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Concha Jerez (Las Palmas de Gran Canaria, 1941) José Iges (Madrid, 1951) Concha Jerez and José Iges are two prominent artists who have collaborated closely since 1989, exploring the intersection of conceptual art, performance, and audiovisual media. Concha Jerez is a pioneer of conceptual art in Spain. She studied piano at the Royal Conservatory of Music in Madrid and Political Science at the Complutense University of Madrid. Since 1970, she has developed a prolific artistic career focused on the critique of media, censorship, and self-censorship. Her work encompasses installations, performances, and sound art and has been recognized with awards such as the Gold Medal for Merit in Fine Arts (2011), the National Award for Visual Arts (2015), and the Velázquez Award for Plastic Arts (2017). José Iges is a composer, sound artist, and industrial engineer. He studied composition at the Royal Conservatory of Music in Madrid and has built an extensive career creating works that integrate electroacoustic music, radio art, and sound installations. He was the director of the Ars Sonora program on Radio Clásica (RNE) from 1985 to 2008, promoting the dissemination of sound art and experimental music in Spain. Together, Jerez and Iges have created numerous works that merge visual and sound elements, exploring interactivity and audience participation. Their collaboration has materialized in projects such as Media Mutaciones, presented at La Tabacalera in Madrid in 2015, where they revisited their joint career and evolution in the use of technological and conceptual media, or in the exhibition Resignifications at the Galician Center for Contemporary Art, revisiting their work 10 years later. Throughout their collaboration, they have addressed themes such as memory, identity, and communication, using various formats including interactive installations, performances, and radio works. Their joint work has been exhibited at numerous international festivals and exhibitions, establishing them as key figures in the field of interdisciplinary contemporary art. Concha Jerez (Las Palmas de Gran Canaria, 1941) José Iges (Madrid, 1951) Concha Jerez and José Iges are two prominent artists who have collaborated closely since 1989, exploring the intersection of conceptual art, performance, and audiovisual media. Concha Jerez is a pioneer of conceptual art in Spain. She studied piano at the Royal Conservatory of Music in Madrid and Political Science at the Complutense University of Madrid. Since 1970, she has developed a prolific artistic career focused on the critique of media, censorship, and self-censorship. Her work encompasses installations, performances, and sound art and has been recognized with awards such as the Gold Medal for Merit in Fine Arts (2011), the National Award for Visual Arts (2015), and the Velázquez Award for Plastic Arts (2017). José Iges is a composer, sound artist, and industrial engineer. He studied composition at the Royal Conservatory of Music in Madrid and has built an extensive career creating works that integrate electroacoustic music, radio art, and sound installations. He was the director of the Ars Sonora program on Radio Clásica (RNE) from 1985 to 2008, promoting the dissemination of sound art and experimental music in Spain. Together, Jerez and Iges have created numerous works that merge visual and sound elements, exploring interactivity and audience participation. Their collaboration has materialized in projects such as Media Mutaciones, presented at La Tabacalera in Madrid in 2015, where they revisited their joint career and evolution in the use of technological and conceptual media, or in the exhibition Resignifications at the Galician Center for Contemporary Art, revisiting their work 10 years later. Throughout their collaboration, they have addressed themes such as memory, identity, and communication, using various formats including interactive installations, performances, and radio works. Their joint work has been exhibited at numerous international festivals and exhibitions, establishing them as key figures in the field of interdisciplinary contemporary art. <<-- Back Diario, 1997-2024. The work originates from the InterMedia concert "El Diario de Jonás", commissioned by the CDMC for its premiere at the Alicante Festival in 1997. For that occasion, all the scores were prepared, along with forty phrases, and the sequences were mixed. In 1998, the artists created a first version as an installation at La Gallera (Valencia), within the framework of the ENSEMS festival. Additionally, they produced a radio work titled "Tagebuch", commissioned and produced by WDR in Cologne. Studio recordings of selected scores from the concert, made to assemble this radio work, were the sole material for that installation, along with phrases recorded by the two authors with their individual memories; these phrases became the starting point for the entire compositional process. This new version, which is a reinterpretation of the concert in installation format, introduces new materials not included in the original 1998 installation, such as the sequences mixed in 1997 for the concert. Furthermore, the eight sound sources projecting the work are controlled by an application that, through a computer and sound card, selects in real time, based on pre-established patterns, the sound to be played and the speaker through which it is broadcast. In this way, the process partially retains the mobile and unpredictable nature of the concert, where chance and randomness were also welcomed. The software for the artwork was developed by sound artist Josep Manuel Berenguer. This project, produced by the NewArtFoundation, has been made possible thanks to a research program carried out in collaboration with the General Directorate of Innovation and Digital Culture of the Department of Culture of the Generalitat de Catalunya.

Luis Lugán, Madrid, 1929-2021. Luis García Núñez, is a plastic artist of difficult classification, we cannot look for another painter-sculptor with similar connotations in the artistic panorama. In the late fifties and early sixties his painting has a clearly geometric and constructivist character, in the works of this period, many of them made on cardboard, he still signed with the name of García Núñez, later changing his name to Lugan. Thanks to the knowledge of electronics acquired over many years in the performance of his work in Telefonica, he can from 1967 to begin to apply what he had learned, but under a plastic vision and approach, developing his first audiovisual and tactile works. Lugan develops works in which he involves several senses at the same time: hearing and sight, sight and touch, and sometimes even smell. His sound taps or his hands that give off heat on contact are well known. In 1968 he became part of a group of artists who approached the computer for the first time as a means to develop their works, this experience was developed in the Centro de Cálculo de la Universidad Complutense de Madrid in the Seminars of Automatic Generation of Plastic Forms. This group was formed by José Luis Alexanco, Elena Asins, Tomás García Asensio, José Luis Gómez Perales, Eusebio Sempere, Abel Martín, José Mª Yturralde... What made Lugan's work different from the rest of the components was that he was not interested in the software, but his attention was on the different electronic parts of the machine, that is to say the hardware. In 1972 and on the occasion of the Encuentros de Pamplona, Lugan developed his well-known work Random Telephones, which were telephones that communicated randomly between different places in the city in a totally free way without going through a "controlled" switchboard. That same year he participated in the Venice Biennial and a year later in the Sao Paulo Biennial. He has participated in all the exhibitions dedicated to the Centro de Cálculo, such as the itinerant exhibition "El Centro de Cálculo, 30 años después" in 2003, which toured the halls of the Centro de Exposiciones Municipal de Elche, the Museo de la Universidad Alicante and the Museo de Arte Contemporáneo de Ibiza. Two years later in the Andalusian Center of Contemporary Art in Seville participates in the exhibition "Models, Structures, Forms". And more recently in the exhibition dedicated by the MNCARS to the Encuentros de Pamplona and in "From Numerical Calculus to Open Creativity. El centro de cálculo de la universidad de Madrid (1968-1982)" Exhibition Hall of the Centro de Arte Complutense. Madrid (2012) and Museum of the University of Alicante and Polytechnic University of Valencia (2013).​ Work at the collection: - Mano Térmica - Sin título B/N, Sin título Color (serigrafía) - Sin título 1970, LS-AP4 1970 Luis Lugán, Madrid, 1929-2021. Luis García Núñez, is a plastic artist of difficult classification, we cannot look for another painter-sculptor with similar connotations in the artistic panorama. In the late fifties and early sixties his painting has a clearly geometric and constructivist character, in the works of this period, many of them made on cardboard, he still signed with the name of García Núñez, later changing his name to Lugan. Thanks to the knowledge of electronics acquired over many years in the performance of his work in Telefonica, he can from 1967 to begin to apply what he had learned, but under a plastic vision and approach, developing his first audiovisual and tactile works. Lugan develops works in which he involves several senses at the same time: hearing and sight, sight and touch, and sometimes even smell. His sound taps or his hands that give off heat on contact are well known. In 1968 he became part of a group of artists who approached the computer for the first time as a means to develop their works, this experience was developed in the Centro de Cálculo de la Universidad Complutense de Madrid in the Seminars of Automatic Generation of Plastic Forms. This group was formed by José Luis Alexanco, Elena Asins, Tomás García Asensio, José Luis Gómez Perales, Eusebio Sempere, Abel Martín, José Mª Yturralde... What made Lugan's work different from the rest of the components was that he was not interested in the software, but his attention was on the different electronic parts of the machine, that is to say the hardware. In 1972 and on the occasion of the Encuentros de Pamplona, Lugan developed his well-known work Random Telephones, which were telephones that communicated randomly between different places in the city in a totally free way without going through a "controlled" switchboard. That same year he participated in the Venice Biennial and a year later in the Sao Paulo Biennial. He has participated in all the exhibitions dedicated to the Centro de Cálculo, such as the itinerant exhibition "El Centro de Cálculo, 30 años después" in 2003, which toured the halls of the Centro de Exposiciones Municipal de Elche, the Museo de la Universidad Alicante and the Museo de Arte Contemporáneo de Ibiza. Two years later in the Andalusian Center of Contemporary Art in Seville participates in the exhibition "Models, Structures, Forms". And more recently in the exhibition dedicated by the MNCARS to the Encuentros de Pamplona and in "From Numerical Calculus to Open Creativity. El centro de cálculo de la universidad de Madrid (1968-1982)" Exhibition Hall of the Centro de Arte Complutense. Madrid (2012) and Museum of the University of Alicante and Polytechnic University of Valencia (2013). Work at the collection: - Mano Térmica - Sin título B/N, Sin título Color (serigrafía) - Sin título 1970, LS-AP4 1970 <<-- Back Mano Térmica de Artista, 1973 He was the first Spanish artist who thought of real interaction with the viewer. He wanted those who admired his work to be able to touch and feel it, something forbidden until then in any exhibition. In the midst of Franco's dictatorship, specifically in 1973, the Madrid-born artist delved into robotic techniques to create his Thermal Hand, the starting point for the exhibition Faces. https://www.youtube.com/watch?v=BCJMv8x8rGs Sin título B/N, Sin título Color (serigrafía), 1973 Sin título 1970, LS-AP4 1970

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

LIA , Vienna. LIA is considered one of the pioneers of software and net art and has been producing works since 1995. Her practice spans across video, performance, software, installations, sculpture, projections and digital applications. The artist’s primary working material is code, which consists of LIA translating a concept into a formal written structure that then can be used to create a “machine” that generates real- time multimedia outputs. Since her concept is fluid – opposed to the formality of the written code that requires engineered precision – the translation process between machine and artist can be viewed like a conversation. The process is repeated until LIA is satisfied with the machine’s interpretation; at which point the generative framework, in which the artwork can develop, is considered finished. LIA’s works combine traditions of drawing and painting with the aesthetics of digital images and algorithms, characterised by a minimalist quality and by an affinity with conceptual art. She focuses on the translation of certain experienced principles into abstract forms,movements and colours in order to allow the viewer to explore the same on a subconscious level. Her work at the collection: little boxes on the hillsides, mother, 2021 LIA , Vienna. LIA is considered one of the pioneers of software and net art and has been producing works since 1995. Her practice spans across video, performance, software, installations, sculpture, projections and digital applications. The artist’s primary working material is code, which consists of LIA translating a concept into a formal written structure that then can be used to create a “machine” that generates real- time multimedia outputs. Since her concept is fluid – opposed to the formality of the written code that requires engineered precision – the translation process between machine and artist can be viewed like a conversation. The process is repeated until LIA is satisfied with the machine’s interpretation; at which point the generative framework, in which the artwork can develop, is considered finished. LIA’s works combine traditions of drawing and painting with the aesthetics of digital images and algorithms, characterised by a minimalist quality and by an affinity with conceptual art. She focuses on the translation of certain experienced principles into abstract forms,movements and colours in order to allow the viewer to explore the same on a subconscious level. Her work at the collection: little boxes on the hillsides, mother, 2021 https://www.liaworks.com <<-- Back little boxes on the hillsides, mother, 2021 little boxes on the hillsides, mother is an animated abstract suburban cityscape powered by a program of LIA’s own design and development. Over the 25 years of her artistic career, LIA's working process has typically involved as much intuition as it does engineering skill, and this piece is no exception. Growing from an initial Processing sketch by way of the artist's careful selection of angles,transparencies, and line weights, alongside deliberate retention of accidents and bugs, a virtually infinite sequence of house-like forms appears and disappears, sliding over each other in hypnotic rhythms as they make their way slowly down the screen. Taking inspiration from the song “Little Boxes” by Malvina Reynolds, little boxes on the hillsides, mother is a contemplation of houses and cities. The cyclical relationship between the construction of homes, the lands and environments they have replaced, and the ecosystems that will eventually replace them is echoed through an infinite production of geometric compositions. https://www.liaworks.com https://vimeo.com/610911073

Alex Posada, Santander, 1976. Alex Posada is a digital creator, teacher and researcher in the field of interactivity, digital art and new media. He is a multidisciplinary artist who works at the intersection between art, science and technology through research and the constant development of his own systems and tools. He is also dedicated to teaching in different higher education, masters and postgraduate studies and has led several workshops dedicated to art and interactive technologies in different countries. After finishing his studies in Telecommunications Engineering at the University of Cantabria, he moved to Barcelona in 2002, where he trained in multimedia art and started working on interactive design and electronic art projects. He spent time at Hangar as director of the interactive lab between 2006 and 2015. He currently directs MID Studio. Founded in 2012, it is one of the pioneering studios in electronic art projects in Barcelona in the last 10 years. Its projects have been exhibited at the Olympic Games in Brazil, Phaeno Science Center, Ars Electronica, Kinetica Arte Fair in London, Kernel Festival in Milan, Mapping Festival, LEV Festival, Sonar Festival and Art Rock Festival among others. The studio has also developed projects for museums and cultural centers such as the Picasso Museum, CCCB or MNAC in Barcelona, Círculo de Bellas Artes in Madrid or Roca Gallery Barcelona. He is also an active entrepreneur and co-founder of some start-ups in the technological field such as Smart Citizen, OvalSound and Broomx Technologies. In parallel, he develops projects as an independent multimedia producer and collaborates with other artists and collectives. Work at the collection: “The Particle v2” Alex Posada, Santander, 1976. Alex Posada is a digital creator, teacher and researcher in the field of interactivity, digital art and new media. He is a multidisciplinary artist who works at the intersection between art, science and technology through research and the constant development of his own systems and tools. He is also dedicated to teaching in different higher education, masters and postgraduate studies and has led several workshops dedicated to art and interactive technologies in different countries. After finishing his studies in Telecommunications Engineering at the University of Cantabria, he moved to Barcelona in 2002, where he trained in multimedia art and started working on interactive design and electronic art projects. He spent time at Hangar as director of the interactive lab between 2006 and 2015. He currently directs MID Studio. Founded in 2012, it is one of the pioneering studios in electronic art projects in Barcelona in the last 10 years. Its projects have been exhibited at the Olympic Games in Brazil, Phaeno Science Center, Ars Electronica, Kinetica Arte Fair in London, Kernel Festival in Milan, Mapping Festival, LEV Festival, Sonar Festival and Art Rock Festival among others. The studio has also developed projects for museums and cultural centers such as the Picasso Museum, CCCB or MNAC in Barcelona, Círculo de Bellas Artes in Madrid or Roca Gallery Barcelona. He is also an active entrepreneur and co-founder of some start-ups in the technological field such as Smart Citizen, OvalSound and Broomx Technologies. In parallel, he develops projects as an independent multimedia producer and collaborates with other artists and collectives. Work at the collection: “The Particle v2” https://thecreative.net/alex-posada# <<-- Back “The Particle v2”, 2022 It is a kinetic sculpture that experiments with light, sound and movement. Formally, the piece is a work of generative art, abstracting algorithms and mathematical functions that are interpreted and visualized through light and sound modulating in space and continuously changing the atmosphere and perception of space. The translucent skin created from the moving light becomes visible, creating form and volume supported by visual effects that define the spatial structure of the object. The light form emerges from the movements of each of its 4 rings, rotating at high speed, and the sound is born from the same laws that govern these behaviors. The result is the creation of three-dimensional structures of light and sound. These forms can stop, rotate and move faster or slower creating beautiful synaesthetic effects. The technique used is the perception of apparent motion, that is, the one obtained from the observation of sequences of still images projected successively. This visual effect, also called persistence of vision (POV), is the theoretical capacity of the eye (or retina) to retain the last image that reaches it, making an object continue to be perceived even when it is no longer physically there. Following the evolution of the artist's work in the field of kinetic light and sound sculptures, and the research work in the field of synaesthesia, light, music, technologies free and the creation of generative audiovisual content; this new evolved version of a previous existing prototype of the artist, such as "The Particle" (2010), is presented. The object is at the same time a space for sensory and synaesthetic experience, an organ with its own internal resonance that does not leave the visitor indifferent. https://www.youtube.com/watch?v=ND5VeRpkP78

Charles Sandison, Haltwhistle, 1969. Charles Sandison was always interested in computing; at the age of 12, he taught himself to code on his computer. He went on to study art (at the Glasgow School of Art) from 1987–1993 and briefly taught there after graduating. In 1995 Sandison moved to Finland and now resides permanently in Tampere. During the early 1990s Sandison exhibited alongside Young British Artists in such shows as; Wonderful Life, Lisson Gallery, London 1993, and Institute of Cultural Anxiety: Works from the Collection Institute of Contemporary Arts, London 1994. During a five year hiatus in which Sandison moved away from the United Kingdom and occupied the position of Head of Fine Art at Tampere School of Art and Media. He came to wider recognition in 2001 after exhibiting in the Venice Biennale. In 2004 Sandison became a visiting professor at Le Fresnoy, Lille. In 2010 Sandison was awarded the Ars Fennica prize by President of Finland Tarja Halonen. Much of Sandison's work involves computer generated video projections that create immersive data installations, placing the viewer at the centre of a changing universe of words, signs, and characters. Sandison's art works to incorporate the viewer into the piece, so that the computer and human mind can work together. Sandison draws inspiration from nature and his surroundings, and attempts to capture elements of human life and the current world that we live in. His work “Nature Morte” won the 8th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Nature Morte Charles Sandison, Haltwhistle, 1969. Charles Sandison was always interested in computing; at the age of 12, he taught himself to code on his computer. He went on to study art (at the Glasgow School of Art) from 1987–1993 and briefly taught there after graduating. In 1995 Sandison moved to Finland and now resides permanently in Tampere. During the early 1990s Sandison exhibited alongside Young British Artists in such shows as; Wonderful Life, Lisson Gallery, London 1993, and Institute of Cultural Anxiety: Works from the Collection Institute of Contemporary Arts, London 1994. During a five year hiatus in which Sandison moved away from the United Kingdom and occupied the position of Head of Fine Art at Tampere School of Art and Media. He came to wider recognition in 2001 after exhibiting in the Venice Biennale. In 2004 Sandison became a visiting professor at Le Fresnoy, Lille. In 2010 Sandison was awarded the Ars Fennica prize by President of Finland Tarja Halonen. Much of Sandison's work involves computer generated video projections that create immersive data installations, placing the viewer at the centre of a changing universe of words, signs, and characters. Sandison's art works to incorporate the viewer into the piece, so that the computer and human mind can work together. Sandison draws inspiration from nature and his surroundings, and attempts to capture elements of human life and the current world that we live in. His work “Nature Morte” won the 8th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Nature Morte https://www.sandison.fi <<-- Back Nature Morte, 2012 The piece is an accomplished interpretation of baroque vanitis from the viewpoint of new technologies. Convinced that language is our interface with reality, Sandison creates IT programmes controlled by dynamic molecular algorithms that generate words and brings them to life. In the case of the winning work, the artist uses the quartet of Byron that references Carpe Diem, the enjoyment of the instant, in a generative audiovisual work, as such, always distant, that includes elements of literature, romanticism, and textuality, as well as a profound reflection on new media.

Darya von Berner, Ciudad de México, 1959. Darya von Berner begins her trajectory at the New York School of Visual Arts with Milton Glaster and continues in Europe with Enzo Cucchi, Wolf Vostell, Janis Kounellis and Tony Cragg. Around 1984 she begins her career as an artist, receiving diverse prizes and grants that lead her first to Paris and then to Italy after receiving the Spanish Academy of Fine Arts Grant in Rome. In 1991 she begins a long international voyage with exhibitions in diverse galleries in Europe and America and a habitual presence in successive editions of Art Basel, ARCOmadrid and Art Cologne. More recently she is involved in public art projects such as the series titled “Atmospheres,” in which she create real clouds around architectural monuments. The first of these interventions took place in Madrid in 2007 when she wrapped the Alcalá Gate in a cloud. This artistic intervention had a widespread media impact and since then she has received numerous invitations to create “Atmospheres” in Paris, Brussels, Córdoba, etc. Her most recent work is “Universal Peace Flag” installed in front of the Palace of Peace in the Hague. Other installations are those which she executes with lineal light in emblematic spaces of modern architecture from the beginning of the 20th century. For Darya von Berner, the practice of art is means for the production of critical significance, always in dialogue with the surrounding world. Work at the collection: Untitled, 1997. Darya von Berner, Ciudad de México, 1959. Darya von Berner begins her trajectory at the New York School of Visual Arts with Milton Glaster and continues in Europe with Enzo Cucchi, Wolf Vostell, Janis Kounellis and Tony Cragg. Around 1984 she begins her career as an artist, receiving diverse prizes and grants that lead her first to Paris and then to Italy after receiving the Spanish Academy of Fine Arts Grant in Rome. In 1991 she begins a long international voyage with exhibitions in diverse galleries in Europe and America and a habitual presence in successive editions of Art Basel, ARCOmadrid and Art Cologne. More recently she is involved in public art projects such as the series titled “Atmospheres,” in which she create real clouds around architectural monuments. The first of these interventions took place in Madrid in 2007 when she wrapped the Alcalá Gate in a cloud. This artistic intervention had a widespread media impact and since then she has received numerous invitations to create “Atmospheres” in Paris, Brussels, Córdoba, etc. Her most recent work is “Universal Peace Flag” installed in front of the Palace of Peace in the Hague. Other installations are those which she executes with lineal light in emblematic spaces of modern architecture from the beginning of the 20th century. For Darya von Berner, the practice of art is means for the production of critical significance, always in dialogue with the surrounding world. Work at the collection: Untitled, 1997. https://daryavonberner.net/ <<-- Back Untitled, 1997 Form a line, never a point! Speed transform the point into a line! Be fast, even while standing still! Cf. Paul Virilio “Vehiculaire, en Nomades et Vagabonds”, 10/18, p.44. Work on deposit from LaAgencia Collection.

Stefan Tiefengraber, Baden bei Wien, 1981. After working in a film production company for six years, he changed his main place of residence to Linz where he started studying Timebased and Interactive Media at University of Art and Design Linz in 2010. In 2012/13, he took part in an exchange program at the Korean National University of Arts in Seoul for a year. His work ranges from kinetic sound installations to audio-video noise performances. Tiefengraber experiments with the modification of devices, which are originally manufactured for different purposes. Combined with the perception of the audience, this experimental attempt of exploring old and new materials leads him to new and unpredictable results. The artist’s work has been exhibited at Ars Electronica Garden Barcelona, Barcelona 2021, Ars Electronica Festival 2021-2019 Linz, Galerie gerken Berlin, TodaysArt 2014 Den Haag, New Media Gallery Vancouver, 16th Media Art Biennale WRO 2015 Wroclaw, Piksel Festival 2016 Bergen, among others. Work at the collection: TH-50PH10EK – Wall Stefan Tiefengraber, Baden bei Wien, 1981. After working in a film production company for six years, he changed his main place of residence to Linz where he started studying Timebased and Interactive Media at University of Art and Design Linz in 2010. In 2012/13, he took part in an exchange program at the Korean National University of Arts in Seoul for a year. His work ranges from kinetic sound installations to audio-video noise performances. Tiefengraber experiments with the modification of devices, which are originally manufactured for different purposes. Combined with the perception of the audience, this experimental attempt of exploring old and new materials leads him to new and unpredictable results. The artist’s work has been exhibited at Ars Electronica Garden Barcelona, Barcelona 2021, Ars Electronica Festival 2021-2019 Linz, Galerie gerken Berlin, TodaysArt 2014 Den Haag, New Media Gallery Vancouver, 16th Media Art Biennale WRO 2015 Wroclaw, Piksel Festival 2016 Bergen, among others. Work at the collection: TH-50PH10EK – Wall http://www.stefantiefengraber.com <<-- Back TH50PH10EK WALL , 2021 The title of the work refers to the device designation of the used plasma monitor. It is a common device that has been used for many years in exhibition and event contexts. However, this monitor has become obsolete due to recent technological developments. With the installation TH 50PH10EK – Wall, this object is transformed from a carrier of art into a work of art. A 50-inch plasma monitor is installed as a pendulum, which swings out freely on the wall after being triggered. As soon as the monitor comes to a standstill, it is pulled back into the original position with the help of a cable winch and is made to swing again – triggered by pulling a ripcord, a performative act that cannot take place without human intervention and which involves the exhibition supervisor in the installation. Each cycle ends when the monitor has come to a standstill and no sound and video is produced by its movement. The sound is generated by the amplification of the friction which the back of the monitor is subjected to on the wall. The visualization on the screen is a direct translation of the analogue audio signal into an analogue video signal. Voltage and frequency are represented by a loudspeaker in sound on the one hand and as flickering horizontal white lines on the monitor itself on the other. There is no processing of the signal, for example by a computer or an effects device. In his works, Stefan plays with the meaning of the function of the devices and objects used, breaks with their predetermined purposes and modifies them. This experimental approach and exploration of old and new technologies and their combination can also be found in this work. http://www.stefantiefengraber.com/th_50ph10ek_wall.php https://vimeo.com/605657689

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.

Kenneth Dow, Ellwangen, 1992. In his projects, Kenneth Dow navigates through a fictionalized world, heavily inspired by his own biography and present surroundings. His artistic work is concerned with strategies to make the absent, absentees, the invisible perceived, absent as in no longer present, invisible as in interiority. Subjective states are made palpable through choice, combination and recursion of procedures, together forming a representation apparatus. The representation machine set in motion then conceives the work of art, as seen on display. Kenneth Dow has studied in Milan, Hamburg and Shanghai and holds a MFA from Stuttgart Academy of Fine Art. In 2015, he was admitted to the German Academic Study Fund. He has participated in numerous institutional group shows, theatre and film Festivals. Work at the collection: PsyCHO TRance // K-Hole Kenneth Dow, Ellwangen, 1992. In his projects, Kenneth Dow navigates through a fictionalized world, heavily inspired by his own biography and present surroundings. His artistic work is concerned with strategies to make the absent, absentees, the invisible perceived, absent as in no longer present, invisible as in interiority. Subjective states are made palpable through choice, combination and recursion of procedures, together forming a representation apparatus. The representation machine set in motion then conceives the work of art, as seen on display. Kenneth Dow has studied in Milan, Hamburg and Shanghai and holds a MFA from Stuttgart Academy of Fine Art. In 2015, he was admitted to the German Academic Study Fund. He has participated in numerous institutional group shows, theatre and film Festivals. Work at the collection: PsyCHO TRance // K-Hole https://kenneth-dow.com/ http://angelsbarcelona.com/en/artists/kenneth-dow/bio/ <<-- Back PsyCHO TRance // K-Hole, 2019. The last few years have witnessed art spaces and clubs reaching out to each other, each seeking the others’ prestige, credibility and audience. It seems as if clubs as cultural spaces were able respond better to the current discourse in and around art than white cubes. In their very struggle for survival, art spaces are the spitting image of capitalist conformity. The white cube is capable of digesting even the most fierce critique, by separating it in time and space. In small portions it is made indigestible to the observer without poisoning the productive, working brain. It is sane. It allows for sober consideration, reflection. It allows the observer to remain in their position as body-less bystander, possibly a freecam. Like when you’ve been shot dead in Counter Strike and are waiting for a new game to start. The club is its antithesis. Visitors may experience loss of their ego, but never their body. It denies its inhabitants space for observant reflection. The mere presence of the physical body makes it participant. Possibly, this insistence on the body is what makes the club so appealing to the art world. Clubs are struggling to survive in coexistence with their neighborhoods. The interests of the working bourgeois in recreating their workforce is valued above a crowd spending their vital energies without feeding them back into the labor market. They are site to (chemically induced) psychosis, the broken body (mind) neither willing nor apt for wage labor. The ill are the strongest form of resistance. This observation coincides with the notion that the end of the world seems more likely than the end of neoliberalism. Rave hedonism read as auto aggression, really is aggression against the internalized disciplinary. PsyCHO TRance // K-Hole is part of a research and production program held by Hangar in collaboration with the NewArtFoundation and the .BEEP { collection;}. Special acknowledgments: Fabolous St. Pauli, Hamburg. Xīnchējiān 新车间, Shanghai