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Andy Gracie, London, 1967. He works in disciplines including installation, robotics, sound, video and electronic media. He employs scientific theory and practice to question our relationships with exploration and experiment whilst simultaneously bringing into focus the very relationship between art and science. His work involves engagements with space research, cosmology and deep time, and features an ongoing examination of semiotics, simulation theory and or post-apocalyptic scenarios. Andy Gracie, London, 1967. He works in disciplines including installation, robotics, sound, video and electronic media. He employs scientific theory and practice to question our relationships with exploration and experiment whilst simultaneously bringing into focus the very relationship between art and science. His work involves engagements with space research, cosmology and deep time, and features an ongoing examination of semiotics, simulation theory and or post-apocalyptic scenarios. <<-- Back Massive Binaries, 2023 The work develops two overlapping narratives about the processes and phenomena of interactions within binary systems. The gravitational wave detection of merging neutron stars serves as one system, and contemporary polarized ideologies serve as the other. The bridging mechanism between them is the use of AI as a tool for enhancing information on the one hand, and as an eraser of truth and meaning on the other. Interactions between massive systems generate strange outcomes and new forms of information, while artificial intelligence plays a sort of schizophrenic role in data manipulation. While the gravitational waves from the neutron star merger rippled through spacetime over tens of millions of years, clashes between increasingly entrenched belief systems caused destabilizing and coercive reinterpretations of value and truth. Massive Binaries is the result of the RANDA Art|Science Residency, organized by the Institut Ramon Llull and hosted by Ars Electronica and the Barcelona Institute of Science and Technology (BIST), in collaboration with the Hac Te, produced by the NewArtFoundation. https://ars.electronica.art/who-owns-the-truth/en/massive-binaries/ https://www.hostprods.net/work#/massive-binaries/

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

Ulrich Muchenberger, Basel, 1951. In 1994 Ulrich Müchenberger first discovered the phenomenon of light art. Synergistic combinations of light and color, changing or still, form the basis of his works. In 1995, the artist presented his first dynamic light project. Many other works followed, on the most diverse scale: from fundamental artistic lighting projects for architectural complexes (e.g. the National Museum in Copenhagen) to local light objects exhibited in galleries, even in the artist's homeland of Basel. In Müchenberger's works, both static and dynamic, there are always basic visual themes: the interplay between darkness and light in space and the optical effects of color combinations. The compositions of light are enclosed in a strict geometric form, like ordinary paintings: they change their harmonies of color, intensity, brightness according to the program established by the author. The viewer is immersed in these images and landscapes that, in response to the artist's message, open our imagination. The author tells of his series: "By engaging in a dialogue with my works, the viewer's consciousness generates a response. This bridge between the emotional experience and its manifestation is the color, that is, the connection between the internal and the external ". Thus, each viewer opens his or her own visual world. The color transitions in the artist's works change in a measured manner, with intervals of three and four minutes, which allows him to slowly consider all optical transformations and combinations. Visiting the exhibition, one can also appreciate the favorable arrangement of light objects in the interior, which is emphasized by the atmosphere of the "PROSVET" studio. Ulrich Muchenberger, Basel, 1951. In 1994 Ulrich Müchenberger first discovered the phenomenon of light art. Synergistic combinations of light and color, changing or still, form the basis of his works. In 1995, the artist presented his first dynamic light project. Many other works followed, on the most diverse scale: from fundamental artistic lighting projects for architectural complexes (e.g. the National Museum in Copenhagen) to local light objects exhibited in galleries, even in the artist's homeland of Basel. In Müchenberger's works, both static and dynamic, there are always basic visual themes: the interplay between darkness and light in space and the optical effects of color combinations. The compositions of light are enclosed in a strict geometric form, like ordinary paintings: they change their harmonies of color, intensity, brightness according to the program established by the author. The viewer is immersed in these images and landscapes that, in response to the artist's message, open our imagination. The author tells of his series: "By engaging in a dialogue with my works, the viewer's consciousness generates a response. This bridge between the emotional experience and its manifestation is the color, that is, the connection between the internal and the external ". Thus, each viewer opens his or her own visual world. The color transitions in the artist's works change in a measured manner, with intervals of three and four minutes, which allows him to slowly consider all optical transformations and combinations. Visiting the exhibition, one can also appreciate the favorable arrangement of light objects in the interior, which is emphasized by the atmosphere of the "PROSVET" studio. http://umuchenberger.weebly.com/ <<-- Back Ojo a Ojo, The exhibition presents seven works from the Eye to Eye series. Light compositions are enclosed in a strict geometric form, like ordinary paintings: they change their color harmonies, intensity, brightness according to the program established by the author. The viewer is immersed in those images and landscapes that, in response to the artist's message, our imagination opens up for us. The author talks about his series: “By entering into dialogue with my works, the viewer's consciousness generates a response. This bridge between the emotional experience and its manifestation is what color is, that is, the connection between the interior and the exterior. Thus, each viewer opens his own visual world. https://vimeo.com/205356184 https://vimeo.com/119499775

Analivia Cordeiro, São Paulo, 1954. ​Analivia Cordeiro is a dancer, choreographer and architect. She studied the Laban Method of dance in Brazil and modern dance with Alvin Nikolais, Merce Cunningham and Gus Solomons Jr. and at Viola Farber Dance Studios in New York and later studied the Eutony Corporal Method in Brazil. She graduated in Architecture from the University of São Paulo en Brasil, she has a Masters in multimedia from the University of Campinas, and a Doctorate in Comunicación and Semiotics from PUCNSP, Brazil. Considered one of the pioneers of video art in Brazil, she has created both performances and videos, of special importance is a system of notation of human movement “Nota Anna”, based on the Laban Method. Her work has been exhibited in diverse countries such as USA, Switzerand, Argentina, Czechoslovakia and Yugoslavia. ​Her work is presented in international collections as the Museu de Arte Contemporanea da Universidade de São Paulo - MAC USP, Museo Nacional Centro de Arte Reina Sofia, Oskar Schlemmer Archives, Museum für Konkrete Kunst, Ingolstadt, Victoria&Albert Museum, England Museum of Modern Art, and the MoMA among others. Her work “M3X3” won the 10th edition of the ARCO-BEEP Electronic Art Award.​ Work at the collection: M3X3 Analivia Cordeiro, São Paulo, 1954. Analivia Cordeiro is a dancer, choreographer and architect. She studied the Laban Method of dance in Brazil and modern dance with Alvin Nikolais, Merce Cunningham and Gus Solomons Jr. and at Viola Farber Dance Studios in New York and later studied the Eutony Corporal Method in Brazil. She graduated in Architecture from the University of São Paulo en Brasil, she has a Masters in multimedia from the University of Campinas, and a Doctorate in Comunicación and Semiotics from PUCNSP, Brazil. Considered one of the pioneers of video art in Brazil, she has created both performances and videos, of special importance is a system of notation of human movement “Nota Anna”, based on the Laban Method. Her work has been exhibited in diverse countries such as USA, Switzerand, Argentina, Czechoslovakia and Yugoslavia. Her work is presented in international collections as the Museu de Arte Contemporanea da Universidade de São Paulo - MAC USP, Museo Nacional Centro de Arte Reina Sofia, Oskar Schlemmer Archives, Museum für Konkrete Kunst, Ingolstadt, Victoria&Albert Museum, England Museum of Modern Art, and the MoMA among others. Her work “M3X3” won the 10th edition of the ARCO-BEEP Electronic Art Award. Work at the collection: M3X3 https://www.analivia.com.br/ <<-- Back M3X3, 1973 It is a computer-dance for TV (In 1973, there was no VHS in Brazil), considered the first Brazilian video-art work. The interpreters are regularly placed in a matrix 3x3, in a high-contrast black&white scene, they move mechanically, as critics to the digital society. https://vimeo.com/46551344

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

Gender equality Plan: In 2024, the NAF will start a small stable human structure that must accompany the launch of the new New Art Center. In its commitment to gender quality, the NAF has established a series of commitments and actions to promote gender equality in the organization and on the path to promoting women's art works. Gender Policies Privacy Policies ESG Policy GENDER EQUALITY PLAN NEW ART FOUNDATION 2024-2026 Gender equality Plan In 2024, the NAF will start a small stable human structure that must accompany the launch of the new New Art Center. In its commitment to gender quality, the NAF has established a series of commitments and actions to promote gender equality in the organization and on the path to promoting women's art works. Main objective The fundamental objective that the NAF has set is to ensure equal opportunities for women in their professional practice. Target The NAF will direct its actions in gender equality for two fundamental audiences: A new balanced workforce with a male-female composition is guaranteed by the organization's human team. There are currently four women members on the board of trustees of the Foundation. In 2024, there will be a new female patron joining. Likewise, as the representatives of some official entities are expiring in the coming months, a proposal has already been made to the institutions to consider female representatives. This means that by the end of 2024, the members of the Board of Trustees will be gender neutral. The New Art Center's new manager is female and has prioritized hiring women for different roles. In the area of supporting artists, priority should be given to supporting new female artists, promoting their work, artistic residencies, and completing projects. In fact, a residency for a young female artist is planned in the 2024 work plan. Resources In terms of resources, it is possible to distinguish between economic resources, training, and other support tools. Economic resources: The NAF ensures that wages for men and women with equivalent levels of responsibility and training are completely equal. Training: The NAF ensures that training programmes are equal for men and women Supporting tools: The NAF ensures that both men and women have access to the same and appropriate tools to carry out their duties. Timeline The gender equality plan will be implemented by 2024 and will be visible through all organizational communication channels. <-- Return

Hong SungChul, Seoul, 1969. Completed a master's degree and a bachelor's degree in sculpture at Hongik University in Seoul, before completing a master's degree in integrated media at the California Institute of the Arts in the United States. Since graduating, he has exhibited numerous times in the Far East, the United States and Europe, and his work is included in several international collections. His work takes the form of sculptural constructions, mostly wall reliefs, (although some pieces are freestanding). Sequences of bungee cords are printed with photographic images and stretched across canvases or within steel frames. These images, from a distance, appear whole. On closer inspection, however, they become increasingly fragmented and fleeting, as the viewer becomes aware of their mode of fabrication. From this rupture in the perception of pictorial flatness a tension emerges. The images are of arms and hands grasping, holding and intertwining, sometimes manipulating a string of beads or a wad of paper. There is an emphasis on intimacy in their depiction of mutual touch and interrelationship. The nature of the construction interrupts this and references the artist's desire to "reanimate communication"; the interruption makes us pay attention. In Hong Sungchul's subtle and artful constructions we are posed with questions about how we live in the sometimes disconnected virtual world. His works aim to recapture a sense of intimacy, engagement and understanding. Fast and blurred perceptions are slowed down and examined; the rich quality and beauty of the simple and everyday is revealed. Work at the collection: Perceptual Hong SungChul, Seoul, 1969. Completed a master's degree and a bachelor's degree in sculpture at Hongik University in Seoul, before completing a master's degree in integrated media at the California Institute of the Arts in the United States. Since graduating, he has exhibited numerous times in the Far East, the United States and Europe, and his work is included in several international collections. His work takes the form of sculptural constructions, mostly wall reliefs, (although some pieces are freestanding). Sequences of bungee cords are printed with photographic images and stretched across canvases or within steel frames. These images, from a distance, appear whole. On closer inspection, however, they become increasingly fragmented and fleeting, as the viewer becomes aware of their mode of fabrication. From this rupture in the perception of pictorial flatness a tension emerges. The images are of arms and hands grasping, holding and intertwining, sometimes manipulating a string of beads or a wad of paper. There is an emphasis on intimacy in their depiction of mutual touch and interrelationship. The nature of the construction interrupts this and references the artist's desire to "reanimate communication"; the interruption makes us pay attention. In Hong Sungchul's subtle and artful constructions we are posed with questions about how we live in the sometimes disconnected virtual world. His works aim to recapture a sense of intimacy, engagement and understanding. Fast and blurred perceptions are slowed down and examined; the rich quality and beauty of the simple and everyday is revealed. Work at the collection: Perceptual http://hongsungchul.net/ https://pontonegallery.com/artists/hong-sungchul/works/ <<-- Back Perceptual, 2006 Mirror between digital and analog. In his Perceptual mirror works, made from gridded arrangements of identical solar LCD solar units that produce patterns of random, flickering pixelation, he affirms this sense of impermanence and constant flux. A possible feeling of anxiety and alienation is offset by the fascinating aesthetic qualities of his pictorial form.

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

etoy. Corporation, Zurich, 1994. The etoy. Corporation is a collective structure formed in Zurich in 1994. etoy is the typical promotor (online since 1994) that develops rapidly, quickly becoming a controversial, market leader in the field of experimental art and digital entertainment on the internet. Shares and services such as digital kidnap (1996), etoy. Timezone (1998), Toywar (1999/2000) or etoy. Daycare (2002) are art classics. The etoy. Corporation belongs to more than 2000 etoy shareholders: international art collectors, venture capitalists, etoy agents, etoy administrators, admirers and several hundred toywar soldiers (that protected the brand during the legendary toywar). The etoy shareholders posses and control the corporative structure of etoy. etoy. Corporation does not sell individual art products. etoy interchanges and sells parts of itself: etoy shares represent participation and cultural value. The 640,000 etoy shares available in the international art market represent 100% of the power of etoy (=100% of the company). The etoy share certificates guarantee a strict limit to etoy Shares. Since 1998, the orange etoy Tanks (retrofitted transport containers without windows, 12 by 6 metres – icons of globalisation) form a mobile and multi-function system of etoy offices, including studios, hotels and conference rooms, etc. Wherever etoy is needed throughout the physical world, etoy appears and disappears from the morning to the night to infect the way that people are thinking and feeling (i.e. in San Diego, San Francisco, New York, Zurich, Tokyo or Torino between 1998 and 2003). Depending upon the the situation of the market and project, between 5 and 15 etoy Nucleus-Agents (currently 4 women and 11 men in switzelrand, Austria, Italy, Germany, Japan and the U.S.A.) form the production and investigation team of etoy. The etoy administration (2 or 3 Directors must sign contracts) carries out daily business. etoy. Corporation has won various international art prizes, (the Golden Nica in the .net category / Prix Ars Electronica) and regularly appears on TV (invited and uninvited) as in other media to infect the etoy VIRUS: The New York Times, the Silicon Valley Reporter, the Washington Post, Wired News, NPR, Le Monde, Der Spiegel, NZZ, WOZ, La Republica, Relax Japan, etc. etoy team members gave conferences and spoke in the MIT Media Lab in Boston, the UCSD in San Diego, the DASARTS in Amsterdam, the ETH in Zurich, the Gottlieb Duttweiler Institute, the ICC Intercommunication Center en Tokyo, the Interactive Institute in Stockholm and in many international festivals. etoy investments are not focused on gaining economic profit. etoy risk is about cultural benefits, social profits and intelectual capital gains on the resources invested. ​​ Work at the collection: 30+10 etoy. Shares etoy. Corporation, Zurich, 1994. The etoy. Corporation is a collective structure formed in Zurich in 1994. etoy is the typical promotor (online since 1994) that develops rapidly, quickly becoming a controversial, market leader in the field of experimental art and digital entertainment on the internet. Shares and services such as digital kidnap (1996), etoy. Timezone (1998), Toywar (1999/2000) or etoy. Daycare (2002) are art classics. The etoy. Corporation belongs to more than 2000 etoy shareholders: international art collectors, venture capitalists, etoy agents, etoy administrators, admirers and several hundred toywar soldiers (that protected the brand during the legendary toywar). The etoy shareholders posses and control the corporative structure of etoy. etoy. Corporation does not sell individual art products. etoy interchanges and sells parts of itself: etoy shares represent participation and cultural value. The 640,000 etoy shares available in the international art market represent 100% of the power of etoy (=100% of the company). The etoy share certificates guarantee a strict limit to etoy Shares. Since 1998, the orange etoy Tanks (retrofitted transport containers without windows, 12 by 6 metres – icons of globalisation) form a mobile and multi-function system of etoy offices, including studios, hotels and conference rooms, etc. Wherever etoy is needed throughout the physical world, etoy appears and disappears from the morning to the night to infect the way that people are thinking and feeling (i.e. in San Diego, San Francisco, New York, Zurich, Tokyo or Torino between 1998 and 2003). Depending upon the the situation of the market and project, between 5 and 15 etoy Nucleus-Agents (currently 4 women and 11 men in switzelrand, Austria, Italy, Germany, Japan and the U.S.A.) form the production and investigation team of etoy. The etoy administration (2 or 3 Directors must sign contracts) carries out daily business. etoy. Corporation has won various international art prizes, (the Golden Nica in the .net category / Prix Ars Electronica) and regularly appears on TV (invited and uninvited) as in other media to infect the etoy VIRUS: The New York Times, the Silicon Valley Reporter, the Washington Post, Wired News, NPR, Le Monde, Der Spiegel, NZZ, WOZ, La Republica, Relax Japan, etc. etoy team members gave conferences and spoke in the MIT Media Lab in Boston, the UCSD in San Diego, the DASARTS in Amsterdam, the ETH in Zurich, the Gottlieb Duttweiler Institute, the ICC Intercommunication Center en Tokyo, the Interactive Institute in Stockholm and in many international festivals. etoy investments are not focused on gaining economic profit. etoy risk is about cultural benefits, social profits and intelectual capital gains on the resources invested. Work at the collection: 30+10 etoy. Shares http://www.etoy.com https://en.wikipedia.org/wiki/Etoy <<-- Back 30+10 etoy Shares, 2011 - 2012 etoy.Corporation does not sell isolated art objects. etoy sells, trades and exchanges parts of itself and its brand: etoy.SHARES represent participation in etoy and cultural value generated by etoy. All 640’000 etoy.Share-units available on the international art market equal 100% of the etoy.Power represented by the privately held company etoy.Corporation (registered in the City of Zug, Switzerland / Register of Commerce CH-170.3.029.244-0). etoy.Share-Certificates are works of art and part of international collections like the Artothek (collection of the Austrian Bundeskanzleramt), the Migros Corporation, the Shiffler collection and in the hands of private supporters of etoy (Michelangelo Pistoletto, Joichi Ito, John Perry Barlow etc). Each etoy.Share-Certificate is a unique visual documentation of a specific code, moment or element of the etoy.Universe and certifies the strictly regulated ownership of etoy.Corporation: the core of the etoy.Art-Work. etoy. Corporation is on hibernation mode and the etoy. Shares are not trading. On loan from LaAgencia Collection.

Óscar Martin, Winthertur, 1977. Graduated in Fine Arts at the Polytechnic University of Valencia, specializing in sculpture and new media. Experimental artist and programmer working in the fields of sound art, installations, interactive and generative systems, performance and radio-net-art. Óscar Martín, also active under the pseudonym noish~, is an electronic sound artist who has been based in Barcelona for some time now. A strong advocate of the spirit of free software, he develops his own tools for sound synthesis and processing, with which he triggers sound bursts generated by algorithmic and chaotic processes. His works have been released on Free Software Series, Uzusounds, Drone Records and Tecnonucleo, among other labels, and have been presented live throughout Europe and Latin America. Martín is also behind the streaming platform MetaminaFNR and is editor of UrsonateFanzine, a publication dedicated to the Spanish experimental music and sound scene. Óscar Martín a.k.a noish, Winterthur 1977 Artist, programmer and independent researcher. In his practice art, science and technology converge from an experimental and heterodox approach, and addresses the emergence and self-organization in complex systems with the collaboration of non-human agents. From the sound aspect, his pieces propose to encourage active listening and expand the perception through the physical-acoustic experience of the phenomenon of the emergence of structures and patterns in the limits of the chaotic and the ordered. His sound works have been released on Free Software Series, Nyapster, Drone Records and Tecnonucleo, among other labels, and have been presented live in Europe and Latin America. Martín is also behind the streaming platform MetaminaFNR and is co-editor of the aural culture and experimental music magazine UrsonateFanzine.​ Work at the collection: MMM#1 (Dual Markov Beat) Óscar Martin, Winthertur, 1977. Graduated in Fine Arts at the Polytechnic University of Valencia, specializing in sculpture and new media. Experimental artist and programmer working in the fields of sound art, installations, interactive and generative systems, performance and radio-net-art. Óscar Martín, also active under the pseudonym noish~, is an electronic sound artist who has been based in Barcelona for some time now. A strong advocate of the spirit of free software, he develops his own tools for sound synthesis and processing, with which he triggers sound bursts generated by algorithmic and chaotic processes. His works have been released on Free Software Series, Uzusounds, Drone Records and Tecnonucleo, among other labels, and have been presented live throughout Europe and Latin America. Martín is also behind the streaming platform MetaminaFNR and is editor of UrsonateFanzine, a publication dedicated to the Spanish experimental music and sound scene. Óscar Martín a.k.a noish, Winterthur 1977 Artist, programmer and independent researcher. In his practice art, science and technology converge from an experimental and heterodox approach, and addresses the emergence and self-organization in complex systems with the collaboration of non-human agents. From the sound aspect, his pieces propose to encourage active listening and expand the perception through the physical-acoustic experience of the phenomenon of the emergence of structures and patterns in the limits of the chaotic and the ordered. His sound works have been released on Free Software Series, Nyapster, Drone Records and Tecnonucleo, among other labels, and have been presented live in Europe and Latin America. Martín is also behind the streaming platform MetaminaFNR and is co-editor of the aural culture and experimental music magazine UrsonateFanzine. Work at the collection: MMM#1 (Dual Markov Beat) https://juannaranjo.eu/exhibit/oscar-martin-meta-music-machines/ http://noconventions.mobi/noish <<-- Back MMM#1 (Dual Markov Beat), 2021. [Dual Markov Beat] analyzes and extracts the rhythmic information of different folk music from different geographies and temporalities such as Japan, Peru, Malaysia or Thailand among others. Then it synthesizes the rhythm of these musics, through predictive models, to produce new sequences that activate luminous structures of led tubes. These new rhythmic sequences are generated from the mathematical model of the Markov chains: a random system, proposed by the Russian Andrei Markov in 1907, in which a random variable changes over time in a predictable way. Because of this operation, these chains are used as algorithms for musical composition, but also in meteorological, economic and epidemiological predictions. https://vimeo.com/660273395?embedded=true&source=vimeo_logo&owner=50045107