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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

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Alba G. Corral, Madrid, 1977. Based in Catalunya is a Visual Artist and creative coder with a background in computer engineering, Corral has been creating generative art using software and coding for the past decade. Her practice spansacross live performance, video, digital media and installation, exploring abstract narratives and expressing sensitivity and taste for colour. By combining generative systems with improvised drawing techniques, her digital language becomes organic, creating mesmerising digital landscapes. Corral is known for her stunning live audio-visual performances where she integrates real-time coding and drawing in collaboration with musicians. https://blog.albagcorral.com/ <<-- Back "Papallona de l'Alfocada" 2021 The work of Alba G. Corral invites you to contemplate a butterfly in the L'Alfacada Lagoon, one of the main biodiversity reserves in the western Mediterranean located in the Delta de l'Ebre Natural Park. Papallona de l'Alfacada recreates through algorithms the beauty and fragility of a butterfly, the beauty and fragility of an ecosystem, our environment, our land. It preserves it for future generations since, without a drastic change in our environmental policies, they will only be able to enjoy it from the melancholic delicacy of the memory of Alba's work. "Mercuri" 2023 Three concepts united in one work that give rise to an audiovisual piece of dreamlike abstract shapes and textures: the Roman god; the planet named after him; the chemical element used in UHP projector lamps, about to disappear and be replaced by other technologies. An exploration of the beautiful complexity of 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. ​

Press Release <-- Return .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.). ​ The programming of "Digital After All" The prestigious London digital art studio FIELD presents “DeepTime”, an installation of large format - with two screens more than 5 meters high - that talks about the threat of climate change and the catastrophic future of the planet, a problem so massive and unaffordable for the human being, who sees how the ability to react escapes him. Thanks to intelligence artificial, geological data and artistic models, the installation creates simulations generative and poetic scenarios that allow us to think about tomorrow in a different way. Alba G. Corral, visual artist and creative programmer resident in La Ràpita, presents "Mercuri", an audiovisual piece of dreamlike shapes and abstract textures formed by three large format screens and for the three definitions of the same concept: the Roman god, the planet and the chemical element used in projectors. The installation, co-produced by .NewArt { foundation;} of Reus, the first collection in Spain specializing in linked art in science and technology, explores the complexity of algorithms that create generative art using open source tools, with an organic digital aesthetic that speculates on new textures, movements and volumes. ​ The award-winning designer and artist Ezequiel Pini, at the head of the creative art studio from Barcelona Six N. Five , together with the Berlin design studio specialized in the development of 3D design systems, Someform , presents "Artificial Spaces";. Through a unique combination of architecture, photography, generative design, art and programming – feeding the machine with creativity – infinite spaces emerge artificially generated architectural, each unique and unrepeatable, but with a little of implemented humanity. Also, by allowing the public to alter some values,it invites to introspection and deep understanding of how personal biases and norms cultural values define the concept of beauty. Who decides what is beautiful and can a machine create something beautiful? Dutch new media artist Marnix de Nijs , who explores the dynamic clash between bodies,machines and other means, making use of technology, presents "Non-dimensional cities", one immersive cinematic experience in which viewers travel through a landscape virtual urban that unfolds endlessly and expands on all axes. This landscape three-dimensional urban, generated from information extracted from depth maps and photos obtained from Google Street View, is visualized through points and sounds. While the user he stands on the platform and navigates through this virtual world, he is seized by a sensation of physical instability. Digital artist and creative programmer from Barcelona Mónica Rikić presents “New Home of Mind", an artistic installation of futuristic fiction that addresses the perception of identity in intelligent artificial bodies, and embraces the possibility of genuine artificial spirituality. The installation starts from the idea of a robot that has an existential crisis after having him removed from his code the purpose of his life. Now, he seeks the meaning of his existence a through an artificial spiritual interface. The project investigates artificial spirituality and reveals reflections and thoughts between cyberpunk, technoethics and technohumanism. The young experimental artist and designer from Barcelona nddr3 , aka d'Andrea Badia, explores the possibilities of technology as a creative tool, and is inspired by the organic forms of nature, in digital trends and in the imagination of the internet. The artist presents "Erosion digital", a piece between exhibition and interaction, which addresses the concept of digital erosion, the wear and tear produced by different external agents on the earth's surface. The waters of the Ebro are a great example of this phenomenon that has been shaping the landscape The piece, which works from a perspective of virtualization and physicality of the natural geological processes, is a co-production of the Eufonic festival in collaboration with the MakerLab of the UOC's Interdisciplinary Research and Innovation Hub. ​ 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

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

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 ​ ​

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

Evru, Barcelona, 1946. Evru (born Alberto Porta, called Evru since 2001 and previously Zush from 1968) has maintained an absolutely personal trajectory in which his will to represent a reality that he himself has conceptualised while in the Evrugo mental state takes precedence over any other concept. Few artists have had the genius to create their own parallel world, full of the symbols of an independent state. Evru began his career young at the hand of gallery owner René Metras and is currently working on an interactive work in progress, Tecura, based on the premise that the artist defends, «art for healing». Every person has an artist inside themselves. Evru, who works indistinctly with traditional media and digital technology has also developed his musical and performance facets. His work is characterised by the construction of a personal mythology, autobiographical in nature. A cartography that feeds on accumulative images, as well as the creation of a script, a personal code that attempts to express that which cannot be explained rationally. In his work, multiple, parallel universes that maintain a tense and delicate equilibrium between chaos and rational order converge. Founder and inhabitant of an imaginary state, Evrugo Mental State, conceived as a self-sufficient space whose energy expands with a clearly universalistic intention. Evrugo Mental State is born of necessity, as a utopia of physical and mental liberation that faces off with the historical situation of Spain in the moment of its creation, and the surrounding international context at the end of the seventies. He has participated in international exhibitions such as Documenta VI of Kassel, 1977, New Images from Spain, 1980, in the Solomon R. Guggenheim Museum of New York, Les magiciens de la terre, 1989, organized by the Centre Georges Pompidou de París, among others. He has been the subject of important retrospectives such as in Today Art Museum, Beijing, 2007, Shanghai DuoLun MoMA, 2007, NUS NX Gallery, Singapore, MACBA, Barcelona, 2001, or in the MNCARS, Madrid, 2000. In 2001 he received the City of Barcelona Prize for his two retrospectives, [Zush. La Campanada], MNCARS, 2000, and [Zush-Tecura], MACBA, 2000-2001). ​ Work at the collection: Expanded Eye, Tecura, Opaulo http://evru.org https://en.wikipedia.org/wiki/Alberto_Porta_y_Mu%C3%B1oz <<-- Back Tecura, 2008 In 1999 Evru (FKA Zush) begins to develop “Tecura” an interactive application for audiovisual creation online, based on tools created by the artist, putting at the disposal of the users a bank of sounds and images with which to produce their own artistic creations. In this way, Evru attempts to decentralise the author in favour of a new democratisation of art. In 2008 Devru develloped version 4.0 and incorporated it into the platform. The artwork at the collection is a digital print generated by this software. Work on deposit from LaAgencia Collection. http://www.tecura.org Opaulo, 1990 This digital print on canvas bears witness to Zush's pioneering experiments with computer generated images. This figure stems out of the artist's relentless generation of alternative worlds, myths and iconographies. A god-like appearance, a summoning of the forces of nature personified. Awarded with the XVIII ARCO BEEP Prize. ​

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. ​ ​