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Marcel·lí Antúnez, Moià, 1959. Marcel·lí Antúnez studied Fine Arts at the Universitat de Barcelona. A multidisciplinary practitioner, he is one of the leading figures in the field of electronic art and experimental scenography. In the eighties, he was the founder and leader of the company La Fura dels Baus, which popularised action theatre. With Sergi Caballero and Pau Nubiola, he founded the group Los Rinos, initially focusing on graffiti. Later, his activity extended to painting, video action performance, the concert and wall installation, such as Rinodigestió (1987), a system of interconnected wooden and glass boxes containing decaying organic matte. In the nineties, he began to focus on the visual arts and video, and their interaction with technology. Since then, he has created a unique iconoclastic universe based on the incorporation of computational and electronic systems. His mechatronic performances and interactive installations incorporate robots and all kinds of electronic systems. Often applied to the human body, they are described as Sistematurgia. His graphic work production features unusual materials such as human fluids, foodstuffs, textual and visual elements, using the technique of collage and improvisation. He has created installations and performances in museums, galleries, theatres and unconventional spaces in more than 40 countries, among which are the European Museum of Photography of la Ville De Paris, the Institute of Contemporary Arts of London, the DAF of Tokyo, the MACBA of Barcelona or the ZDB of Lisbon. His work includes Macatronic performances, on occasion with robots, interactive installations and collaborations with collectives among which the most noteworthy is la Fura Dels Baus of which he was the founder and leader in the 80s. His works have been mentioned in multiple publications throughout the world. Antúnez has recieved, among others, the following prizes and distinctions: First Prize in the Etrange Festival Paris 1994, Best New Media Noveaux Cinéma Noveaux Médias Montreal 1999, Max Prize, Spain 2001, FAD Prize 2001 Barcelona, Mención d’Honor a Prix Ars Electronica 2003, Premi Ciutat de Barcelona en 2004. Since 2010 Marcel•lí has been working on what he calls l’Arsenale della Apparizioni in which he includes his last three pieces, the first is a performance called Cotrone (2010), a film El Peix Sebastiano released in the Stiges Film Festival and his last performance, Pseudo (2012), first performed at the Grec in Barcelona. In 2014 he presented the exhibition Sistematurgia. Actions, Devices and Drawings, in the Arts Santa Mònica de Barcelona, with the intention of making known his personal method of creation based on this neologism, Sistematurgia, understood as a dramaturgy of computational systems. Work at the collection: Alfabeto http://marceliantunez.com <<-- Back Alfabeto, 1999 “Alfabeto” comprises a wooden column with tactile sensors, a platform, an audio system and a computer system. A radar detects the presence of the spectator in the room and when someone comes in the pillar moans. When the user finally touches or embraces the column, it utters sounds. They are onomatopoeic sounds organized in four emotive states: anguish, pleasure, happiness and pain. A sensor situated in the top part of the column identifies and chooses the "emotive state". Alfabeto emphasizes the idea of body interaction; the size of the trunk, its acoustic reaction and the need to take part physically all encourage the spectator to become involved in the game. It is normal to become emotional when listening to music or to cry when watching a film. These devices are good substitutes for human emotions. However, our relationship towards artistic devices is almost always passive. Alphabet, on the contrary, is an emotional prosthesis and, by its reaction, it invites us to shake off our passive receptor role and to become emotional players.

Andrés Pachón, Madrid, 1985. He has an academic background in Contemporary Art (Fine Arts degree, UCM - CES Felipe II, 2008; Theory and Practice of Contemporary Art master degree, UCM, 2009) and in Social and Cultural Anthropology (Social and Cultural Anthropology master degree, Coimbra University, 2019). In the last years, his visual practice focused on the construction of the colonial imaginary through the use of photographic archives in anthropology and ethnography. In this context, he developed his work through collaborations with institutions such as the Musee du Quai Branly in Paris, National Museum of Anthropology in Madrid and the Photographic Archive of Art Museum of Lima (MALI) in Peru. His visual work reflects on the construction of knowledge through photography, establishing relationships between the practices of the 19th and 20th centuries, and the current uses of technology, as is the case of his current research on socio-technical activity in Computer Vision Systems. His work has been exhibited in solo shows, in places such as National Museum of Anthropology in Madrid and the Alcobendas Art Center. The artist has also collaborated in group shows such as "Colonia Apócrifa" at MUSAC; "Reencontres Internationales. New cinema and contemporary art 2014 "in Gaîté Lyrique - Palais de Tokyo, in Paris; and "VIVA Collections on Tour 2013", in the Lázaro Galdiano Museum, Madrid. He has participated in international fairs such as ARCOmadrid 2014, Art15 London, Volta 11 in Basel and Estampa 2016 and 2018 in Madrid. During this years he has received various awards and grants, such as Leonardo Grant BBVA Foundation to Researches and Cultural Creators in 2019, Comunidad de Madrid Visual Art Grant in 2017, or Transvisiones 2015, developing a residency at the Limas' Center of Image, Peru. His work is in severals international collections, like as Pilar Citoler Collection (Madrid), Jozami Collection (Argentina) or CA2M Museum Collection (Madrid). His work “Tropologías II” won the 9th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Tropologías II https://www.andrespachon.com <<-- Back Tropologías II, 2014 In the year 1900 Doctor Ripoche sent a collection of photographs, studies of African Types from the Museum of Natural History of Paris to the National Museum of Anthropology of Madrid. In this piece a virtual 3D mask has been created for each portrait by means of a facial recognition programme that needs two photographic images, the same ones necessary for any anthropometric register of this kind: front and profile. Each photographed face has been replaced by its synthesised image, thus questioning the “truth” that these images enclose, and how the post-human can reflect the authentic construction that lies behind the image of the “other”. https://www.youtube.com/watch?v=ZjtEfD_GitI&t=18s

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.

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.

Manu Arregui, Santander, 1970. Pioneer in the application of 3D animation to his work, Manu Arregui's work focuses on reflection on body policies and the commitment to "non-normative" identities.Always from a critical questioning, his pieces, full of lyricism, fuse virtuosity and experimentation. At the same time, without neglecting irony, the artist analyzes the progressive virtualization of our lives and the future of art in this post-contemporary era. He has a degree in Fine Arts from the University of the Basque Country. His works have been included in important exhibitions such as Trans-sexual Express International curated by Xabier Arakistain and Rosa Martínez, Bad Boys project by Agustín Pérez Rubio made on the occasion of the 50th Venice Biennale, Single Channel Video: 1996-2002 curated by Juan Antonio Álvarez -Reyes and Berta Sichel for the National Museum Reina Sofía Art Center, Animated Sessions project by Juan Antonio Álvarez-Reyes for the same museum and the Atlantic Center for Modern Art in Las Palmas, Chacun à son Goût curated by Rosa Martínez for the commemoration of the tenth anniversary of the Guggenheim Museum in Bilbao. Spanish Art 1957-2007 at the Palazzo Sant’Elia in Palermo. He has participated in important international fairs of Contemporary Art such as ARCO (Madrid), ART BASEL MIAMI BEACH (Miami), or FRIEZE (London). In 2002 he obtained the Plastic Arts Scholarship from the Marcelino Botín Foundation, with which he completed his training at the ISCP in New York. In 2004 he won the First Prize for Video Creation and Digital Formats Caixa Galicia and in 2007 the Altadis Prize for Visual Arts. His work is represented, among others, in the collections of the ARTIUM museums in Vitoria, the Guggenheim in Bilbao, the MUSAC in León and the Reina Sofía National Art Center Museum in Madrid. His work “Ejercicios de medición sobre el movimiento amanerado de las manos” won the 9th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Ejercicios de medición sobre el movimiento amanerado de las manos http://manuarregui.com/ <<-- Back Ejercicios de medición sobre el movimiento amanerado de las manos, 2014 This video of 6’30” duration that uses time, passing in a linear way, to give form to an investigation into codes and connotations linked to gestures. Using as a starting point a recording of hands of various professional dancers in movement and an example of 3D modelling software to replicate those movements and obtain the corresponding positioning and rotation data, the piece uses the theme of dance to reflect upon topics such as the phobia of effeminacy and masculinisation.

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/

New Art Foundation - Art, science and technology

Award ARCO - BEEP Electronic Art Award In collaboration with: Established in 2006 the ARCO-BEEP Electronic Art Award, carried out in collaboration with the ARCOmadrid International Contemporary Art Fair, has been set as the origin, the triggering element, of the .NewArt { collect ion;} formerly known as the .BEEP { Collection;}. XIX EDITION ARCO/BEEP ELECTRONIC ART AWARD Scrawl, Daniel Canogar. Max Estrella Gallery. Booth 9B22 Exploding Cell, Peter Halley. Senda Gallery, Booth 9B23. The 19th ARCO/BEEP Award for Electronic Art 2024, awarded in collaboration with the Arts Connection Foundation, is granted to Daniel Canogar for his work "Scrawl" (2023) exhibited at Max Estrella Gallery, and to Peter Halley for his work "Exploding Cell" (1983) exhibited at Senda Gallery. Without a doubt, Daniel Canogar is one of the great figures of Spanish contemporary art, with an aesthetic and experimental development that has made him a critically acclaimed figure. His works synthesize information, data, cultural contexts, and at the same time, reformulate the notion of the pictorial. In the awarded piece, graffie emerges from interactions on social networks that ultimately form a labyrinth of signs or a palimpsest that saturates the space only to be erased and resurface. In the tsunami of datafication, in the era of global surveillance, Daniel Canogar reveals the historical strata of abstraction and urges us to read beyond the evidence. Peter Halley is the master of neo-geo painEng, and in this case, the awarded piece, "Exploding Cell" (1983), is a pioneering work in "digital animaEon" that generates spaces from lines. These cells allude to both the "grid" of Foucault's society of control and the circuits of computers. The .NewArt { colletion;}, formerly known as the Beep Colletion of Electronic Art, thus incorporates a work that contributes to completing a genealogy of media and its expansion in the artistic field. With these two awarded artists and works, the .NewArt { collection;} clearly states its commitment to contemporary art and aesthetic-technological developments. Its highly important colletion is enriched by these two additions. Both works will be exhibited at the upcoming edition of the Miami New Media Festival, in its twentieth edition. The ARCO/BEEP Prize for Electronic Art is clearly a success case of ARCO in promoting collecting. Aqer 19 years of collaboration, it has not only resulted in a collection that is an international reference, but its Foundation, the .NewArt { foundation;}, is currently building an Art Center in Reus specialized in the production and conservation of technological artistic heritage. It will be inaugurated in the fall of 2024. For any additional information or inquiries about the ARCO/BEEP Electronic Art Award, please contact: LaAgencia Vicente Matallana E-mail: ARCOmadrid-BEEP@LaAgencia.org History of winners: First edition: Eduardo Kac, R icardo Iglesias & Gerald Kogler. Second edition: Christophe Bruno, Davide Grassi. Third edition: José Manuel Berenguer. Fourth edition: Ubermorngen. Fifth edition: Julius von Bismarck & Benjamin Maus. Sixth edition: Anaisa Franco. Seventh edition: Marcela Armas. Eighth edition: Charles Sandison. Ninth edition: Manu Arregui, Manuel Fernández, Andrés Pachón. Tenth edition: Analivia Cordeiro. Eleventh edition: Christa Sommerer & Laurent Mignonneau. Twelfth edition: Lugán. Daniel Canogar and Rafael Lozano-Hemmer received jointly the Honorable Award. Thirteenth edition: Eugenio Ampudia. Fourteenth edition: Mariano Sardón & Mariano Sigman. Fifteenth edition: Joan Foncuberta & Pilar Rosado. Sixteenth edition: Marina Núñez Seventeenth edition: Lúa Coderch, Julia Múgica, Lluís Nacenta and Iván Paz. Eighteenth edition: Peter Weibel, Evru Zush. Nineteenth edition: Daniel Conogar, Peter Halley. Nineteenth ARCO - BEEP Electronic Art Award Ceremony, 2024 First ARCO - BEEP Electronic Art Award Ceremony, 2006

News The New Art Foundation collaborates with Fundació Úniques in the exhibition “Con Fe y Sacrificio” by the artist Andrea Lería The New Art Foundation collaborates with Fundació Úniques in the exhibition “Con Fe y Sacrificio” by the artist Andrea Lería. On this occasion, the NAF has provided technological support for the exhibition. The exhibition, a tribute to her grandmother, aims to visit the roles of women through history, especially by exploring the social control to which they have been subjected. The exhibited artwork was awarded with Special Mention at the Contemporary Art Biennial of the Fundación ENAIRE. The exhibition can be visited at the headquarters of Fundació Úniques, which aims to promote contemporary art made by women artists from the Catalan Countries, as well as the collecting. The Círculo de Bellas Artes de Madrid opens its 2024-2025 exhibition season with HiperObjetos The Círculo de Bellas Artes de Madrid opens its 2024-2025 exhibition season with HiperObjetos, a collective exhibition that combines science, art and technology through the most outstanding artists of the New Media generation, Generative Art and Computational. The exhibition, organized with the .NewArt { foundation;} and in collaboration with the Caixa Enginyers, can be visited until November 17 th in the Sala Picasso of the Círculo. Through a careful selection of works that frame the great stories of the present, the project curated by Eloy Martínez de la Pera and Jaime de los Ríos presents a journey through contemporary creation in the era of the transistor, the internet and artificial intelligence and invites us to reflect on possible futures. In this exhibition, the Círculo de Bellas Artes brings together a great selection of classical and recent creations of the NewArt { collection}, a transgressive agent, a testimony to our time and one of the most relevant electronic and digital art collections in the world, which immerses us in the unlimited poetics of cybernetics and technological art. .NewArt { foundation;} at Ars Electronica 2024 Albert Barqué-Duran and Marc Marzenit, Vestibular_1 .NewArt { foundation;} has been invited by the ArsElectronica festival to present, in collaboration with the Institut Ramon Llull, one of his most emblematic works, Vestibular_1 by Albert Barqué-Duran and Marc Marzenit, in its next edition in September 2024. Ars Electronica is the great annual event of technological art bringing together more than 100,000 professionals from all over the world in the city of Linz. Vestibular_1 is an immersive audiovisual installation that induces illusory sensations of self- movement in complete darkness by altering the vestibular functioning. This is achieved by powerful light and sound patterns that persist in the retina and the auditory system in the dark. The work explores the role of vestibular signals in the perception of the body and the world, and their impact on aesthetic preferences. This project was produced in the midst of the 2020 pandemic thanks to outstanding international collaboration between artistic and research institutions; an example that not only fostered avant-garde creative expressions, but also highlighted the resilience and unity of humanity by overcoming unprecedented challenges together. Eufònic, Ulldecona “La forme de l’eau”, Marie-France Veyrat and Jaime de los Ríos July 2024 The work of the artists Marie France Veyrat and Jaime de los Ríos explores the infinite of a lived moment. The experience and poetics of an instant merge into an intense universe that artists describe through an organization of algorithmic elements to retain the impossible beyond memory. This installation arises from the encounter between the two natures that at the same time symbolize, for the poetic work of Veyrat and los Ríos, the times of instant and memory. Both artists have a great experience in their analogue and digital work, having intervened and operated installations as well as large screens and digital facades. For this reason, and for this evocative occasion, they propose an ad hoc work that makes inspiration and shared personal experiences a great monumental work. https://eufonic.net/es/activitat/marie-france-veyrat-jaime-de-los-rios/ The cycle “Paradigmes” in Cal Massó (Reus) inaugurates the Daniel’s Canogar’s “Scrawl” exhibition The Department of Culture and Language Policy of the City Council of Reus has ready the third edition of the contemporary and cultural multidisciplinary cycle Paradigmes which, in this occasion, focuses on the figure of the Reus painter Marià Fortuny, this year they commemorate the 150th anniversary of his death. This cycle will be developed in Cal Massó and begins in June with an exhibition and, from September to December, it will have five related actions in different artistic disciplines carried out by artists from the territory. The first of the proposals opens this Friday, June 14, at Cal Massó. First of all, Councilor Recasens will present the program of Paradigmes, and then, Montse Grau, managing director of the New Art Foundation, will open the exhibition “Scrawl”, by Daniel Canogar. “Scrawl” is a generative digital piece that reacts in real time to trending topics of the social network X. The workings software periodically collects the most mentioned topics in the community X. These issues are translated in real time in an aesthetic of vandalic painting and denunciation that, unlike a professional graffiti, they are done quickly and anonymously, many of them sometimes for the hardness or sincerity of their content, others as a simple gesture of the act of enunciation. As a constantly changing work, "Scrawl" tries to capture multiple forces and tensions that coexist in social spaces such as X, where identity of the individuals —always escorted by the screen— it was spread in its most popular version crude and, paradoxically, perhaps more real and honest. Massive Binaries, the digital artwork by Andy Gracie, arrives at Sónar after its exhibition at Ars Electronica. The piece is the result of the first edition of the Randa Art|Science residency, organized by the Ramon Llull Institute, and is now being presented in Barcelona by the NewArtFoundation. Massive Binaries, by British artist based in Barcelona Andy Gracie, will be showcased on June 13th, 14th, and 15th in the projects area of Sónar+D: a forum for debate and an exhibition space where creative technology and cutting-edge art intersect with research, AI-generated visual effects, and experimental video games. Gracie's installation proposes two overlapping narratives about processes and interactions in binary systems. The first revolves around a pair of neutron stars orbiting each other and eventually merging to generate large amounts of energy, while the second refers to contemporary society, which, unlike neutron stars, seems increasingly polarized. The bridge between the two realms is the use of AI, which, according to the artist, can either enhance or destroy information. The artwork is the outcome of the first edition of the Randa Art|Science residency organized by the Ramon Llull Institute, developed at Ars Electronica (Linz, Austria), and the Barcelona Institute of Science and Technology (BIST), in collaboration with Barcelona's Art, Science, and Technology Hub Hac Te and the NewArtFoundation. It was showcased at the Ars Electronica festival in September 2023, following Gracie's residency at the Institut de Física d’Altes Energies (IFAE) in Barcelona – one of the centers comprising the BIST Community – where he conducted research on gravitational waves and particle accelerators. Andy Gracie (London, 1967) is an artist working across various formats and disciplines such as installation, robotics, sound, video, and electronic media. He utilizes scientific theory and practice to question our relationships with exploration and experimentation while highlighting the connection between art and science. https://www.llull.cat/english/actualitat/actualitat_noticies_detall.cfm?id=44280&url=-massive-binaries-pieza-arte-digital-andy-gracie-llega-sonar-despues-su-paso-por-ars-electronica.htm Marie-France Veyrat’s individual exhibition “Formes Artquitectòniques” curated by Màrius Domingo takes place in El Círcol de Reus. For this exhibition El Círcol wants to establish a dialogue between space, where the noble woods, the damascus, the lamps of monumental and the mirrors, in the cozy atmosphere of the great European social clubs of Anglo-Saxon roots, contrast with the contemporaneity of the pieces of Marie-France. In the “Saló de ball” we can see the audiovisual audiovisual algorithmic generation “La forme de l’eau” , made in collaboration with the artist and curator Jaime de los Ríos. New exhibition in Tarragona, from April 25 to 28 Mèdol inaugurates "Digital After All", the big one digital art exhibition in the emblematic building of La Tabacalera de Tarragona, which opens at exceptionally public. The exhibition, which can only be visited from April 25 to 28 free in the old tobacco factory, will present the gran facilities formed by the creative studios FIELD (London) and Six N. Five & Some form (Barcelona / Berlin), by the visual artist Alba G. Corral (La Ràpita), by the artist new media Marnix de Nijs (Rotterdam), by the creative programmer Mónica Rikić (Barcelona) and the audiovisual artist nddr3 (Barcelona), in addition to the music by DJ Wilk.o. Three of these works are part of New Art Collection given expressly for this occasion. Mèdol Center d'Arts Contemporànies de Tarragona inaugurates "Digital After All", a collective and large-format exhibition dedicated to digital art and the possibilities of the technology applied to artistic creation. The sample can only be seen during four days, from April 25 to 28 at La Tabacalera in Tarragona, a former tobacco factory, which opens the central naves in an exceptional way to host the exhibition. The program of Mèdol 2024, which was presented last February, is expanding beyond the main space - the historic Casa Canals building - and occupies buildings emblematic of the early 20th century of the city of Tarragona, rich witnesses of the past turned into spaces for contemporary art. This is the case of La Tabacalera, majestic factory complex made up of different buildings with classical motifs. "Digital After All" is an exhibition, a celebration of digitality and an experience: one microcosms to explore and a map on which to name those people who are there creating the present and the future of art. Through the work of six artists, national and international, "Digital After All" highlights the creative force of a reality full of possibilities, which breaks down barriers, creates and illusions, and generates a space to flow, fill the eyes, feel, connect and be deeply human. The exhibition has been created from "Digital Impact", the great exhibition of digital art presented in the Design Hub Barcelona in 2023. Directed by Pep Salazar, curated by Héctor Ayuso, and with the support of Digital Culture of the Generalitat of Catalonia, "Digital After All" a Tarragona proposes to resume the thread by adding new artists. "Digital After All" features works from the creative studios Six N. Five & Some form (Barcelona / Berlin) and FIELD (London), by the visual artist Alba G. Corral (La Ràpita), by the new media artist Marnix de Nijs (Rotterdam), by the artist and creative programmer Mónica Rikić (Barcelona) and the young experimental audiovisual artist nddr3 (Barcelona). In addition, the exhibition will have two guided tours by two art experts digital: one with Pep Salazar, director of the OFFF Festival and director of "Digital Impact”; and another with Antònia Folguera, curator of Sónar+D and Eufonic Pro (Saturday 24 and Sunday 25 at 12.30 p.m.). Guided tours will be accompanied by a DJ Wilk.o, a benchmark for electronics and digitality in Tarragona. The free exhibition can be visited on Thursday, April 25 (opening at 7 p.m.), and the Friday 26, Saturday 27 and Sunday 28 April (from 11 a.m. to 2 p.m. and from 4 p.m. to 9 p.m.). https://www.exibart.es/exposiciones/el-medol-inaugura-una-exposicion-colectiva-de-manera-excepcional-en-la-tabacalera-de-tarragona/ The Apeles Fenosa Museum in El Vendrell inaugurates the Future Atmospheres exhibition Inauguration of the Future Atmospheres exhibition at the Apel·les Fenosa museum in El Vendrell, with special thanks to the New Art Foundation for the loan of Lugan's thermal hand. An exhibition that proposes a dialogue between classic pieces by Apel·les Fenosa and current artists, among which there is also a work by the artist Marina Nuñez of which we also have other works of hers in the Foundation., https://laciutat.cat/es/la-ciutat-del-penedes/museo-apelas-fenosa-atmosferas-futuras https://www.bonart.cat/es/n/44452/39atmosferas-futuras39-reactiva-el-125-aniversario-de-apelles-fenosa XIX EDITION ARCO/BEEP PRIZE FOR ELECTRONIC ART ANNOUNCED. Scrawl , Daniel Canogar. Max Estrella Gallery. Booth 9B22 Exploding Cell , Peter Halley. Senda Gallery, Booth 9B23. The 19th ARCO/BEEP Award for Electronic Art 2024, awarded in collaboraEon with the Arts ConnecEon FoundaEon, is granted to Daniel Canogar for his work "Scrawl" (2023) exhibited at Max Estrella Gallery, and to Peter Halley for his work "Exploding Cell" (1983) exhibited at Senda Gallery. Without a doubt, Daniel Canogar is one of the great figures of Spanish contemporary art, with an aesthetic and experimental development that has made him a critically acclaimed figure. His works synthesize information, data, cultural contexts, and at the same time, reformulate the notion of the pictorial. In the awarded piece, graffiti emerges from interactions on social networks that ultimately form a labyrinth of signs or a palimpsest that saturates the space only to be erased and resurface. In the tsunami of datafication, in the era of global surveillance, Daniel Canogar reveals the historical strata of abstraction and urges us to read beyond the evidence. Peter Halley is the master of neo-geo painting, and in this case, the awarded piece, "Exploding Cell" (1983), is a pioneering work in "digital animation" that generates spaces from lines. These cells allude to both the "grid" of Foucault's society of control and the circuits of computers. The .NewArt { collection;}, formerly known as the Beep CollecEon of Electronic Art, thus incorporates a work that contributes to completing a genealogy of media and its expansion in the artistic field. With these two awarded artists and works, the .NewArt { collection;} clearly states its commitment to contemporary art and aesthetic-technological developments. Its highly important collection is enriched by these two additions. Both works will be exhibited at the upcoming edition of the Miami New Media Festival, in its twentieth edition. https://www.iac.org.es/noticias/actividades-socios/fallada-la-xix-edicion-del-premio-arcobeep-de-arte-electronico.html .NewArt { foundation;} at Ars Electronica 2023 RANDA Art|Science Residency's, Andy Gracie, Massive Binaries. The RANDA Art|Science Residenc y is organized by the Institut Ramon Llull and hosted by Ars Electronica and the Barcelona Institute of Science and Technology (BIST), in collaboration with the new hub of Art, Science, and Technology from Barcelona, Hac Te, and the NewArtFoundation. The winner of the first edition was Andy Gracie, whose project *Massive Binaries* explored the extraction of knowledge from processes of merging and collision related to gravitational waves and particle accelerators. Gracie has been hosted at the Institut de Física d’Altes Energies (IFAE), from BIST. The NewArtFoundation contributed to the production, preservation and exhibition of the artwork created during the residency. https://ars.electronica.art/who-owns-the-truth/en/massive-binaries/ The .New Art { foundation ;} collaborates with Eufònic 20 23 Eufònic is a festival around the sound, visual and digital-performative arts that has been held in Terres de l'Ebre, 200 km south of Barcelona, since 2012. The twelfth edition of the festival in Terres de l'Ebre was held from August 24 to 27, 2023, with a previous weekend (Pòrtic Eufònic, from August 18 to 20) with inaugurations of artistic installations and other activities in singular spaces. Eufònic has been distinguished with the 2023 National Culture Award, which has been awarded by the CoNCA since 2009, and is the most important distinction in the field of culture in Catalonia. https://eufonic.net/en/ Digital Impact at Disseny Hub Barcelona Alba G. Corral presented her new piece ‘Mercuri’ which has been co-produced by the .NewArt { foundation;}. On view until the 27th of August. Three concepts united to a work that result in an audiovisual piece of dreamlike shapes and abstract textures: the Roman god; the planet that bears his name; the chemical element used in UHP projector lights, about to disappear and be replaced by other technologies. An exploration of the beautiful complexity of the algorithms that create generative art using open source tools. A piece that explores the contemplation of organic digital aesthetics speculating with new textures, movements and volumes. https://www.digitalimpact.art/ Randa Art|Science Residency Ars Electronica x Institut Ramon Llull x Hac Te x .Ne wArt { foundation ;} We are pleased to announce that Andy Gracie (UK/ES) has been selected as the winner of the Randa Art|Science Residency. Gracie’s project, Massive Binaries, draws from the notion of extracting information and knowledge from the processes of merging and collision, specifically focusing on gravitational waves and particle accelerators and their applications to cosmology. Organized by the Institut Ramon Llull and hosted by Ars Electronica and the Barcelona Institute of Science and Technology (BIST), in collaboration with the new hub of Art, Science, and Technology from Barcelona, Hac Te and the .NewArt { foundation;}. The Randa Art|Science Residency enables artistic research through scientific expertise. The partners invite together an artist or artist group from Catalonia to develop a new work in collaboration with the scientific partner, the Barcelona Institute of Science and Technology. The goal is to exhibit an artwork dedicated to the challenging questions around the digital transformation of our society and its impact at the Ars Electronica Festival in September 2023. https://ars.electronica.art/festival/en/randa2023/ IN MEMORIAM. Peter Weibel 1944-2023 We will always miss your eloquence and generous advice. "If you think you are sleeping you are awake." Peter Weibel XVIII EDITION OF THE ARCO/BEEP PRIZE FOR ELECTRONIC ART This year's edition has given two awards: Opaulo, Evru. Galería Senda . Me dia May Rewind Reality, Peter Weibel. Galería Beckers + Kornfeld . Congratulations to the winners and thank you to everyone involved! The .NewArt { collection;}. at V2_ V 2_Lab For The Unstable Media, Rotterdam 9. FEB — 4. MAR 20 23 V2_Lab for the Unstable Media and . NewArt { foundation;} are pleased to prese nt selected works from the .NewArt { collection;}, formerly known as the BEEP Electronic Art Collection. Unique in its kind, the primordial objective of the .NewArt { collection;} is to act as a witness and agent of the transgression created from the intersection between art, science and technology. Most of the artworks were commissioned specifically for the collection, and, since 2021, V2_ is a partner to this commissions program. Artist Albert Barqué-Duran, alongside with .NewArt { foundation;}'s director Vicente Matallana will be travelling to offer a talk during the opening event on the 9th of February. With artworks by Alber t Barqué-Duran & Marc Marzenit, Alba G. Corral, Weidi Zhang, Daniel Canogar, Charles Sandison, Paolo Cirio, Peter Weibel, Marina Nuñez, Keith Armstrong, and Rafael Lozano-Hemmer Catalan Digital Arts get international exposure with the participation at Ars Electronica, the most relevant festival for Digital Culture. The Institut Ramon Llull, together with New Barcelona Art, Science and Technology Hub (Hac Te) and NewArtFoundation boost the presentation of 6 Catalan projects at Ars Electronica 2022 , hosted from September 7 to 11 in Linz (Austria). Welcome to Planet B is the title for this year’s festival, which has been held for more than 40 years. Catalan digital Arts will be heavily represented at Ars Electronica 2022 , featuring among others a new work by artist Antoni Muntadas . More than 40 years after its founding, Ars Electronica is the main global event for digital arts, a meeting point for art, technology, and society with an eye on the future and the global challenges it brings. With Ars Electronica Garden Barcelona hosted in 2020 and 2021, the capital of Catalonia become one of the main delocalised destinations of Ars Electronica Festival. After two years of the pandemic, this year the Austrian festival returns to its physical presence on site and offers an opportunity for international exposure for Catalan digital art. Six projects following this year’s festival theme -Welcome to Planet B. A different life is possible. But how? - are presented gathered under the title “ Collaborative Ecosystems for a Sustainable World ”. Tasmanian Tiger by Antoni Muntadas , Species I, II and III by Mónica Rikić , Do Bodies Dream of Electromagnetic Organs? by Esther Rodríguez-Barbero , Chemical Ecosystem by Yolanda Uriz Elizalde , FORMS - Screen Ensemble by Santiago Vilanova – Playmodes , and Tools for a Warming Planet by Sara Dean, Beth Ferguson, and Marina Monsonís. The six artworks in this exhibition are the outcome of different initiatives such as the 2020 and 2021 Ars Electronica Garden Barcelona, the grant programs convened by ISEA2022 Barcelona and NewArtFoundation, as well as interdisciplinary research projects developed by Hac Te. The new creation by Antoni Muntadas , Tasmanian Tiger: Case Study of the Museum of the Extinction , is presented to the public for the first time at the Festival. Besides that, on September 8th , the main arena of Ars Electronica (Festival University Stage) will host a panel discussion on collaborative practices and how the transversal sharing of knowledge can generate proposals for a sustainable world. The panel discussion will be chaired by Pau Alsina , co-director of HacTe , Lecturer and researcher in Arts and Humanities Studies at the Universitat Oberta de Catalunya, with the participation of the architect and designer Sara Dean (California), ecological designer and educator Beth Fergurson (California), the artist and director of the MACBA Kitchen Lab Marina Monsonís (Catalonia) and media artist and creative coder, Catalan National Culture Award 2021, Mónica Rikić (Catalonia). On Saturday 10th September there will be a guided tour of the exhibition with the director of NewArtFoundation Vicente Matallana and some of the artists and collaborators. The festival will also include a workshop in connection to Tools for a Warming Planet by the creators of the project. Collaborative Ecosystems for a Sustainable World is a production of the Institut Ramon Llull in collaboration with Hac Te and NewArtFoundation with the support of the General Directorate for Innovation and Digital Culture of the Government of Catalonia and the Barcelona City Council. These projects and Ars Electronica Garden Barcelona are made possible by the contributions of a great diversity of Catalan entities and institutions among which BIST-Barcelona Institute of Science and Technology , the IBEC-Institute for Bioengineering of Catalonia , the UOC – Open University of Catalonia, ISEA2022 Barcelona, NewArtCollection, DKV, La Caldera, Hangar Centre for Art Research and Production in Barcelona, La Capella, the Foundation Ernesto Ventós – Nasevo, Canòdrom - Ateneu d’Innovació Digital i Democràtica, Arts Santa Mònica, Festival OFFF and Espronceda Institute of Art & Culture. New Art Foundation and Beep Collection at ISEA2022 Barcelona. ____________________________________________________________ New Art Foundation, in collaboration with the Beep Collection and other institutions, participates in the celebration of the ISEA2022 Barcelona Symposium, developing several activities and exhibitions. In collaboration with Outlet-PC, Reus Capital Partners, Fundació Ernesto Ventós-Nasevo, Fundació Reddis, Fundació Sorigué-Planta and DKV has promoted a scholarship program for the occasion of the symposium. New Art Foundation, NAF, an active agent in the organization of this symposium, includes in its proposals the work of almost 50 artists from its Collection participating in two major exhibitions, as well as in events and exhibits scattered throughout the different venues of ISEA2022 Barcelona. The first exhibition, Orígens, opens on May 26 at Cal Massó, REUS. The exhibition is curated by Roberta Bosco and Stefano Caldana, exclusively made up of works from the Collection. https://isea2022.isea-international.org/event/beep-collection-cal-masso. This exhibition is reinforced by the mapping created by Alba G. Corral for Casa Navàs, a modernist jewel in Reus by the architect Lluís Domènech i Montaner. https://isea2022.isea-international.org/event/new-art-foundation-casa-navas. In parallel with this great architect of modernism, Lluís Domènech i Montaner, another exhibition, Possibles & Futures , will be inaugurated at the Modernist Precinct of Sant Pau showing 17 works from the Collection, as well as 5 works from the ISEA2022 Barcelona Call. https://isea2022.isea-international.org/event/sant-pau. Other works from the collection will be exhibited in Barcelona at Centre d’Arts Santa Mònica, https://isea2022.isea-international.org/event/santa-monica , at La Capella, https://isea2022.isea-international.org/event/la -capella-el-que-es-possible-i-el-que-no , and at Centre de Cultura Contemporània de Barcelona, CCCB, https://www.cccb.org/en , where the academic program of the symposium will take place. This enormous display, the result of the commitment of NAF and Beep Collection towards the development of a social project based on creation, research and knowledge, will culminate with the presentation of the latest work produced by the Foundation by the artist Marnix de Nijs, at Sónar. https://sonar.es/es/2022/artistas/sonarmatica-by-tezos-installations. These programs have been made possible thanks to the participation of the Generalitat de Catalunya, Tarragona Provincial Council, Reus City Council, The Embassy of the Netherlands, Open University of Catalonia, Hac Te, Cal Massó, Casa Navàs, Modernist Precinct of Sant Pau, Sónar, Fundació Ernesto Ventós-Nasevo, Fundaciò Reddis, Fundación Sorigué-Planta and DKV, Outlet-PC, Reus Capital Partners and the support of Tecnol, Vermuts Miró and Fruselva, as well as the friendship, complicity and effort of so many others. 17th EDITION OF THE ARCO/BEEP ELECTRONIC ART AWARD. The 17th ARCO/BEEP Electronic Art Award has been awarded to “Echo”, a work by Lúa Coderch, Julia Múgica, Lluís Nacenta and Iván Paz, presented by the Galeria Àngels of Barcelona with the collaboration of Galeria Dilalica. The jury has valued this collective creation that reformulates, in a contemporary key, the myth of the nymph Echo, materializing in a post-human object next to which there is a small stool to allow the viewer to interact. “Echo” responds and converses on the edge of the (in)congruent and, in a way, poses an allegory of our need to establish a correspondence. The artists indicate that this work "works like a body among bodies", operates in society by articulating statements that reveal our difficulty in understanding what is said or trying to speak with minimal meaning. It is not merely a question of the wall in the distance giving us back, what we have said, with a time delay, but a linguistic “drift” that does not exclude a humorous tonality. Just as we begin to glimpse an end to the pandemic distancing, this "echo-objectual-verbal" may symbolize our wish for closeness, the desire that conversations may be what we deserve. Summoning Echo, we rescue this being despised by Narcissus from oblivion, something that deserves to be verbalized. In these moments of barbarism, the jury wants to highlight the collaborative practices within the artistic world, as a sign of generosity and humanity. Echo, in its conception, creation and exhibition, has been made possible by the desire to share and collaborate. Against barbarism. February 24th 2022. Felicie d’Estienne d’Orves at The Grenier à Sel, Avignon The exhibition Light, Space, Time, brings together 14 contemporary artists in a tribute to Nicolas Schöffer. Cybernetics, robotics, interactivity, prismatic visions, video art and dream machines are all on the program for this selection on display at the Grenier à sel. Nicolas Schöffer was a leading precursor of cybernetic art, electronic arts and above all exchange between artistic disciplines, and was a major artist of the second half of the 20th century. This exhibition pays tribute to Nicolas Schöffer and his visionary genius in presenting films and visual experiments, and testifies to the umbilical connection that links him to an entire generation of artists at the crossroads of technologies and sciences. The exhibition Light, Space, Time establishes the dialogue between period documents and current works that resonate with tthe triad 'Light, Space, Time'. Cybernetics, robotics, interactivity, prismatic visions, video art and dream machines are all on hand for this exhibition of 14 contemporary artists: Elias Crespin, Olivier Ratsi, Félicie d’Estienne d’Orves, Pe Lang, Adrien Lucca, Etienne Rey, Antoine Schmitt, Anne Sarah Lemeur, Santiago Torres, Lab(au), Justine Emard, Ronan Barrot - Robbie Barrat, Maurice Benayoun and Niko de la Faye. The .BEEP { collection;} participates by lending the work Eclipse II, Félicie d’Estienne d’Orves. Le Grenier à sel - Avignon From October 9, 2021 to December 23, 2022. https://legrenierasel-avignon.fr/lumiere-espace-temps Anthony McCall at PZSB/MCC, Mieres The Pozu Santa Bárbara and the MCC de Mieres host Anthony McCall. Solid Light and Performance Works, an exhibition – curated by Gloria Moure – that traces the artist’s career. A pioneer in combining multiple disciplines such as sculpture, film and drawing, McCall presents Face to Face II, his first work with two facing screens, in which the viewer is immersed in an architecture that generates a theatrical atmosphere, a hybrid between the ethereal and the solid. The .BEEP { collection;} participates by lending the work Face to Face II, Anthony McCall. Pozu Santa Barbara (PZSB), Mieres. Mieres Cultural Center (MCC), Mieres. From October 15, 2021 to January 31, 2022. https://www.mieres.es/solid-light-and-performance-works-de-anthony-mccall-inaugura-el-pozu-santa-barbara-como-centro-de-exposiciones/# Ars Electronica Garden Barcelona 2021 The Institut Ramon Llull , Hac Te – Barcelona Art , Science and Technology Hub , UOC – Universitat Oberta de Catalunya , HANGAR – Center for Art Research and Production , NewArtFoundation , .BEEP { collection;} , ESPRONCEDA – Institute of Art & Culture , La Caldera – Center for the creation of dance and performing arts , Canòdrom – Digital and Democratic Innovation Centre , organize for second year the Ars Electronica Garden Barcelona within the official program of the Ars Electronica 2021 Festival, which is held in distributed mode, with Barcelona as one of its locations. From September 8 to 12, Ars Electronica 2021, the festival for art, technology and society, take place not only in Linz, and 86 other Ars Electronica Gardens around the globe, but also online. The festival thus presented itself as a dual event – with exhibitions, concerts, talks, conferences, workshops, guided tours and other online activities. The main challenge of the new digitality is to resist the transhuman capitalist dream of the digital as utopia so as to configure a hybrid problematic via metastable and interdependent approaches to digital media. The hybrid times we are now living in have made us utterly aware of our interdependence— the state of being mutually reliant upon one another—as a form of symbiosis to take into account. Merging the digital/online world with the analog/presential world also has to relate and connect with the multiple layers of reality involved, from technopolitical infrastructures to ecosocial impact. The Ars Electronica Garden Barcelona will consist of five different phases: 1) an open call for art, science and technology grants; 2) artists’residencies in scientific and technological research centers; 3) the implementation of research-production processes in visual arts and performing arts production centers; 4) the public exhibition and diffusion of artistic research results and, finally, 5) the sharing of results, methods and processes involved in the collaboration through a series of open talks and roundtable discussions. With works by Estampa, Andy Gracie, Óscar Martín, Esther Rodríguez-Barbero, Anaisa Franco, Stefan Tiefengraber, Mohsen Hazrati, Mónica Rikić, Gilles Jobin Cia, Solim.n López, Pheel Concepts and Remix El Barrio among others, and with the participation of innovation platforms such as IMMENSIVA and Phygital. With the collaboration of Sónar, Mira Festival, IDEAL — Digital Arts Center, IAAC — The Institute for Advanced Architecture of Catalonia, BSC — Barcelona Supercomputing Center, ICFO — Institute of Photonic Sciences, BIST — Barcelona Institute of Science and Technology, Barcelona City Council and the Direction of Innovation and Digital Culture at the Ministry of Culture-Government of Catalonia. Curated by: Pau Alsina, Carolina Jiménez, Maria Lladó,Alejandro Martín, Vicente Matallana, Lluís Nacenta and Irma Vilá. https://ars.electronica.art/newdigitaldeal/en https://arselectronicagardenbarcelona.org/en AWARD OF THE PRIZE ARCO/BEEP OF ELECTRONIC ART IN ARCOMADRID BEEP Collection´s Prize in its 16th Edition (2021) in ARCOMADRID has been awarded to Marina Núñez for her works, Still Life Swell (2021) and Still Life Tornadoes (2021) exhibited in the Gallery Rocío Santacruz. The members of the jury were Fernando Castro, Roberta Bosco, Marie-France Veyrat and Vicente Matallana. The work is a reformulation of the Neo-Barroc Still Life genre in several videos, allegorizing both the questions related to human existence and its relationship with Nature. Their pictorial tonality is very sophisticated, offering a fascinating hyper-reality approach that presents the viewer with specific details such as the movement of a piece of cloth or the spilling of liquid from a glass due to an inexplicable turbulence. Drama and beauty are intertwined in these works that explain this artist’s maturity. Marina Núñez has developed her art over the years from painting to photography and computerization. She has exhibited in reference museums such as MNCARS, MUSAC or Thyssen-Bornemisza. Her artistic meditations about hysteria, the feminine condition, monstrosity and scopic drive, converge in these intense videos that do not suggest the idea of “the vanity of all things” rather the idea that there might be at least some hope within the disastrous world in which we live: Still Lives that transmit life or, at least, exorcize the intrinsic death that is implicit in the name of its genre. RESOLUTION OF THE PRIZE ARCO/BEEP OF ELECTRONIC ART The selection committee was formed by: Maria Lladó and Susana Millet (Institut Ramon Llull), Marisol López (director of the Digital Area of ICEC), Marie-France Veyrat, Andreu Rodríguez Valveny and Vicente Matallana (NewArtFoundation), Pau Alsina and Irma Vilà (UOC – ISEA Barcelona), Cristina Riera (La Caldera), Roberta Bosco (independent curator and critic), Alex González (BIST), Lydia Sanmartí and Silvia Tognetti (ICFO), Fernando Cucchietti (BSC), Lluís Nacenta and Miguel Ángel de Heras (Hangar), the latter as technical advisor with voice but no vote,has decided to select the following projects from among the 71 applications submitted to this grant program, which is framed within the context of residencies of Hac Te, the hub of art, science and technology in Barcelona: Modality 1: – Estampa with the project Cambres fosques de la ideologia, an investigation on the technological mediations that operate behind the images and in which different audiovisual formats are used, which put in dialogue the camera obscura with the operative images of artificial intelligence (AI). – Andy Gracie with the project EoE Triptych #1, in which he develops cultural and scientific narratives around the end of the Universe in three different stages (the end of the Solar System, the end of the Galaxy and the Universe) in a triptych format, recurrently used in the history of art to frame narratives about the fate of humanity and its possible redemption. – Óscar Martín with the project MMM [meta music machines], a sound and sculptural research, among other things, that tries to develop and build a non-human sound composer, a machine/sculpture that is inspired, feeds and “learns” from the music created for centuries by human culture. – Esther Rodríguez-Barbero, with the project ¿Sueñan los cuerpos con órganos electromagnéticos?, a scenic research on the relationship between the body and implanted biomedical electronic devices and its derivations around perception, self-perception, spatial movement, the construction of spaces and narratives capable of embracing these realities. Modality 2: – Anaisa Franco with the project Neuroconnection, an interactive installation that connects thoughts within a parametric light sculpture that allows people to play and control light-sensitive reactions using their own thoughts. We sincerely thank all the participants of the call and congratulate Estampa, Andy Gracie, Óscar Martín, Esther Rodríguez-Barbero and Anaisa Franco. https://hangar.org/en/resolutions/resoluciobequesproduccioinvestigacio Production-research grants from Institut Ramon Llull, NewArtFoundation, UOC, La Caldera and Hangar The Institut Ramon Llull , New Art Foundation , Universitat Oberta de Catalunya (UOC) , La Caldera and Hangar open a call for five grants for the production-research of artistic pieces in the field of the confluence between art, science and technology. This grant program is part of the residency program of Hac Te, the art, science and technology hub of Barcelona, with the participation of the research centers Barcelona Supercomputing Center (BSC) Institute of Photonic Sciences (ICFO), or other centers attached to the Barcelona Institute of Science and Technology (BIST). The selected projects may be presented in the framework of the Ars Electronica 2021 festival, which for the second year will be held in distributed mode with Barcelona as one of its main locations, or other related events. https://hangar.org/en/convocatories-3/beques-de-produccio-investigacio-de-linstitut-ramon-llull-newartfoundation-uoc-la-caldera-i-hangar Ars Electronica Garden Barcelona Institut Ramon Llull, Hangar, UOC – ISEA Barcelona, OFFF Barcelona, .BEEP { collection;}, and NewArtFoundation, organize the Ars Electronica Garden Barcelona within the official program of the Ars Electronica 2020 Festival, which this year is held in distributed mode, with Barcelona as one of its locations. From September 9th to 13th, Ars Electronica 2020 will take place under the title of Kepler’s Garden, a tour that from Linz (Austria) expands to other 120 cities. For the first time, the Festival becomes a sort of digital journey that will take visitors from all over the world to different biotopes and networked ecosystems where new alliances and forms of cooperation are possible. Simultaneously to local-physical and global online events, Ars Electronica appears once again as a laboratory focusing on experimental forms of analog and digital, real and virtual, physical and online coexistence. Based on the notions of uncertainty and ecology, Ars Electronica Garden Barcelona presents a program that seeks to account for the diversity of relationships and interdependencies among the arts, sciences, technologies and critical thinking that make possible ways of thinking and doing that can provide non-univocal answers to the need to constitute and strengthen a material culture of life that will lessen the ecological and epistemic damage of capitalism, which the COVID-19 crisis once again puts into reconfiguration. The program of Ars Electronica Garden Barcelona is deployed in a variety of activities and formats that include exhibitions, live actions, round tables, shows or workshops, with a clear will to interconnect politics with art, technology and nature. Barcelona appears here through a network of heterogeneous agents that make theoretical positions converge with the practical work that multiple social groups, cultural producers, nodes, clusters or educational centres have been developing, interlinked with each other and with the world. More information soon. https://ars.electronica.art/keplersgardens/en/program/ Resolution of the Production and Exhibition Grants by Institut Ramon Llull, NewArtFoundation and Hangar. The selection committee consisting of: Eva Soria and Maria Lladó (Ramon Llull Institute), Marisol López (director of the ICEC’s Digital Area), Marie-France Veyrat, Andreu Rodríguez Valveny and Vicente Matallana (NewArtFoundation), Pau Alsina and Irma Vilà (UOC – ISEA Barcelona), Roberta Bosco (curator and critic), Giuliana Racco and Lluís Nacenta (Hangar) and Jordi Llàcer (NewArtFoundation) and Miguel Ángel de Heras (Hangar), the latter two as technical advisors with voice but no vote, Has decided to award to the following projects: Modality 1: Roc Parés Santi Vilanova Modality 2: Monica Rikić In Barcelona, 17 July 2020 https://hangar.org/en/resolutions/resolucio-de-les-beques-de-produccio-i-exhibicio-institut-ramon-llull-newartfoundation-hangar/ Production and Exhibition Grants by Institut Ramon Llull, NewArtFoundation and Hangar in collaboration with the .BEEP { collection;} The Institut Ramon Llull, NewArtFoundation and Hangar, Centre for Production and Research of Visual Arts in Barcelona open a call for proposals to award three grants for the production of artistic pieces in the field of the confluence between art and technology. These pieces will be presented in an exhibition at Arts Santa Monica, within the official program of the 2020 Ars Electronica Festival, which is held in a distributed mode, with Barcelona as one of its locations, due to the crisis of the COVID19. https://hangar.org/en/convocatories-3/beques-de-produccio-i-exhibicio-de-linstitut-ramon-llull-new-artfoundation-ihangar/?fbclid=IwAR3utq4J1VnDOOIbQHdPsWtvKi79TCL3zAM9BZLgf5eEBWiS81hHJvFl0EM “XV edition of the ARCO-Beep Electronic Art Award” The BEEP Collection of Electronic Art has awarded its 2020 award at the ARCOmadrid fair to Joan Fontcuberta and Pilar Rosado, for the work entitled Prosopagnosia, exhibited at the Galería Angels Barcelona. Fontcuberta is, without a doubt, one of the most respected photographers and image theorists of his generation, with a magnificent exhibition career, both national and international. In his work he has raised a lucid and playful reflection on the status of the image, the mutations of photography and what he has described as "fury of images". Far from the Barthesian and auratic referential conception of photography, he has stressed that the image always has a fictional component. .BEEP { collection;} @ Ars Electronica Festival 2019 The .BEEP { collection;} will participate as a guest collection at the ARS ELECTRONICA FESTIVAL in Linz, the most important event of the year dedicated to media art and the most experimental and innovative expressions of contemporary art and creativity, celebrating its 40th anniversary. A swarm of electronic fireflies, a sound installation controlled by a community of jellyfish and an approach to the concept of portrait through a system of representation of the face based on the observer's gaze are some of the most outstanding works which the BEEP Collection will present at the Festival, within the framework of an exhibition which poses an unprecedented concept of expanded bioart. In addition, the BEEP Collection will exhibit its most recent additions: 3 new works by emerging artists, results of the first production program carried out in collaboration with the HANGAR Independent Production Centre and the NewArt Foundation of Barcelona. https://ars.electronica.art/outofthebox/en/beep-electronic-art After the Festival this proposal will be presented at the Young Gallery Weekend. http://younggalleryweekend.com/es/galerias/arts-santa-monica “XIV edition of the ARCO-Beep Electronic Art Award” The BEEP Collection awards in its XIV edition the work The Wall of Gazes (2011) by the Argentine artist Mariano Sardón exhibited at the Ruth Benzacar gallery (Buenos Aires). It is a magnificent installation in video resolution, with a special software support, generated from an eye tracker device. Sardón investigates the mutations of the contemporary gaze. Each subject establishes a journey with his vision generating lines and flashes that make up faces that appear from a situation of apparent disorder. In this sort of visual labyrinth, a countenance that seems to question us ends up composing itself. At a time when we endured a data tsunami with hardly any information nuclei being settled, the work of Mariano Sardón comes to propose a resolution of the collective visual itineraries in semblants-epiphanies that are subject to the dynamics of time. This “wall of gazes” allows establishing a dialogue with other works from the BEEP Collection that also influence the conceptualization of “ways of looking”. If art is a strange combination of what we see and what looks at us, in this case what challenges us is a face that does not intend to petrify us in the manner of the Gorgon but to incite us to contemplate reality in other ways. “The .BEEP { collection;} presents a selection of works at Mobile Week Barcelona” In its 3rd edition, Mobile Week Barcelona presents the exhibition “Our simple relationship with technology: a reflection on the digital transformation of our society through the selection of ten works by international artists and works from the BEEP Collection of Electronic Art”. As a starting point for the open call for artists, Mobile Week proposed to rethink the daily relationship established between human beings and technology, with special attention to artificial intelligence. Far from explaining simple connections, our simple relationship with technology seeks to trace relationships of mutual influence that are often not evident as daily. Clad in apparent simplicity and, in many cases, a sense of humor, the 10 selected works address our relationship with technology in all its complexity, a relationship that is ubiquitous in the Beep Collection. Tycho; Test One by British artist Paul Friedlander is the first result of the ATA (Advanced Technology Art) Program developed by the Collection, the NewArtFoundation and Eurecat, the leading Technology Center in Catalonia, with the collaboration of Escofet, serving as a meeting point for the presentation of the works Gust by Daniel Canogar, Try Not To Think So Much by Eugenio Ampudia and Luci by José Manuel Berenguer that complete the Collection's proposal. These works will be accompanied by the artists selected by an international jury made up of Olga Subirós, Lívia Nolasco-Rózsás, Roberta Bosco, Rosa Ferré, Axel Gasulla, Amanda Masha and Rosa Arredondo who selected works by the artists Albert Barqué-Duran, Fidel García, Martina Solés Caldés, Mónica Rikić, Karin Fischnaller, Ivar Veermäe, Adriana Tamargo & Guillermo Escribano, María Castellanos & Alberto Valverde, Martin Nadal & César Escudero and Miguel Solimán López Cortez. The exhibition will be open from February 14 to March 16, 2019, at Disseny Hub Barcelona. The XIII edition of the ARCO / BEEP Award is convened, and the BEEP Collection dialogues with the Es Baluard Museum Collection The BEEP Collection of Electronic Art is the result of the artistic patronage of Andreu Rodríguez, president of the TICNOVA Group. In its 13 years of existence, the primary objective of the Collection has been to be a witness and agent of the transgression created by the intersection between art, science and technology. Linked from its beginnings to the ARCOmadrid International Contemporary Art Fair, through the ARCOmadrid / BEEP Prize for Electronic Art, it has generated one of the most important electronic art collections in Europe. More than 40 works show the trends of the technological media in the field of artistic practices. The Collection will once again be present at what is the appointment with the Spanish contemporary art market: the international fair ARCOmadrid. And it does so with a new call for the most traditional award at the fair, the ARCOmadrid / BEEP Award for Electronic Art. The objective of the award is to promote the research, production and exhibition of art linked to new technologies or electronic art. Its purpose is to promote artistic creation linked to technology, to promote communication between technology manufacturers / creators and creative artists. A natural collaboration that will benefit and enrich both. .BEEP { collection;} @ Ars Electronica Festival 2018 Starting on 6th September the Austrian city of Linz will host the most important event in the world of digital art: the Ars Electronica festival. In this latest edition, the .BEEP { collection;} will be one of the protagonists as an invited collection. As such, it will be charged with exhibiting one of its latest productions as well as various selected works from the collection. https://ars.electronica.art/error/en/the-beep-electronic-art-collection

Exhibition “Con Fe y Sacrificio” by Andrea Lería Fundació Úniques, Barcelona From 19th December 2024 to 21st February 2025 https://www.exibart.es/exposiciones/la-fundacio-uniques-barcelona-presenta-con-fe-y-sacrificio-de-andrea-leria/ ArtFutura 30, From March 1 to April 3 2023 Espacio n-1, Universitat Politècnica de València http://www.upv.es/entidades/ACU/noticia_1212069c.html Museu d'Art de Sabadell (MAS) - Casa Turull Exhibition "RESTITUCIÓ. DIÀLEG INTERGENERACIONAL ENTRE MARIAN BURGUÈS I SERRA (SABADELL, 1851-1932) I ROC PARÉS" From May 9 to July 9, 2023 https://www.sabadell.cat/en/?option=com_content&view=article&id=213886&Itemid=3360 Conce rt Hyper_O, CARLES VIARNÈS & ALBA G. CORRAL July 15, 2023 Festival GONG, Coves de Montserrat https://www.gong.cat/es/progra macio/hyper_o/ "On safeguarding", Roc Parés. July a September 2019. Arbar, La Vall de Santa Creu (El Port de la Selva). https://www.arbar.cat/es/acciones-en-la-naturaleza-a-a/2019-ciclo-iteraciones-relatorias-ecoestetica-rural/intervencion-roc-pares-al-resguardo/ ISEA2022 Barcelona, Santa Mònica - La irrupció From June 9 to August 21 2022. https://isea2022.isea-international.org/event/santa-monica/ Festival Eufònic August 25 to 28, 2022 Terres de l'Ebre https://eufonic.net/es/edicio/2022/ “Cabinet of Hypnosophical Curiosities”, Nourathar, Art & Technology Studio. April - Mayo 2019. ArtFutura Ibiza 2019. Can Jeroni, Sala dÉxposicions. Sant Josep de Sa Talaia. Ibiza. http://www.nourathar.com/news/cabinetofhypnosophiccuriosities “Them an d Us” September 2018 - February 2019. Es Baluard Museu d'Art Modern i Contemporani de Palma . Technology Sponsorships of the installation Eskizo by Marcel·lí Antúnez. https://www.esbaluard.org/en/exposicion/ellos-y-nosotros “And what did you do for art?” Eugenio Ampudia. November 2018 - June 2019. Centre d’Art Tecla Sala, Hospi talet. https://Detall agenda | Centre d’Art Tecla Sala “Asymmetrical Response”. Cory Arcangel and Olia Lialina. June - December 2017. Art Projects Ibiza, Ibiza. https://artprojectsibiza.com/asymmetricalresponse-en “La Venezia che non si vede. Unveiling the Unseen”, Antoni Abad. May – November 2017. Catalonian Pavilion at the 57th edition of the Venice Biennale. Venice. Organized by the Institut Ramón Llull. https://www.llull.cat/monografics/blindwiki/index.php?l=en “Net.Art and Control”, Ricardo Iglesias. January - March 2017. La NeoMudejar, Mad rid. http://www.laneomudejar.com/net-art-y-control-ricardo-iglesias/ Festival Eufònic "Thalastasi: La simfonia de l’oceà que il·lumina els invisibles", Pablo Sánchez, Vanessa Balagué, Alba G. Corral, Playmodes and SHOOK. "Santuari. Paradís", Alba Matilla. July 4 to 14, 2024 Terres de l'Ebre https://eufonic.net/presentacio-del-programa-deufonic-2024/ Festival Eufònic August 25 to 27, 2023 Terres de l'Ebre https://eufonic.net/edicio/2023/