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Fabrizio Corneli, Florencia, 1958. ​The work of poses above all surprise, provokes mystery and astonishment, turning the experience of visuality into an authentic adventure of perception. His works radically transform the space, but with a very slight impact on it: when activated by light, they reveal drawings of shadows, figures of faces, buildings or bodies suspended in mid-flight. In the absence of this activating light, the space of the walls where the forms and drawings appear is almost empty and naked. Only metal slats, combs or other materials protrude from the plane of the wall. As long as there is no light shining on these obstacles, the forms are not "activated". This device, based on the relationship between light and shadow, can be understood as a mechanism of polysemic metaphors that ultimately places the perceptual experience in the foreground. Stories about shadows have fed the imagination since antiquity. The fantastic literature of romanticism has connected the shadow with a certain idea or representation of the soul. So it happens in the well-known story of Adelbert von Chamisso, Peter Schlemihl or the man who lost his shadow, in whose pages echoes Goethe's Faust, and also, although in a different way, in Andersen's tale, entitled precisely The Shadow. This path of imagination, however, also leads us to the shadows of Plato's cave, to his metaphors on knowledge, and also to the myth that Pliny the Elder recounts in his Natural History, to explain the birth of painting. ​The legend tells that the daughter of Butades, a potter from Sicyon, it is not known if it was in this city or in the neighboring Corinth, would have drawn a line on a wall, tracing the silhouette of the shadow of the head of the beloved man, the night before he left the city, in order to remember the features of his face. Shadow and painting establish from this moment on a paradoxical connection, while light assumes the role of illuminating by darkening. 
In this sense, Corneli's work becomes painting without painting and sculpture without volume that transforms the space, forcing a permanent interaction. The form is the shadow. The image is constructed through darkness that comes from light. The procedure is very simple, but involves a complex process of conception and realization. Fabrizio Corneli uses light as matter and his tool is the trigonometric calculation directed towards the activation of games of perception through a very precise use of perspective that in turn works with shadows and reflections. Mathematics and calculus become a methodology of systematic dematerialization of the work. It brings together optical research and the various traditions of perspective, used since the Renaissance but reinterpreted from the contemporary for an open visuality. The shadow thus functions as an expanded extension of geometry. Corneli's work echoes all these paradoxes and resonances, placing itself outside of any current, but at the core of experimentation on visual perception. Although in the international art scene light and shadow have been worked from a wide variety of perspectives, it is difficult to find a project as coherent and rigorous as Corneli's, which is unique in linking a handmade manufacture with mathematical calculations, where the role of technology is minimal and is generally confined to optics. Fabrizio Corneli, Florencia, 1958. The work of poses above all surprise, provokes mystery and astonishment, turning the experience of visuality into an authentic adventure of perception. His works radically transform the space, but with a very slight impact on it: when activated by light, they reveal drawings of shadows, figures of faces, buildings or bodies suspended in mid-flight. In the absence of this activating light, the space of the walls where the forms and drawings appear is almost empty and naked. Only metal slats, combs or other materials protrude from the plane of the wall. As long as there is no light shining on these obstacles, the forms are not "activated". This device, based on the relationship between light and shadow, can be understood as a mechanism of polysemic metaphors that ultimately places the perceptual experience in the foreground. Stories about shadows have fed the imagination since antiquity. The fantastic literature of romanticism has connected the shadow with a certain idea or representation of the soul. So it happens in the well-known story of Adelbert von Chamisso, Peter Schlemihl or the man who lost his shadow, in whose pages echoes Goethe's Faust, and also, although in a different way, in Andersen's tale, entitled precisely The Shadow. This path of imagination, however, also leads us to the shadows of Plato's cave, to his metaphors on knowledge, and also to the myth that Pliny the Elder recounts in his Natural History, to explain the birth of painting. The legend tells that the daughter of Butades, a potter from Sicyon, it is not known if it was in this city or in the neighboring Corinth, would have drawn a line on a wall, tracing the silhouette of the shadow of the head of the beloved man, the night before he left the city, in order to remember the features of his face. Shadow and painting establish from this moment on a paradoxical connection, while light assumes the role of illuminating by darkening. 
In this sense, Corneli's work becomes painting without painting and sculpture without volume that transforms the space, forcing a permanent interaction. The form is the shadow. The image is constructed through darkness that comes from light. The procedure is very simple, but involves a complex process of conception and realization. Fabrizio Corneli uses light as matter and his tool is the trigonometric calculation directed towards the activation of games of perception through a very precise use of perspective that in turn works with shadows and reflections. Mathematics and calculus become a methodology of systematic dematerialization of the work. It brings together optical research and the various traditions of perspective, used since the Renaissance but reinterpreted from the contemporary for an open visuality. The shadow thus functions as an expanded extension of geometry. Corneli's work echoes all these paradoxes and resonances, placing itself outside of any current, but at the core of experimentation on visual perception. Although in the international art scene light and shadow have been worked from a wide variety of perspectives, it is difficult to find a project as coherent and rigorous as Corneli's, which is unique in linking a handmade manufacture with mathematical calculations, where the role of technology is minimal and is generally confined to optics. http://fabriziocorneli.net/ <<-- Back Halo, 2013 "If we understand white as light and black as shadow, we could say that in my works there is neither light nor shadow, but a continuum of grays. The ambiguity of perception is a fundamental concept to understand the poetics of Corneli, who adds: "Although the approach of my modus operandi is rational and mathematical, the result in the best cases is difficult to focus. The image as meaning wants to be elusive and in any case to refer to a universe, that of shadows, fluid and unreliable.

José Antonio Orts, Meliana, 1955. Between science and art, physics and aesthetics, there is a remote, unknown place where wonderful things happen. That territory, which only a few curious people are willing to know, is populated by the works of José Antonio Orts. Pieces of electronic art and sound sculptures that, rather than remaining indolent in a space, inhabit it. They come to life when they are observed. The studio of this Valènciano artist proves it. The walls, covered with electronic components and solar panels, welcome us to a space where the untrained eye scrutinizes the pieces in search of an explanation that brings it all together. Proof of this is the corridor, invaded by imposing tubes of different lengths. Depending on these, Orts tells us, the viewer can hear different sounds or musical notes. Science is exact; art, pure emotion. Although art and music have always captivated the artist (who has a degree in composition), electronics was the discipline that first appeared in his life; specifically, when he was just 10 years old. He created the circuits as a hobby, not knowing exactly what for. Nearly three decades later, he knows perfectly well: the lights of his works are powered by ambient energy through solar panels. The sculptures whisper or grunt sounds to the steps, movements or gestures of the people who come to interact with them. The dance between spectator and work has just begun. Rome, Paris, Berlin, Valencia. Behind his back, the artist has a long and prolific career that has just earned him the V Prize of the Cañada Blanch Foundation for his work Trio of drops of light. "It is the first time that a work of electronic art has won this award. It creates a valuable precedent," says Orts. For us, for the time being, it serves as an excuse to get to know him and his work. An opportunity we won't miss. Work at the collection: - Duo Fa-la - Sin Titúlo José Antonio Orts, Meliana, 1955. Between science and art, physics and aesthetics, there is a remote, unknown place where wonderful things happen. That territory, which only a few curious people are willing to know, is populated by the works of José Antonio Orts. Pieces of electronic art and sound sculptures that, rather than remaining indolent in a space, inhabit it. They come to life when they are observed. The studio of this Valènciano artist proves it. The walls, covered with electronic components and solar panels, welcome us to a space where the untrained eye scrutinizes the pieces in search of an explanation that brings it all together. Proof of this is the corridor, invaded by imposing tubes of different lengths. Depending on these, Orts tells us, the viewer can hear different sounds or musical notes. Science is exact; art, pure emotion. Although art and music have always captivated the artist (who has a degree in composition), electronics was the discipline that first appeared in his life; specifically, when he was just 10 years old. He created the circuits as a hobby, not knowing exactly what for. Nearly three decades later, he knows perfectly well: the lights of his works are powered by ambient energy through solar panels. The sculptures whisper or grunt sounds to the steps, movements or gestures of the people who come to interact with them. The dance between spectator and work has just begun. Rome, Paris, Berlin, Valencia. Behind his back, the artist has a long and prolific career that has just earned him the V Prize of the Cañada Blanch Foundation for his work Trio of drops of light. "It is the first time that a work of electronic art has won this award. It creates a valuable precedent," says Orts. For us, for the time being, it serves as an excuse to get to know him and his work. An opportunity we won't miss. Work at the collection: - Duo Fa-la - Sin Titúlo https://joseantonioorts.com/ <<-- Back Duo Fa-la , 2004 Sin Titúlo , 2004 The installations, visual and sound, are made with electronic objects (sculptures) sensitive to the presence and movements of the spectator. The form of these objects has emerged from their function, so there is a very intimate relationship between their visual form and the sound, light or effect produced. These electronic objects capture the presence of the spectator (by the changes of luminosity and the shadows that they project, or by the small movements of air that they cause when passing) and transform these movements of the spectator into progressive variations of sound rhythm or luminous rhythm.

Yolanda Uriz Elizalde, Pamplona-Iruña, 1982 Admiring the potential of olfactory language to communicate with the non-human, Yolanda Uriz's work focuses on inventing peculiar environments that encourage expanding subjectivities. She employs sound, scent, and digital technology in interdisciplinary installations, presented at festivals such as ISEA, Ars Electronica, Eufònic, Sonar+D, Schemerlicht, Wroclaw Biennale, and Sonic Acts, among others. She is a founding member of the collective iii (instrumentinventors.org NL), with whom she regularly collaborates. Yolanda Uriz Elizalde, Pamplona-Iruña, 1982 Admiring the potential of olfactory language to communicate with the non-human, Yolanda Uriz's work focuses on inventing peculiar environments that encourage expanding subjectivities. She employs sound, scent, and digital technology in interdisciplinary installations, presented at festivals such as ISEA, Ars Electronica, Eufònic, Sonar+D, Schemerlicht, Wroclaw Biennale, and Sonic Acts, among others. She is a founding member of the collective iii (instrumentinventors.org NL), with whom she regularly collaborates. https://yolandauriz.info/ <<-- Back "Chemical Calls of Care" 2024-25 The installation is a science-fiction machine for wired chemical telecommunication. Attempting to establish olfactory communication with plant species, it consists of tubes and fans transmitting chemical information from plants to a receiving terminal. From another transmitting terminal, visitors can send messages—limited in this case to messages of care—by choosing among various beneficial substances that promote the health and balance of the ecosystem. Plants respond by emitting their volatile organic compounds (VOC), odors we might be able to decode. Additionally, Chemical Calls of Care includes gas sensors that provide data on air composition, translating it into sound—a language potentially easier to understand than olfactory signals. https://erfanabdi.com/chemical-calls-of-care/

Christa Sommerer, Ohlsdorf, 1964 & Laurent Mignonneau, Angouleme, 1967. With a shared interest in artificial life and intelligence, Sommerer and Mignonneau draw upon their disparate backgrounds to produce deeply engaging and sensory experiences. By wedding Sommerer’s background in botany, anthropology, and sculpture with Mignonneau’s studies in video and modern art, the duo design interfaces that generate open-ended, embodied encounters with living systems and science. For example, in "Interactive Plant Growing" (1992), the artists employ Erkki Huhtamo’s notion of a “tactile gaze” to achieve both visual and physical interactivity with the viewer: a human hand needs to touch the real, living plants in order to trigger a projection of digital #ora counterparts in the installation. Similarly, in "Fly Simulator" (2018) and "Neuro Mirror" (2018), the resulting artwork is unique visual feedback that is reliant on user input and activation (i.e. wearing and manipulating a VR headset, or gesturing in front of a video camera), as well as conceptual aspects of human sentience like memory, emotive perception, and creative visualization. Despite the number of years elapsed between the creation of these works, each piece demonstrates the essential quality of engagement that connects the artists’ work to the physical world. As their research and art often posits, technology increasingly plays a fascinating and complicated role in the archaeology, imitation, and manipulation of nature – despite the generative qualities they both share. Christa Sommerer and Laurent Mignonneau completed their PhD degrees from CAiiA-STAR, University of Wales College of Art, Newport (UK) and Kobe University (Japan), respectively. Sommerer and Mignonneau’s works have been featured in more than 300 exhibitions, and are included in media museums and collections around the world. They are the recipients of several media arts awards, including the "Golden Nica" Prix Ars Electronica Award for Interactive Art in 1994 (Linz, Austria), the "Ovation Award" of the Interactive Media Festival 1995 (Los Angeles, USA), the "Multi Media Award '95" of the Multimedia Association Japan, and the 2001 “World Technology Award” in London. They have published numerous research papers on artificial life, interactivity and interface design, and have lectured extensively at international universities and events. They are Professors at the University of Art and Design in Linz, Austria, where they also head the Department for Interface Culture at the Institute for Media. Their work “Portrait on the Fly” won the 11th edition of the ARCO-BEEP Electronic Art Award ​Work at the collection: Portrait on the Fly Christa Sommerer, Ohlsdorf, 1964 & Laurent Mignonneau, Angouleme, 1967. With a shared interest in artificial life and intelligence, Sommerer and Mignonneau draw upon their disparate backgrounds to produce deeply engaging and sensory experiences. By wedding Sommerer’s background in botany, anthropology, and sculpture with Mignonneau’s studies in video and modern art, the duo design interfaces that generate open-ended, embodied encounters with living systems and science. For example, in "Interactive Plant Growing" (1992), the artists employ Erkki Huhtamo’s notion of a “tactile gaze” to achieve both visual and physical interactivity with the viewer: a human hand needs to touch the real, living plants in order to trigger a projection of digital #ora counterparts in the installation. Similarly, in "Fly Simulator" (2018) and "Neuro Mirror" (2018), the resulting artwork is unique visual feedback that is reliant on user input and activation (i.e. wearing and manipulating a VR headset, or gesturing in front of a video camera), as well as conceptual aspects of human sentience like memory, emotive perception, and creative visualization. Despite the number of years elapsed between the creation of these works, each piece demonstrates the essential quality of engagement that connects the artists’ work to the physical world. As their research and art often posits, technology increasingly plays a fascinating and complicated role in the archaeology, imitation, and manipulation of nature – despite the generative qualities they both share. Christa Sommerer and Laurent Mignonneau completed their PhD degrees from CAiiA-STAR, University of Wales College of Art, Newport (UK) and Kobe University (Japan), respectively. Sommerer and Mignonneau’s works have been featured in more than 300 exhibitions, and are included in media museums and collections around the world. They are the recipients of several media arts awards, including the "Golden Nica" Prix Ars Electronica Award for Interactive Art in 1994 (Linz, Austria), the "Ovation Award" of the Interactive Media Festival 1995 (Los Angeles, USA), the "Multi Media Award '95" of the Multimedia Association Japan, and the 2001 “World Technology Award” in London. They have published numerous research papers on artificial life, interactivity and interface design, and have lectured extensively at international universities and events. They are Professors at the University of Art and Design in Linz, Austria, where they also head the Department for Interface Culture at the Institute for Media. Their work “Portrait on the Fly” won the 11th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Portrait on the Fly http://www.interface.ufg.ac.at/christa-laurent/ https://fr.wikipedia.org/wiki/Christa_Sommerer_et_Laurent_Mignonneau <<-- Back Portrait on the Fly, 2015 Portrait on the Fly, consists of a monitor that shows a swarm of a few thousand flies. When a person positions himself in front of it, the insects try to detect his facial features. They then begin to arrange themselves so as to reproduce them, thereby creating a recognizable likeness of the individual. Posing in front of the monitor attracts the flies. Within seconds they invade the face, but even the slightest movement of the head or of parts of the face drives them off. The portraits are thus in constant flux, they construct and deconstruct. Portrait on the Fly is a commentary on our love for making pictures of ourselves (Selfie-Culture). It has to do with change, transience and impermanence. https://vimeo.com/47768582

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 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

Rafael Lozano-Hemmer, Ciudad de México, 1967. Rafael Lozano-Hemmer received a B.Sc. in Physical Chemistry from Concordia University in Montréal, Canada. Media artist working at the intersection of architecture and performance art. He creates platforms for public participation using technologies such as robotic lights, digital fountains, computerized surveillance, media walls, and telematic networks. Inspired by phantasmagoria, carnival, and animatronics, his light and shadow works are "antimonuments for alien agency". He was the first artist to represent Mexico at the Venice Biennale with an exhibition at Palazzo Van Axel in 2007. He has also shown at Biennials in Cuenca, Havana, Istanbul, Kochi, Liverpool, Melbourne NGV, Moscow, New Orleans, New York ICP, Seoul, Seville, Shanghai, Singapore, Sydney, and Wuzhen. His public art has been commissioned for the Millennium Celebrations in Mexico City 1999, the Expansion of the European Union in Dublin 2004, the Student Massacre Memorial in Tlatelolco 2008, the Vancouver Olympics 2010, the pre-opening exhibition of the Guggenheim in Abu Dhabi 2015, and the activation of the Raurica Roman Theatre in Basel 2018. Collections holding his work include MoMA and Guggenheim in New York, TATE in London, MAC and MBAM in Montreal, Jumex, and MUAC in Mexico City, DAROS in Zurich, MONA in Hobart, 21C Museum in Kanazawa, Borusan Contemporary in Istanbul, CIFO in Miami, MAG in Manchester, SFMOMA in San Francisco, ZKM in Karlsruhe, SAM in Singapore and many others. He has received two BAFTA British Academy Awards for Interactive Art in London, a Golden Nica at the Prix Ars Electronica in Linz, "Artist of the year" Rave Award from Wired Magazine, a Rockefeller fellowship, the Trophée des Lumières in Lyon, an International Bauhaus Award in Dessau, the title of Compagnon des Arts et des Lettres du Québec in Quebec, and the Governor General's Award in Canada. He has lectured at Goldsmiths College, the Bartlett School, Princeton, Harvard, UC Berkeley, Cooper Union, USC, MIT MediaLab, Guggenheim Museum, LA MOCA, Netherlands Architecture Institute, Cornell, UPenn, SCAD, Danish Architecture Center, CCA in Montreal, ICA in London, and the Art Institute of Chicago. In 2016, Rafael Lozano-Hemmer and Daniel Canogar, jointly and honorably, received the ARCO-Beep Electronic Art Award Work at the collection: Redundant Assembly Rafael Lozano-Hemmer, Ciudad de México, 1967. Rafael Lozano-Hemmer received a B.Sc. in Physical Chemistry from Concordia University in Montréal, Canada. Media artist working at the intersection of architecture and performance art. He creates platforms for public participation using technologies such as robotic lights, digital fountains, computerized surveillance, media walls, and telematic networks. Inspired by phantasmagoria, carnival, and animatronics, his light and shadow works are "antimonuments for alien agency". He was the first artist to represent Mexico at the Venice Biennale with an exhibition at Palazzo Van Axel in 2007. He has also shown at Biennials in Cuenca, Havana, Istanbul, Kochi, Liverpool, Melbourne NGV, Moscow, New Orleans, New York ICP, Seoul, Seville, Shanghai, Singapore, Sydney, and Wuzhen. His public art has been commissioned for the Millennium Celebrations in Mexico City 1999, the Expansion of the European Union in Dublin 2004, the Student Massacre Memorial in Tlatelolco 2008, the Vancouver Olympics 2010, the pre-opening exhibition of the Guggenheim in Abu Dhabi 2015, and the activation of the Raurica Roman Theatre in Basel 2018. Collections holding his work include MoMA and Guggenheim in New York, TATE in London, MAC and MBAM in Montreal, Jumex, and MUAC in Mexico City, DAROS in Zurich, MONA in Hobart, 21C Museum in Kanazawa, Borusan Contemporary in Istanbul, CIFO in Miami, MAG in Manchester, SFMOMA in San Francisco, ZKM in Karlsruhe, SAM in Singapore and many others. He has received two BAFTA British Academy Awards for Interactive Art in London, a Golden Nica at the Prix Ars Electronica in Linz, "Artist of the year" Rave Award from Wired Magazine, a Rockefeller fellowship, the Trophée des Lumières in Lyon, an International Bauhaus Award in Dessau, the title of Compagnon des Arts et des Lettres du Québec in Quebec, and the Governor General's Award in Canada. He has lectured at Goldsmiths College, the Bartlett School, Princeton, Harvard, UC Berkeley, Cooper Union, USC, MIT MediaLab, Guggenheim Museum, LA MOCA, Netherlands Architecture Institute, Cornell, UPenn, SCAD, Danish Architecture Center, CCA in Montreal, ICA in London, and the Art Institute of Chicago. In 2016, Rafael Lozano-Hemmer and Daniel Canogar, jointly and honorably, received the ARCO-Beep Electronic Art Award Work at the collection: Redundant Assembly http://www.lozano-hemmer.com https://en.wikipedia.org/wiki/Rafael_Lozano-Hemmer <<-- Back Redundant Assembly, 2015 In "Redundant Assembly" an arrangement of several cameras composes a live-portrait of the visitor from six perspectives simultaneously, aligned using face detection. The resulting image is uncanny, detached from the laws of symmetry and the depth perception of binocular vision. If several visitors are standing in front of the work, a composite portrait of their different facial features develops in real time, creating a mongrel "selfie". A version of the work for public space includes a time-component that allows the face blending to take place mixing present and the past. Face recognition is a technique often used by police, military, and corporate entities to search for and find suspicious or target people. Here the same technology is used to confuse portraits and emphasize the artificiality and arbitrariness of identification. http://www.lozano-hemmer.com/videos/artwork/redundant_assembly_basel_2016_rlh_001.mp4 Nivel de confianza, 2015 To commemorate the six months since the forced disappearance of the 43 students from Ayotzinapa, Lozano-Hemmer reprogrammed a facial recognition system—normally used to locate suspects—to search for the missing. Once a person is captured by a camera, the system searches for biometric matches with the faces of the students and selects the one that shares the most features to then determine a percentage of certainty in their finding. The experience questions both our condition as subjects of new technologies of control and our ethical and personal relationship with the victims of state violence. Work in storage by the Artist https://www.youtube.com/watch?v=mZXfisRoH70

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

Lúa Coderch, Julia Múgica, Lluís Nacenta & Iván Paz Lúa Coderch Artist and associate professor at BAU, Centro Universitario de Diseño de Barcelona. She has a master's degree in Artistic Production and Research and a PhD in Fine Arts from the University of Barcelona, and also trained as a sculptor at the Massana School. She combines narrative and objectual practices in videos, performances and installations that she configures as research devices. Her work is part of the collection of museums and centers such as the MACBA, the Museo de Arte Contemporáno de Castilla y León or the Contemporary Art Collection Cal Cego, among others, and has been exhibited in exhibitions such as Bienalsur (Argentina), the Joan Miró Foundation, Domus Artium, the University Museum of Contemporary Art (Mexico) or SMART (Netherlands). ​https://www.baued.es/profesores/lua-coderch ​ ​Julia Múgica is a Mexican scientist currently exploring artistic practices on complex processes in nature. With an interdisciplinary background spanning biology and computational physics, she is deeply interested in understanding how collectives make decisions that result in behavioral synchrony. ​https://mutek.org/es/artistas/julia-mugica-ivan-paz ​ ​Lluís Nacenta Lluís Nacenta is a professor, writer and curator in the fields of music and contemporary art. Degree in Mathematics and Music (piano), Master’s Degree in Comparative Studies in Literature, Art and Philosophy and Doctor of Humanities, with a PhD thesis about musical repetition, his research proposes a philosophical perspective on the sonic arts. He has published numerous articles in digital and paper publications, such as Cultura/s de La Vanguardia and Nativa, and has curated exhibitions and concerts for Sónar+D, Arts Santa Mònica, Centre de Cultura Contemporància de Barcelona (CCCB) and Fundació Antoni Tàpies, among others. Since January 2018 is the director of Hangar. ​https://www.cccb.org/es/participantes/ficha/lluis-nacenta/45208 ​​​ Iván Paz, Mexico City, 1978 I studied physics and mathematics at the National Autonomous University of Mexico (UNAM). During this period, I have also experimented with music and photography. My main interests involve science, art, technology and how their interaction can create new aesthetic, conceptual and thinking directions. In 2006, I have started working as a professor of sound engineering. From this process, in 2011 I conceived and led a seminar in mathematical methods applied to musical composition at UNAM. The activity developed there produced numerous collaborations and work processes, for example, live coding sessions in collaboration with the Centro Nacional de las Artes de México (CNA). ​ 17th EDITION OF THE ARCO/BEEP ELECTRONIC ART AWARD. Work at the collection: “Echo” Lúa Coderch, Julia Múgica, Lluís Nacenta & Iván Paz Lúa Coderch Artist and associate professor at BAU, Centro Universitario de Diseño de Barcelona. She has a master's degree in Artistic Production and Research and a PhD in Fine Arts from the University of Barcelona, and also trained as a sculptor at the Massana School. She combines narrative and objectual practices in videos, performances and installations that she configures as research devices. Her work is part of the collection of museums and centers such as the MACBA, the Museo de Arte Contemporáno de Castilla y León or the Contemporary Art Collection Cal Cego, among others, and has been exhibited in exhibitions such as Bienalsur (Argentina), the Joan Miró Foundation, Domus Artium, the University Museum of Contemporary Art (Mexico) or SMART (Netherlands). https://www.baued.es/profesores/lua-coderch Julia Múgica is a Mexican scientist currently exploring artistic practices on complex processes in nature. With an interdisciplinary background spanning biology and computational physics, she is deeply interested in understanding how collectives make decisions that result in behavioral synchrony. https://mutek.org/es/artistas/julia-mugica-ivan-paz Lluís Nacenta Lluís Nacenta is a professor, writer and curator in the fields of music and contemporary art. Degree in Mathematics and Music (piano), Master’s Degree in Comparative Studies in Literature, Art and Philosophy and Doctor of Humanities, with a PhD thesis about musical repetition, his research proposes a philosophical perspective on the sonic arts. He has published numerous articles in digital and paper publications, such as Cultura/s de La Vanguardia and Nativa, and has curated exhibitions and concerts for Sónar+D, Arts Santa Mònica, Centre de Cultura Contemporància de Barcelona (CCCB) and Fundació Antoni Tàpies, among others. Since January 2018 is the director of Hangar. https://www.cccb.org/es/participantes/ficha/lluis-nacenta/45208 Iván Paz, Mexico City, 1978 I studied physics and mathematics at the National Autonomous University of Mexico (UNAM). During this period, I have also experimented with music and photography. My main interests involve science, art, technology and how their interaction can create new aesthetic, conceptual and thinking directions. In 2006, I have started working as a professor of sound engineering. From this process, in 2011 I conceived and led a seminar in mathematical methods applied to musical composition at UNAM. The activity developed there produced numerous collaborations and work processes, for example, live coding sessions in collaboration with the Centro Nacional de las Artes de México (CNA). 17th EDITION OF THE ARCO/BEEP ELECTRONIC ART AWARD. Work at the collection: “Echo” <<-- Back “Echo”, 2021 The work Echo has won the ARCO/Beep Electronic Art Award. The prestigious contemporary art fair, held in Madrid from February 23 to 27, has recognized the piece by Lúa Coderch, head of studies of the Bachelor of Fine Arts and BAU professor, Julia Múgica, Lluís Nacenta and Iván Paz. The jury highlighted her contemporary reformulation of the myth of the nymph Echo through a posthuman object (made of upholstered wood and synthetic hair) next to which there is a small stool that allows interaction with the public. So close, so far away According to the authors, the piece functions as "a body among bodies" and points to the difficulties of communication and the search for meaning. "It poses an allegory of our need to find correspondence," they explain. Summoning Echo, therefore, means rescuing the nymph from oblivion and recovering her word after Narcissus' scorn. An eight-handed project Echo was presented at Dilalica during this season's Barcelona Gallery Weekend, and has landed at ARCO by the hand of àngels Barcelona. The collaborative philosophy behind the piece, the result of the joint work of two galleries and four artists, has been one of the most valued aspects of the event. The ARCO/Beep award promotes research, production and exhibition of art linked to new technologies and electronic art.

Albert Barqué-Duran, Lleida, 1989, & Marc Marzenit, Barcelona, 1983. Albert Barqué-Duran, PhD, is an artist and researcher. Lecturer in Creative Technologies and Digital Art at University of Lleida and Honorary Research Fellow at City, University of London. Albert earned his PhD and Postdoc in Cognitive Science from City, University of London and has been a Visiting Postgraduate Researcher at Harvard University and University of Oxford. His artwork and performances are inspired by his research and combine new media art techniques, A.I., computational creativity, data, experimental electronic music, and classical fine art methods, oil painting, sculpture, to reflect on universal topics, knowledge, digital culture, futures. He leads disruptive projects at the intersection of art, science and technology with the aims of: finding novel formats of generating artistic and scientific knowledge; Reflecting about contemporary and futuristic issues and its cultural implications; Creating powerful experiences to push the boundaries of human perception. Considered 1 of the 64 "Culture Activists" in Europe during 2019 by We Are Europe, and internationally awarded by the "Re:Humanism Prize", the "We Are Equals - MUTEK Music Academy", the "Art of Neuroscience Award", and the "International Award City of Lleida", Albert has exhibited and performed at Sónar+D, Barcelona, Ars Electronica, Linz, ZKM (Karlsruhe, Creative Reactions, London, Cricoteka, Krakow, Albumarte, Rome, SciArt Center New York, IGNITE Fest, Medellín, Mobile World Congress, Barcelona and Ming Contemporary Art Museum, Shanghai, among others. Marc Marzenit is an audio engineer, composer, music producer and Dj with many years of experience touring the world. He performed in places like London, Paris, New York, Los Angeles, Argentina, Mexico, Australia, Canada or Asia, just to name a few. Besides his profile as underground musician, he also created shows like “Suite on Clouds”, a 3D mapping show with 8 violinists, 1 harp, symphonic percussion, synthesizers and a grand piano. These projects draw on his classical background and show his integrated vision of electronic music: combining acoustic, analogue and digital instruments together in the same show. He is currently a Lecturer in "Music and Sound for Interactive Experiences" at ENTI- Universitat de Barcelona; and the Founder of Aulart. https://www.instagram.com/marcmarzenit/ https://twitter.com/marcmarzenit Work at the collection: Vestibular_1 Albert Barqué-Duran, Lleida, 1989, & Marc Marzenit, Barcelona, 1983. Albert Barqué-Duran, PhD, is an artist and researcher. Lecturer in Creative Technologies and Digital Art at University of Lleida and Honorary Research Fellow at City, University of London. Albert earned his PhD and Postdoc in Cognitive Science from City, University of London and has been a Visiting Postgraduate Researcher at Harvard University and University of Oxford. His artwork and performances are inspired by his research and combine new media art techniques, A.I., computational creativity, data, experimental electronic music, and classical fine art methods, oil painting, sculpture, to reflect on universal topics, knowledge, digital culture, futures. He leads disruptive projects at the intersection of art, science and technology with the aims of: finding novel formats of generating artistic and scientific knowledge; Reflecting about contemporary and futuristic issues and its cultural implications; Creating powerful experiences to push the boundaries of human perception. Considered 1 of the 64 "Culture Activists" in Europe during 2019 by We Are Europe, and internationally awarded by the "Re:Humanism Prize", the "We Are Equals - MUTEK Music Academy", the "Art of Neuroscience Award", and the "International Award City of Lleida", Albert has exhibited and performed at Sónar+D, Barcelona, Ars Electronica, Linz, ZKM (Karlsruhe, Creative Reactions, London, Cricoteka, Krakow, Albumarte, Rome, SciArt Center New York, IGNITE Fest, Medellín, Mobile World Congress, Barcelona and Ming Contemporary Art Museum, Shanghai, among others. Marc Marzenit is an audio engineer, composer, music producer and Dj with many years of experience touring the world. He performed in places like London, Paris, New York, Los Angeles, Argentina, Mexico, Australia, Canada or Asia, just to name a few. Besides his profile as underground musician, he also created shows like “Suite on Clouds”, a 3D mapping show with 8 violinists, 1 harp, symphonic percussion, synthesizers and a grand piano. These projects draw on his classical background and show his integrated vision of electronic music: combining acoustic, analogue and digital instruments together in the same show. He is currently a Lecturer in "Music and Sound for Interactive Experiences" at ENTI- Universitat de Barcelona; and the Founder of Aulart. https://www.instagram.com/marcmarzenit/ https://twitter.com/marcmarzenit Work at the collection: Vestibular_1 https://albertbarque.com https://www.instagram.com/albertbarque/ https://twitter.com/AlbertBarque <<-- Back Vestibular_1 VESTIBULAR_1 is an immersive audio-visual installation that invites the audience to wander inside a vestibular system structure. In specific, the installation induces illusory sensations of self-motion by temporarily disrupting the audience’s vestibular functioning via specific patterns and configurations of audio and light stimuli. Any organism moving through its environment receives a constant stream of sensory signals about self-motion: optic flow inputs from vision, proprioceptive information about the position of the body from muscles, joints and tendons, and inputs for acceleration via the vestibular system. This latter seems particularly important for self-motion (Green & Angelaki, 2010). Under normal circumstances, the brain optimally combines sensory signals for self-motion, which are successfully integrated to produce a coherent representation of the organism in the external environment. However, conflicts between sensory modalities may occur when sensory signals carry discrepant information. If the vestibular system is altered with conflicting sensory information, we easily realise that the usual way in which we perceive objects of human expression, such as visual forms, music, and art, does dramatically change (Gallagher, M., Dowsett, R., & Ferrè, E.R., 2019). The installation VESTIBULAR_1 is based on the innovative research from the VeME (Vestibular Multisensory Embodiment) Lab at Royal Holloway, University of London, which investigates the role played by vestibular signals in the perception and representation of the body and the external world and how it affects aesthetic preferences. Co-Producer: .BEEP { collection;} – NewArtFoundation. Technology Partner: Protopixel Technology Collaborators: Sfëar – Eurecat. Silentsystem. In collaboration with: Elisa Ferrè (Vestibular Multisensory Lab - Royal Holloway, University of London), https://vemerhul1.wixsite.com/vemerhul. https://youtu.be/Rf2l9MiYk5U https://youtu.be/yqV1ICrirq0

Marcela Armas, Durango, 1976. BFA by the Universidad de Guanajuato, and studies in the Universitat Politècnica de València. Prize for Iberoamerican Production VIDA 16.0 of Telefonica Foundation. Member of the National System of Art Creators in Mexico. Program of Support for Research in New Media of the Multimedia Center of the National Center for the Arts in Mexico City. ​Currently she is researching the magnetic properties of minerals and their possibilities for storing information through sound as a means of interpretation and induction. Her work articulates disciplines, techniques, work processes and research to inquire into the relationships of society with matter, energy, space-time and the construction of memory. ​She has participated in Mercosur Biennial in Porto Alegre, 2009 and Habana 11th Biennial “Social practices and imaginaries”, 2012. Directed with Gilberto Esparza, experimental electronics workshops Fundación Telefónica VIDA 10 in Lima, Buenos Aires, Santiago de Chile and Mexico City. Recently she directed Implant, a public space art project based in Denver and Mexico City, developed for the Biennial of the Americas. Armas is part of Triodo collective with Gilberto Esparza and Iván Puig. With Arcángelo Constantini directs the sound art cycle Meditatio Sonus. Her work “Máquina Stella” won the 7th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Máquina Stella Marcela Armas, Durango, 1976. BFA by the Universidad de Guanajuato, and studies in the Universitat Politècnica de València. Prize for Iberoamerican Production VIDA 16.0 of Telefonica Foundation. Member of the National System of Art Creators in Mexico. Program of Support for Research in New Media of the Multimedia Center of the National Center for the Arts in Mexico City. Currently she is researching the magnetic properties of minerals and their possibilities for storing information through sound as a means of interpretation and induction. Her work articulates disciplines, techniques, work processes and research to inquire into the relationships of society with matter, energy, space-time and the construction of memory. She has participated in Mercosur Biennial in Porto Alegre, 2009 and Habana 11th Biennial “Social practices and imaginaries”, 2012. Directed with Gilberto Esparza, experimental electronics workshops Fundación Telefónica VIDA 10 in Lima, Buenos Aires, Santiago de Chile and Mexico City. Recently she directed Implant, a public space art project based in Denver and Mexico City, developed for the Biennial of the Americas. Armas is part of Triodo collective with Gilberto Esparza and Iván Puig. With Arcángelo Constantini directs the sound art cycle Meditatio Sonus. Her work “Máquina Stella” won the 7th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Máquina Stella https://www.marcelaarmas.net/ <<-- Back Máquina Stella, 2011 “Máquina Stella” is a sculpture in the form of a dodecahedron whose interconnecting parts receive an electrical charge according to which part demands more potency. The impossibility of finding a perfect distribution of energy leads to a partial collapse. “The piece is, in the end, a metaphor for the unequal distribution of riches in our society,using as a starting point an abstract artistic thought regarding the distribution of energy”, says Armas. He adds, “For me, machines in general are apparatus that are much more vulnerable than they appear”. The artist explains that he has created a system that metaphorically demonstrates the unsustainability of the society of today. “Stella Machine” is a sculpture that by its very nature, constantly seeks a dynamic equilibrium after collecting electric energy and distributing it through a system of resistive filaments. https://vimeo.com/118967086