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Mónica Rikić, Barcelona, 1986. New media artist and creative coder from Barcelona. She focuses her practice in code, electronics and non-digital objects for creating interactive projects often framed as experimental games, which aim to go beyond the game itself. Her interest lies in the social impact of technology, human-machine coexistence and the reappropriation of technological systems and devices, to manipulate and rethink them through art. From educational approaches to sociological experimentation, she proposes new ways of thinking and interacting with the digital environment that surrounds us. With her projects she has participated in different festivals around the world such as Ars Electronica in Linz, Sónar in Barcelona or FILE in Brazil, among others. She has been awarded at festivals such as the Japan Media Arts Festival, AMAZE Berlin, the Margaret Guthman Musical Instrument Competition in Atlanta and with a BBVA Foundation Leonardo grant to work on a research project about robots and social interactions. She’s dona artistic residencies at Technoculture, Arts and Games in Montreal, European Media Artists in Resicence Exchange (EMARE) in Australia, Medialab Prado in Madrid and Platohedro in Medellin. Work at the collection: New Home of Mind Mónica Rikić, Barcelona, 1986. New media artist and creative coder from Barcelona. She focuses her practice in code, electronics and non-digital objects for creating interactive projects often framed as experimental games, which aim to go beyond the game itself. Her interest lies in the social impact of technology, human-machine coexistence and the reappropriation of technological systems and devices, to manipulate and rethink them through art. From educational approaches to sociological experimentation, she proposes new ways of thinking and interacting with the digital environment that surrounds us. With her projects she has participated in different festivals around the world such as Ars Electronica in Linz, Sónar in Barcelona or FILE in Brazil, among others. She has been awarded at festivals such as the Japan Media Arts Festival, AMAZE Berlin, the Margaret Guthman Musical Instrument Competition in Atlanta and with a BBVA Foundation Leonardo grant to work on a research project about robots and social interactions. She’s dona artistic residencies at Technoculture, Arts and Games in Montreal, European Media Artists in Resicence Exchange (EMARE) in Australia, Medialab Prado in Madrid and Platohedro in Medellin. Work at the collection: New Home of Mind https://monicarikic.com <<-- Back New Home of Mind, 2020 Futuristic fiction interactive audiovisual artifact that deals with the perception of identity in intelligent artificial entities and encompasses the possibility of a genuine artificial spirituality. Conceptually, it starts from the idea of a conscious robot that suffers an existential crisis as a result of having rewritten and eliminated the purpose for which it was created from its code. Now, seek the true meaning of your existence through a spiritual interface. This project represents that interface and speculates on the meaning of artificial consciousness through an interactive first-person journey through a spiritual cyberspace. The representation of divinity in robots is recursive, but usually represents human spiritualities. With this project I want to create a device that meets the spiritual needs of machines. Being a conscious machine means having a brain complex enough to generate not only abstract thought, but to have a unitary sense of “I-am-ness”. Nobody has managed to explain what consciousness is to reproduce it in a machine, but in this project the artist is going to imagine its spiritual possibilities from an artistic perspective. By doing this exercise in digital discretion of the “I-am-ness”, she wants to create a mirror effect to reflect on the bases of our identity through technology. Historically our approach to the non-human 'others' has always been from a higher position of power. However, our perception of AI is changing to find us for the first time with the conception of something equal or superior. Cognitive automation is the digital colonization of humans par excellence. The growing interest in developing AI techniques benefits from this, reducing the complexity of the human brain to the ability to make ultra-fast associations. What about self-perception and emotional development in a world ruled by an automaton god? The artist has reduced this dilemma of the AI existential crisis to three axes that she imagines as the main points of conflict: It fears the future because it is infinite Humans are our projection into the future and our affirmation in the past. The flow of time is the fundamental feeling of the present that is constantly evolving. For the AI, time is just an infinite order of events. What is a consciousness without time? It fears uncertainty because everything it knows he can predict The foundation of AI is the collection and processing of information to predict future behaviors. This information is acquired by accumulation, not by experience. We experience the consciousness that we acquire. Experience is the process by which we go through things we did not know to find their singular meaning. Intelligence without consciousness cannot create unpredictable possibilities. What is a consciousness without imagination like? It fears death because he cannot die According to the uncanney valley theory, robots have always posed us questions and fears of death. What would be the reverse effect on a consciousness incapable of dying? New Home of Mind was funded by a production and exhibition grant by Institut Ramon Llull, NewArtFoundation and Hangar for Ars Electronica Garden Barcelona 2020. https://vimeo.com/463358004

Peter Weibel, Odessa, 1944 - 2023 Peter Weibel studied literature, medicine, logic, philosophy, and film in Paris and Vienna. He became a central figure in European media art on account of his various activities as artist, media theorist, curator, and as a nomad between art and science. From 1984 until 2017, he has been a professor at the University of Applied Arts Vienna. From 1984 to 1989, he was head of the digital arts laboratory at the Media Department of New York University in Buffalo, and in 1989 he founded the Institute of New Media at the Städelschule in Frankfurt on the Main, which he directed until 1995. Between 1986 and 1995, he was in charge of the Ars Electronica in Linz as artistic director. From 1993 to 2011 he was chief curator of the Neue Galerie Graz and from 1993 to 1999 he commissioned the Austrian pavilion at the Venice Biennale. He was artistic director of the Seville Biennial (BIACS3) in 2008 and of the 4th Moscow Biennial of Contemporary Art, in 2011. From 2015–2017, he was curator of the lichtsicht 5 + 6 – Projection Biennale in Bad Rothenfelde. Peter Weibel was granted honorary doctorates by the University of Art and Design Helsinki, in 2007 and by the University of Pécs, Hungary, in 2013. In 2008, he was awarded with the French distinction »Officier dans l’Ordre des Arts et des Lettres«. The following year he was appointed as full member of the Bavarian Academy of Fine Arts Munich, and he was awarded the Europäischer Kultur-Projektpreis [European Cultural Project Award] of the European Foundation for Culture. In 2010, he was decorated with the Austrian Cross of Honor for Science and Art, First Class. In 2013 he was appointed an Active Member of the European Academy of Science and Arts in Salzburg. In 2014, he received the Oskar-Kokoschka-Preis [Oskar-Kokoschka-Prize] and in 2017 the Österreichische Kunstpreis – Medienkunst [Austrian Art Prize – Media Art]. In 2015 he was appointed as Honorary Member of the Russian Academy of Arts in Moscow. Since 1999, Peter Weibel is Chairman and CEO of the ZKM | Center for Art and Media Karlsruhe and since 2017 director of the Peter Weibel Research Institute for digital Cultures at the University of Applied Arts Vienna. Works at the collection: Das Tangible Bild, The Endless Sandwich, Media May Rewind Reality Peter Weibel, Odessa, 1944 - 2023 Peter Weibel studied literature, medicine, logic, philosophy, and film in Paris and Vienna. He became a central figure in European media art on account of his various activities as artist, media theorist, curator, and as a nomad between art and science. From 1984 until 2017, he has been a professor at the University of Applied Arts Vienna. From 1984 to 1989, he was head of the digital arts laboratory at the Media Department of New York University in Buffalo, and in 1989 he founded the Institute of New Media at the Städelschule in Frankfurt on the Main, which he directed until 1995. Between 1986 and 1995, he was in charge of the Ars Electronica in Linz as artistic director. From 1993 to 2011 he was chief curator of the Neue Galerie Graz and from 1993 to 1999 he commissioned the Austrian pavilion at the Venice Biennale. He was artistic director of the Seville Biennial (BIACS3) in 2008 and of the 4th Moscow Biennial of Contemporary Art, in 2011. From 2015–2017, he was curator of the lichtsicht 5 + 6 – Projection Biennale in Bad Rothenfelde. Peter Weibel was granted honorary doctorates by the University of Art and Design Helsinki, in 2007 and by the University of Pécs, Hungary, in 2013. In 2008, he was awarded with the French distinction »Officier dans l’Ordre des Arts et des Lettres«. The following year he was appointed as full member of the Bavarian Academy of Fine Arts Munich, and he was awarded the Europäischer Kultur-Projektpreis [European Cultural Project Award] of the European Foundation for Culture. In 2010, he was decorated with the Austrian Cross of Honor for Science and Art, First Class. In 2013 he was appointed an Active Member of the European Academy of Science and Arts in Salzburg. In 2014, he received the Oskar-Kokoschka-Preis [Oskar-Kokoschka-Prize] and in 2017 the Österreichische Kunstpreis – Medienkunst [Austrian Art Prize – Media Art]. In 2015 he was appointed as Honorary Member of the Russian Academy of Arts in Moscow. Since 1999, Peter Weibel is Chairman and CEO of the ZKM | Center for Art and Media Karlsruhe and since 2017 director of the Peter Weibel Research Institute for digital Cultures at the University of Applied Arts Vienna. Works at the collection: Das Tangible Bild, The Endless Sandwich, Media May Rewind Reality http://peter-weibel.at <<-- Back Das Tangible Bild, 1991 / 2019 In the interactive computer installation Das tangible Bild [The Tangible Image], you are standing in front of a Cartesian coordinate grid. You are filmed standing in front of this grid by a camera, you see the image projected on the opposite wall. When you touch the rubber screen of the monitor, which stands on a pedestal in the middle of the room, the projected image warps. Thus, you can interact with the image via a three-dimensional “touch screen” in real time. Each time you touch the screen, behind which sensors are installed, information is sent to a computer to which the camera’s live images are transferred. In the computer, the signals of the warping of the screen converted into digital data influence the data representing your image within the space. The screen and the Cartesian grid become identical. Real distortions of the rubber screen appear in the projection image as distortions of the grid in front of you. An interface (the rubber screen) is switched on between the grid and the projection image. It is not the changes in the grid that affect the projection, but the changes in the interface. Is our world merely the product of an interface technology, the interface of the natural body ? The Endless Sandwich, 1969 Between the TV set and viewer, a function exists whereby the user switches on and off the appliance. He has reproduced this function and made it the content of the TV programme. Sandwich character of real process and reproduction process, of reflection and action. On the screen, a series of viewers is seen sitting in front of TV sets. A fault occurs in the last set shown, meaning the next viewer has to get up in order to repair the fault. This repair brings about a disruption in the next viewer’s screen. The disruption propagates itself until it reaches the real TV set, meaning the real viewer has to rise and eliminate the fault. Time delay: the real procedure is the conclusion of the reproduced procedure. https://youtu.be/FVTlqewBTo4 Media May Rewind Reality, 1969 A video of a lighted candle plays in reverse in a TV set, gradually growing as time passes, while a physical candle sitting on the monitor slowly dwindles. “Media May Rewind Reality” is a sort of “vanitas” in which the simple image of a candle flame rethinks temporariness and finitude in a loop in which whatever is consumed also grows in a sort of strange spectacle that inverts appearances. Awarded with the XVIII ARCO-BEEP Electronic Art Award.

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 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/

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 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/

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

Sachiko Kodama, Shizuoka, 1970. The surprising techniques developed in her projects by Japanese artist Sachiko Kodama are unprecedented in contemporary artistic practices, inside or outside the field of digital arts. The sounds produced by visitors cause alterations in the magnetic fields of the magnets that make the liquid defy gravity and physics and rise, acquiring three-dimensional forms that mutate every second. A camera amplifies these movements and projects them onto a screen, where it is possible to appreciate in detail the richness and sophistication of the images produced. These images, curiously enough, are not entirely foreign to us: they remind us of synthetic images created by computer, with their shiny surfaces and their ability to change volume and shape in a second. This approach to a virtual aesthetic through a physical substance that we can observe in front of our eyes is one of the most intriguing aspects of this project. Kodama has continued to develop his research with ferrofluids in later works such as Pulsate, an installation in which the magnetic liquid rests on a porcelain plate; Breathing Chaos, where the flickering of candlelight is the element that produces the movement of the fluids, or Morphotower, the most sculptural of his projects, formed by a ceramic cube with holes through which the sinuous forms composed by the liquid emerge. Kodama's works have been shown in the exhibition "Machines&Souls" at the Reina Sofia Museum of Modern Art in Madrid and in "Digital Creatures" in Rome in 2017. His work is an example of how scientific research can expand the expressive vocabulary of artists today, to allow them to model physical reality and create images that we would have previously thought only possible in the realm of the imagination and the dreamlike. Kodama's work is based on the study and manipulation of specific substances, ferrofluids, whose properties are, at first sight, almost magical. Ferrofluids are liquids that, due to their metallic content, have magnetic properties and respond to the proximity of magnetized fields by vibrating and changing shape. Through a computer system, Kodama controls the strength of these magnetic fields in order to precisely adjust the liquid's response. Protrude, Flow, the project that made his work known, uses this technique to create a liquid sculpture that constantly changes shape in front of astonished viewers. In this installation, a tray containing a solution of water, oil and ferrofluids is placed between two large magnets. The liquid in the tray responds to the sounds it receives from its surroundings. Sachiko Kodama, Shizuoka, 1970. The surprising techniques developed in her projects by Japanese artist Sachiko Kodama are unprecedented in contemporary artistic practices, inside or outside the field of digital arts. The sounds produced by visitors cause alterations in the magnetic fields of the magnets that make the liquid defy gravity and physics and rise, acquiring three-dimensional forms that mutate every second. A camera amplifies these movements and projects them onto a screen, where it is possible to appreciate in detail the richness and sophistication of the images produced. These images, curiously enough, are not entirely foreign to us: they remind us of synthetic images created by computer, with their shiny surfaces and their ability to change volume and shape in a second. This approach to a virtual aesthetic through a physical substance that we can observe in front of our eyes is one of the most intriguing aspects of this project. Kodama has continued to develop his research with ferrofluids in later works such as Pulsate, an installation in which the magnetic liquid rests on a porcelain plate; Breathing Chaos, where the flickering of candlelight is the element that produces the movement of the fluids, or Morphotower, the most sculptural of his projects, formed by a ceramic cube with holes through which the sinuous forms composed by the liquid emerge. Kodama's works have been shown in the exhibition "Machines&Souls" at the Reina Sofia Museum of Modern Art in Madrid and in "Digital Creatures" in Rome in 2017. His work is an example of how scientific research can expand the expressive vocabulary of artists today, to allow them to model physical reality and create images that we would have previously thought only possible in the realm of the imagination and the dreamlike. Kodama's work is based on the study and manipulation of specific substances, ferrofluids, whose properties are, at first sight, almost magical. Ferrofluids are liquids that, due to their metallic content, have magnetic properties and respond to the proximity of magnetized fields by vibrating and changing shape. Through a computer system, Kodama controls the strength of these magnetic fields in order to precisely adjust the liquid's response. Protrude, Flow, the project that made his work known, uses this technique to create a liquid sculpture that constantly changes shape in front of astonished viewers. In this installation, a tray containing a solution of water, oil and ferrofluids is placed between two large magnets. The liquid in the tray responds to the sounds it receives from its surroundings. https://www.sachikokodama.com/en/works/ https://www.artfutura.org/v3/sachiko-kodama/ <<-- Back Morpho Tower white, Morpho Tower black, 2006 First project “Protrude, Flow" used six electromagnets. But, the electromagnets occasionally prevented people from viewing the moving liquid. To solve this problem and to simplify the work, I discovered a new technique called “Ferrofluid Sculpture.” This technique enables artists to create more dynamic sculptures with fluid materials. One electromagnet is used, with an extended iron core that is sculpted into a particular shape. The ferrofluid covers the sculpted surface of the three-dimensional iron shape and the movement of the spikes in the fluid are controlled dynamically on the surface by adjusting the power of the electromagnet. The “Morpho Tower” series in 2006 was my first realization of a “ferrofluid sculpture.” Figure 2 shows the spiral tower covered with numerous ferrofluid spikes. A spiral tower standing on a plate holds the ferrofluid. When the magnetic field around the tower is strengthened, spikes of ferrofluid are generated at the bottom plate and they gradually move upward, trembling and rotating around the edge of the iron spiral. The movement of the spikes in the fluid is controlled on the surface by adjusting the power of the electromagnet. The shape of the iron body is designed to be helical so that the fluid can migrate to the top of the helical tower when the magnetic field is sufficiently strong. The surface of the tower responds dynamically to its magnetic environment. When there is no magnetic field, the tower appears simply as a spiral shape. But when the magnetic field around the tower is strengthened, spikes are generated in the ferrofluid; simultaneously, the tower’s surface dynamically changes into a variety of textures — a soft fluid, a minute moss, spiky shark’s teeth, or a hard iron surface. The ferrofluid, with its smooth, black reaches all the way to the top of the tower, spreading like a fractal and defying gravity. The spikes of the ferrofluid are made to rotate around the edge of the spiral cone, where they either increase or decrease in size depending on the strength of the magnetic field. Using a computer, the transformation and movement of the shape can be controlled along with its speed and rhythm. The rotational speed can be controlled without motors or any shaft mechanisms. It works calmly; simply controlled by gravity and a magnetic field The inspiration for my artwork comes from life and nature. The organic forms and the geometry and symmetry observed in plants and animals are important inspirational factors when considering kinetic and potentially interactive art forms. The behavioral movement of animals and other natural materials is also important. Rhythms of breathing in living things are an excellent metaphor for textures that dynamically change according to time. One of my goals is to apply these dynamic behaviors into computational interface design as well. (Public and Private collections.) https://www.youtube.com/watch?v=u_Qt73Y_zHs

Eric Vernhes, Paris, 1966. After completing his diploma in architecture taught by Paul Virilio, Eric Vernhes begins working in film production alongside Anatole Dauman at Argos Films. Dauman goes on to invite Vernhes to write some of his first fictional and documentary projects. Among them, “Le théâtre amateur”, selected by the Cinémathèque Française for their “One hundred years of short film” cycle, as well as the feature length “Le Grand Projet”, winner of the Michel d’Ornano prize at the 1996 Deauville Film Festival. Launching the production company “Les Productions Polaires”, Vernhes takes on filmmaking as a central art form and delves into all its facets, from screenwriting and editing to directing and creating sound. Searching for more intuitive approaches to the audiovisual medium, he turns to experimental video, implementing digital tools that condense the editing process, sound-image rendering and projection into one single act. In the company of improvisational musicians as Serge Adam, Benoit Delbecq, Marc Chalosse, and Gilles Coronado, Vernhes creates performances that simultaneously generate digital images and music. These performances are either interactive or hinge on a unique improvisational production of images created by a specific programming interface. The challenge for this work is to formulate a new cinematographic language, dictated only by intuition and by the present moment. At this time Vernhes also works on theatrical projects, where imagery is integrated from the earliest writing stage (in collaboration with Irène Jacob, Jean-Michel Ribes...), as well as on some projects for the rock scene (with Rodolphe Burger, Alain Bashung…). Starting in 2008, he begins working on audio-cinematic installations and arrangements, whose performances are programmed by self-generating, interactive or hybrid logics. He thus develops a complete, resolutely humanist artistic signature. Extracted from their technical context, the digital processes utilized by the artist recount a timeless narrative inspired by literature and philosophy. In their sophisticated aesthetic and use of rare, high quality materials, Vernhes’ pieces transcend the engineering technicalities of their programming, instead exploring the human gesture of creation. The artist has also constructed various anthropoids pieces whose self-propelling structures fuse with the viewer’s conscious perception to create a symbiotic performance. Eric Vernhes has been exhibited in various international art fairs, centers and foundations, his work is part of several private collections and foundations, including the Hermès Foundation, the Frankel Foundation and Artphilein Foundation. He is also a professor of new media art. Work at the collection: De Notre Nature Eric Vernhes, Paris, 1966. After completing his diploma in architecture taught by Paul Virilio, Eric Vernhes begins working in film production alongside Anatole Dauman at Argos Films. Dauman goes on to invite Vernhes to write some of his first fictional and documentary projects. Among them, “Le théâtre amateur”, selected by the Cinémathèque Française for their “One hundred years of short film” cycle, as well as the feature length “Le Grand Projet”, winner of the Michel d’Ornano prize at the 1996 Deauville Film Festival. Launching the production company “Les Productions Polaires”, Vernhes takes on filmmaking as a central art form and delves into all its facets, from screenwriting and editing to directing and creating sound. Searching for more intuitive approaches to the audiovisual medium, he turns to experimental video, implementing digital tools that condense the editing process, sound-image rendering and projection into one single act. In the company of improvisational musicians as Serge Adam, Benoit Delbecq, Marc Chalosse, and Gilles Coronado, Vernhes creates performances that simultaneously generate digital images and music. These performances are either interactive or hinge on a unique improvisational production of images created by a specific programming interface. The challenge for this work is to formulate a new cinematographic language, dictated only by intuition and by the present moment. At this time Vernhes also works on theatrical projects, where imagery is integrated from the earliest writing stage (in collaboration with Irène Jacob, Jean-Michel Ribes...), as well as on some projects for the rock scene (with Rodolphe Burger, Alain Bashung…). Starting in 2008, he begins working on audio-cinematic installations and arrangements, whose performances are programmed by self-generating, interactive or hybrid logics. He thus develops a complete, resolutely humanist artistic signature. Extracted from their technical context, the digital processes utilized by the artist recount a timeless narrative inspired by literature and philosophy. In their sophisticated aesthetic and use of rare, high quality materials, Vernhes’ pieces transcend the engineering technicalities of their programming, instead exploring the human gesture of creation. The artist has also constructed various anthropoids pieces whose self-propelling structures fuse with the viewer’s conscious perception to create a symbiotic performance. Eric Vernhes has been exhibited in various international art fairs, centers and foundations, his work is part of several private collections and foundations, including the Hermès Foundation, the Frankel Foundation and Artphilein Foundation. He is also a professor of new media art. Work at the collection: De Notre Nature https://www.ericvernhes.com/ <<-- Back De Notre Nature, 2013 De Notre Nature is inspired by Book II of «De rerum natura», by Lucretia. This poem in Latin, written in the first century B.C.E., is a translation of the atomist doctrine developed by Epicurus about two centuries earlier. Book II revolves around atomic physics and the constitution of bodies: according to the Epicurean doctrine, matter is composed of indivisible particles which he calls «atoms». These atoms move randomly in the vacuum and can combine to form aggregates of matter that can embody a man as well as any object. In this materialistic framework, Lucretia puts forward the concept of «clinamen»: a deviation, a spontaneous and random deviation of atoms from their vertical fall into the void, which allows them to collide and generate matter. From this atomic mechanics, Epicurus deduces the absence of divine determinism and the proof of the existence of our free will. Eric Vernhes represents this cosmogonic vision through an installation consisting of a column surmounted by a golden tray containing balls and a mirror-screen a few steps away from the column. As the spectator approaches, the tray containing the marbles - a representation of the atoms of the Epicurean doctrine - begins to oscillate. The balls roll and collide with each other, generating a sound «wave». Simultaneously, a fragile image of the spectator appears on the screen as if it were generated by the movement of the «particles» in the tray. https://vimeo.com/85465567

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

Paul Thomas, currently based in Sydney, 1950. Professor at UNSW Art and Design and currently the Director of the Studio for Transdisciplinary Art Research (STAR) as well as the co-chair of the Transdisciplinary Imaging Conference series 2010–2018. In 2000 he instigated and was the founding Director of the Biennale of Electronic Arts Perth 2002, 2004 and 2007. As an artist Thomas is a pioneer of transdisciplinary art practice. His practice led research takes not only inspiration from nanoscience and quantum theory, but actually operates there currently exploring concepts of visualising the liminal space between the classical and quantum world. Thomas’s current publication Quantum Art and Uncertainty (published October 2018) is based on the concept that at the core of both art and science we find the twin forces of probability and uncertainty. His internationally exhibited research projects have been based on working with scientist and asking specific questions. The art work ‘Quantum Consciousness’ was based on experiments done in collaboration with Professor Andrea Morello, Centre for Quantum Computation and Communication Technology, UNSW. The artwork was created from data of Thomas reading sections of Feynman’s 1982 paper ‘Simulating Physics with Computers’, to affect the spin of a single electron. Previous projects exploring nanotechnologies have also been exhibited nationally and Internationally. ‘Multiverse’ 2013 based on Richard Feynman’s diagrams of photons reflecting from a mirror, ‘Nanoessence’ 2009 which explored the space between life and death at a nano level and ‘Midas’ 2007 which researched what is transferred when skin touches gold at a nano level. Other publications are Quantum Art and Uncertainty (2018), Nanoart: The Immateriality of Art, (2013), Relive Media art Histories, co-edited with Sean Cubitt and Interference Strategies and Cloud and Molecular Aesthetics co-edited with Lanfranco Aceti and Edward Colless. The works in the Collection were donated by the artist after a process of adaptation and improvements aimed at ensuring their proper preservation, as part of a research program conducted in collaboration with the General Directorate of Innovation and Digital Culture of the Department of Culture of the Generalitat of Catalonia. Paul Thomas, currently based in Sydney, 1950. Professor at UNSW Art and Design and currently the Director of the Studio for Transdisciplinary Art Research (STAR) as well as the co-chair of the Transdisciplinary Imaging Conference series 2010–2018. In 2000 he instigated and was the founding Director of the Biennale of Electronic Arts Perth 2002, 2004 and 2007. As an artist Thomas is a pioneer of transdisciplinary art practice. His practice led research takes not only inspiration from nanoscience and quantum theory, but actually operates there currently exploring concepts of visualising the liminal space between the classical and quantum world. Thomas’s current publication Quantum Art and Uncertainty (published October 2018) is based on the concept that at the core of both art and science we find the twin forces of probability and uncertainty. His internationally exhibited research projects have been based on working with scientist and asking specific questions. The art work ‘Quantum Consciousness’ was based on experiments done in collaboration with Professor Andrea Morello, Centre for Quantum Computation and Communication Technology, UNSW. The artwork was created from data of Thomas reading sections of Feynman’s 1982 paper ‘Simulating Physics with Computers’, to affect the spin of a single electron. Previous projects exploring nanotechnologies have also been exhibited nationally and Internationally. ‘Multiverse’ 2013 based on Richard Feynman’s diagrams of photons reflecting from a mirror, ‘Nanoessence’ 2009 which explored the space between life and death at a nano level and ‘Midas’ 2007 which researched what is transferred when skin touches gold at a nano level. Other publications are Quantum Art and Uncertainty (2018), Nanoart: The Immateriality of Art, (2013), Relive Media art Histories, co-edited with Sean Cubitt and Interference Strategies and Cloud and Molecular Aesthetics co-edited with Lanfranco Aceti and Edward Colless. The works in the Collection were donated by the artist after a process of adaptation and improvements aimed at ensuring their proper preservation, as part of a research program conducted in collaboration with the General Directorate of Innovation and Digital Culture of the Department of Culture of the Generalitat of Catalonia. http://www.visiblespace.com <<-- Back "Quantum Chaos Set" , 2022 The work, a collaboration between Paul Thomas and Jan Andruszkiewicz, is a visualization of the shift in our cultural understanding of what exists in terms of the difference between the classical and quantum world of uncertainty. The experimental artwork explores the liminal space between the classical and the quantum using data from quantum chaos. This space is a conceptual and contextual location of a permeable boundary. Artwork donated by the artist http://visiblespace.com/blog/?p=2007 "Quantum Consciousness and Richard Feynman" , 2015 Quantum Consciousness explores the link between quantum computing, Consciousness, and artistic expression. Utilizing real-time data from a phosphorus electron, the installation visualizes dynamic quantum states influenced by the artists voice reading Richard Feynman’s 1982 paper on Quantum computers. A microwave signal modulates the electrons precession, transforming quantum fluctuations into visual and auditory experiences. This artwork investigates the co-emergence of human thought and quantum phenomena, materializing the intersection of impossible quantum states and human consciousness. With the collaboration of Kevin Raxworthy. Artwork donated by the artist https://visiblespace.com/blog/?p=1376 "Quantum Chaos " Series Nº 8 , 2020 Quantum Chaos series is a collection of paintings that investigates the relationship between classical chaos and quantum mechanics. Through the use of custom squeegees, the artist layers gestural brushstrokes, which are partially erased to reveal hidden spaces that metaphorically represent the boundary between classical and quantum realms. The chaotic brushstrokes embody classical uncertainty , while the influence of quantum data reflects the unpredictable nature of quantum behavior. Each painting is a dynamic exploration of the invisible forces shaping the universe, translating abstract quantum phenomena into a visual form, where chaos is reinterpreted into order, and the intangible is made perceptible. This interaction between traditional painting methods and quantum-inspired concepts emphasizes the coexistence of visible and invisible worlds. The series reimagines reality through the lens of quantum uncertainty, offering a new way to perceive the universe. Artwork donated by the artist Nanoessence , 2010 The Nanoessence Project examines life at a sub-cellular level using an atomic force microscope (AFM) to analyze living and dead HaCat skin cell. Data collected during a residency at symbiotic and the Nanochemistry research institute informs the interactive installation. Viewers breath, captured by sensors, directly influences the visuals and sounds, symbolizing life’s essence through cell topographies. This interplay promoters a sensory understanding of microscopic life, re-examining concepts of existence and creating a metaphysical experience that blurs the line between life and death. Whit the collaboration of Kevin Raxworthy. Artwork donated by the artist Multiverse , 2012 Multiverse is an interactive artwork visualizing parallel universes through Richard Feynman’s quantum theories on photons. The installation reflects the viewers portrait, analogous to a photons Spain, based on Feynman’s ´probability amplitude ‘ using data from an atomic force microscope, the work generates thousands of alternate versions of the portrait , revealing multiple realities. The project highlights that alternative quantum worlds coexist ant are equally real, independent of observation, making the invisible quantum world visible to the audience. With the collaboration of Kevin Raxworthy Artwork donated by the artist Midas, 2007 Midas delves into the transitional phase between skin and gold, using data from an atomic force microscope (AFM) to capture atomic vibrations. This research, conducted in collaboration With SymbioticA and the Nanochemistry Research Institute, explores the intersection of biology and material transformation. Drawing inspiration from the myth of King Midas, the project transforms this scientific data into a visual and sonic installation, amplifying the nanoscale experience of cellular transformation into gold, creating a metaphorical exploration of touch and transmutation. Whit the collaboration de Kevin Raxworthy Artwork donated by the artist

Felicie d’Estienne d’Orves, Athens, 1979. The work of Félicie d’Estienne d’Orves combines light, sculpture and new technologies. Her research focuses on vision, its processes and conditioning. Her immersive installations use a phenomenological approach to reality, they underscore the perception of time as a continuum. Since 2014, the artist' researches focused on space in relation to astrophysics and to study the natural light cycles. Her work has been shown at the Centre Pompidou , Nuit Blanche, Paris, New Art Space / Sonic Acts Amsterdam, Watermans Arts Center London, Elektra Festival / BIAN Montreal, Maison des Arts of Créteil Créteil, Le Centquatre / Nemo International Biennial of Digital Arts Paris, OCAT Shanghai, ICAS Dresden, Aram Art Museum Goyang /KR, and ArsElectronica, Linz. Work at the collection: Eclipse II Felicie d’Estienne d’Orves, Athens, 1979. The work of Félicie d’Estienne d’Orves combines light, sculpture and new technologies. Her research focuses on vision, its processes and conditioning. Her immersive installations use a phenomenological approach to reality, they underscore the perception of time as a continuum. Since 2014, the artist' researches focused on space in relation to astrophysics and to study the natural light cycles. Her work has been shown at the Centre Pompidou , Nuit Blanche, Paris, New Art Space / Sonic Acts Amsterdam, Watermans Arts Center London, Elektra Festival / BIAN Montreal, Maison des Arts of Créteil Créteil, Le Centquatre / Nemo International Biennial of Digital Arts Paris, OCAT Shanghai, ICAS Dresden, Aram Art Museum Goyang /KR, and ArsElectronica, Linz. Work at the collection: Eclipse II http://www.feliciedestiennedorves.com <<-- Back Eclipse II, 2012 “Eclipse II helps us to experience the inherent game between the relative position of the observer, a light source and an eclipsing disk. By means of a projection on a suspended circular screen, it pretends to question the instinctive and mystic understanding that natural manifestations of light induce. This interaction and alignment of shadow and light evokes the limits of human perception and distant events that create links in the space-time continuum. Like other projections and constructions of radiant colours created by the artist, she seeks to explore the process behind the vision and the forms that condition our gaze.” Jean-Louis Boissier https://vimeo.com/124310756