barcelona, 1952). Photographer Multidisciplinary artist. He studied at “Llotja” – University Degree in Arts and Design – and Massana School. Barcelona. His work is based on a critical and social sense, which contrasts with the language used by the author of the masterpiece. He makes a subjective review of the art of the past and structures an interrelation between historical figures and contemporary personalities. His works have a great visual density, characterized by having a critical-conceptual will. His work is part of both public and private collections internationally. https://lluisbarba.com/ <<-- Back

James Clar, Wisconsin, 1979 James Clar is a media artist whose work is a fusion of technology, popular culture, and visual information. His work explores the limitations of various communication mediums and its effect on the individual and society. Focusing on the visual arts, his work often controls and manipulates light - the common intersection of all visual mediums. Clar studied film as an undergraduate at New York University focusing on 3D Animation, then continued on to his Masters at NYU's Interactive Telecommunications Program. It was here that he moved away from screen-based work and started working directly with light, creating sculptural lighting pieces. By developing his own systems with which to manipulate light, he discovered he could create unique visual displays, as well as circumvent the limitations of screen-based work, namely resolution and two-dimensionality. While his early work dealt with analyzing how technology and media work, a move to the Middle East in 2007 has seen his focus shift to how technology and media affect. As an American living in Dubai, his art work has progressed towards deeper conceptual themes. These include nationalism, globalism, and popular culture in the age of mass information, and often analyses the discrepancy in information between Western media and Middle Eastern media along with its effects on people. The beginning of 2011 sees Clar open “Satellite”, a new studio in a warehouse space that will allow for larger scale experimentation and production. Satellite will also serve as an exhibition space for select works; sculptures, wall pieces, and art installations that take advantage of the space. It will have an open house feel, allowing the public to come inside and have a look at both finished works and the artistic process; a unique opportunity to engage with the artist often before the works are known to the contemporary art world. Clar, who will curate and manage the programming of Satellite, plans to invite other artists passing through Dubai to use the space as a kind of satellite studio while away from home, encouraging experimentation in a new environment and collaboration between artists. Works at the collection: Half Submerged http://www.jamesclar.com/ <<-- Back "Half Submerged" (2022). An object sits halfway in water, placing itself in two different environments. The object disappears slightly as it enters the water, amplifying light's physical properties while calling attention to the illusion of the object itself. https://www.instagram.com/p/ChAesnXJnFx/?hl=es

Spéculaire: Flavien Théry, Paris, 1973 & Fred Murie, Rennes, 1972. Spéculaire brings together the artists Flavien Théry and Fred Murie to develop projects that bring into play physical forms, perceptive phenomena and digital technologies. The installations, objects and applications resulting from this association seek to manifest, within the real, the presence of immaterial dimensions, like new unsuspected realities… Flavien Théry was born in Paris in 1973. He graduated from the Ecole Supérieure des Arts Décoratifs de Strasbourg and lives and works in Rennes. After a career in the world of design, his research is now part of a lineage between the optical and kinetic art movement and current practices using new media, with a particular interest in the relationship between art and science. He intends, through his artistic proposals, to explore the whole spectrum of light, visible and invisible, undulatory and corpuscular, material and spiritual. Fred Murie was born in Rennes in 1972. He lives and works in BriSany. Following a scientific career, Fred Murie has affirmed an artistic ambition that continues to be nourished by this initial training. This double identity has led him from painting to digital experimentation until today to develop a practice by which language becomes form. Whether visual, verbal or digital, language allows him to question reality through a system of constraints. The constraint is considered here as a set of rules that must be subverted and transcended in order to reveal their creative force. By emancipating himself from the rules, he produces hybrid and paradoxical forms like so many enigmas aiming at disturbing our senses. Fred Murie works to create frames that open up new perspectives through which our imagination can unfold. Work at the collection: Oracle https://www.speculaire.fr/ <<-- Back Oracle, 2016. A screen shows a visual ‘noise’ pattern evoking the cathodic snow. When the spectator skims this random image, some typographical forms appear and disappear as soon as the movement stops. As during a spiritualism session, Oracle spells out words which will be as many messages sent by a mysterious entity. Thus, from a seemingly empty space, signs of a hypothetical technological beyond emerge. https://www.speculaire.fr/flavien-thery-fred-murie/oracle https://vimeo.com/76204670

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

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

Dmitry Gelfand, St. Petersburg, 1974 and Evelina Domnitch Minsk, 1972. The duo creates installations and performances that merge physical phenomena with uncanny philosophical practices. Current findings, particularly regarding wave phenomena, are employed by the artists to investigate questions of perception and perpetuity. Such investigations are salient because the scientific picture of the world, which serves as the basis for contemporary thought, still cannot encompass the unrecordable workings of consciousness. Having dismissed the use of recording and fixative media, Domnitch and Gelfand's installations exist as ever-transforming phenomena offered for observation. Because these rarely seen phenomena take place directly in front of the observer without being intermediated, they often serve to vastly extend the observer's sensory envelope. The immediacy of this experience allows the observer to transcend the illusory distinction between scientific discovery and perceptual expansion. http://portablepalace.com/ <<-- Back Orbihedron, 2017 Installation in collaboration with LIGO and William Basinski. A dark vortex in the middle of a water-filled basin emits prismatic bursts of rotating light. Akin to a radiant ergosphere surrounding a spinning black hole, Orbihedron evokes the relativistic as well as quantum interpretation of gravity – the reconciliation of which is essential for unraveling black hole behaviour and the origins of the cosmos. Descending into the eye of the vortex, a white laser beam reaches an impassible singularity that casts a whirling circular shadow on the basin’s floor. The singularity lies at the bottom of a dimple on the water’s surface, the crown of the vortex, which acts as a concave lens focussing the laser beam along the horizon of the “black hole” shadow. Light is seemingly swallowed by the black hole in accordance with general relativity, yet leaks out as quantum theory predicts. With the generous support of LIGO, Isabel De Sena and Fulcrum Arts. https://vimeo.com/310659758/

José Manuel Berenguer, Barcelona, 1955. Director of the Chaos Orchestra and the Música 13 Festival, founder of Nau Côclea, member of the Bourges International Academy of Electroacoustic Music and Honorary President of the UNESCO International Music Council’s International Conference of Electroacoustic Music, he has been bestowed with awards and distinctions from institutions such as the Internationale Ferienkurse Darmstadt, Gaudeamus Foundation, Prix de Musique Electroacoustique de Bourges, Concorso di Musica Elettronica - Fondazione Russolo-Pratella, CIM-UNESCO International Rostrum of Electroacoustic Music, Barcelona Contemporary Music Festival, National Spanish Radio and the Castile-La Mancha Video Award. In recent years, he has tended to express his artistic ruminations through installations and real-time computing devices, therein reflecting on philosophy and scientific history, the limits of language, ethics, life and artificial intelligence, robotics, information metabolism and the limits of human perception and comprehension. His most recent works include installations, such as Silenci, Transfer, La Casa de la Pólvora, Mega kai Mikron and Autofotóvoros, and performances such as Minf, On Nothing, Lambda-Itter (with Jane Rigler), Expanded Piano (with Agustí Fernàndez) and Desde dentro, for microscope, electric guitar and electronic sound and image generation. His work “Luci, sin nombre y sin memoria” won the 3th edition of the ARCO-BEEP Electronic Art Award. Works at the collection: Luci, sin nombre y sin memoria, 64 modules development and 21 modules development (Luci 21 modules is on loan of the NewArtFoundation) http://www.sonoscop.net/jmb <<-- Back Luci, sin nombre y sin memoria, 2008 “Luci” reproduces the functioning of a self-organising system inspired in the behaviour of fireflies in southeast asian mangrove swamps. It has been observed that when the male launches an intermittent signal the female responds with a similar signal. At first, the emissions tend towards similarity before finally matching entirely. This is just an example of what is a general characteristic of nature: the existence of coupled oscillators, systems that tend to stabilise in certain, periodic sequence states as long as fluctuations sufficiently powerful to interrupt the stability of these configurations are not produced. “Luci” consists of 64 units, each composed of 5 transmitters, sensitive to light and sound whose rhythmic behaviour configures innumerable, chaotic patterns that tend towards stability. The individual components lack information regarding the behaviour of the whole and the behaviour of “Luci” is manifestly more complex than that of its components. The alteration of the ambient luminosity produced by the intervention of the visitor stimulates the communication of the components provoking a new coupled configuration. Although the polyrhythmic patterns of adaptation are not always equal, and despite the fact that the starting points and routes may be essentially different, they always end in the same place. Luci is a proof that the world is full of clocks that tend to coincide and whose heartbeats generate a sound of universal dimensions that give us an idea of the order that we believe we perceive in nature. “Luci” is, in the final instance, an allusion to the irreversibleness of nature and the absolute security of death. https://www.youtube.com/watch?v=d8CvsyFvgDg Luci, sin nombre y sin memoria, 2008 ¨Little Luci 16 Modules¨ Donation from the artist

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

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