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Keith Armstrong, Heaton, Newcastle. Keith Armstrong is an experimental artist profoundly motivated by issues of social and ecological justice. His engaged, participative practices provoke audiences to comprehend, envisage and imagine collective pathways towards sustainable futures. He has specialised for over twenty-three years in collaborative, experimental practices with emphasis upon innovative performance forms, site-specific electronic arts, networked interactive installations, alternative interfaces, art-science collaborations and socially and ecologically engaged practices. ​Keith’s research asks how insights drawn from scientific and philosophical ecologies can help us to better invent and direct experimental art forms, in the understanding that art practitioners are powerful change agents, provocateurs and social catalysts. Through inventing radical research methodologies and processes he has led and created over sixty major art works and process-based projects, which have been shown extensively in Australia and overseas, supported by numerous grants from the public and private sectors. In late 2019 he showed his new work Elegy for Life, Anthem for Artifice in The 5th International Art and Science Exhibition and Symposium: The Integration of Art and Science in the Age of Artificial Intelligence at the National Museum of China, and in 2022 he was the installation artist for the large-scale collaborative artwork Uramat Mugas showcased for the Asia Pacific Triennial (APT10) at the Gallery of Modern Art (GOMA), Brisbane. A full history of his work can be viewed at www.embodiedmedia.com. ​ Work at the collection: "Common Thread" 2022 Keith Armstrong, Heaton, Newcastle. Keith Armstrong is an experimental artist profoundly motivated by issues of social and ecological justice. His engaged, participative practices provoke audiences to comprehend, envisage and imagine collective pathways towards sustainable futures. He has specialised for over twenty-three years in collaborative, experimental practices with emphasis upon innovative performance forms, site-specific electronic arts, networked interactive installations, alternative interfaces, art-science collaborations and socially and ecologically engaged practices. Keith’s research asks how insights drawn from scientific and philosophical ecologies can help us to better invent and direct experimental art forms, in the understanding that art practitioners are powerful change agents, provocateurs and social catalysts. Through inventing radical research methodologies and processes he has led and created over sixty major art works and process-based projects, which have been shown extensively in Australia and overseas, supported by numerous grants from the public and private sectors. In late 2019 he showed his new work Elegy for Life, Anthem for Artifice in The 5th International Art and Science Exhibition and Symposium: The Integration of Art and Science in the Age of Artificial Intelligence at the National Museum of China, and in 2022 he was the installation artist for the large-scale collaborative artwork Uramat Mugas showcased for the Asia Pacific Triennial (APT10) at the Gallery of Modern Art (GOMA), Brisbane. A full history of his work can be viewed at www.embodiedmedia.com . Work at the collection: "Common Thread" 2022 <<-- Back "Common Thread" 2022 Common Thread is an audiovisual work installation presented in the peer-reviewed, curated exhibition ‘Possibles’ as part of ISEA 2022 (27th International Symposium of Electronic Art). The artwork presents slow, mysterious passages through thickly forested landscapes, comprised solely of silver-grey dots and lines; whilst affected sounds of those forests commingle with the distant voices of myriad species. Set within those uncanny landscapes, indistinct 3D forms enigmatically appear and disappear, collectively evoking richly mysterious, unknowable and extraordinary complexities. http://embodiedmedia.com/homeartworks/common-thread

Mariano Sardón & Mariano Sigman, Bahía Blanca, 1968 / Buenos Aires, 1972. Mariano Sardón is professor and chair of the Electronic Art Degree at the Universidad Nacional de Tres de Febrero, Buenos Aires, Argentina. He obtained the “Konex Prize” in Visual Art Category 2012 given by Konex Foundation, Buenos Aires, and the “Experimentation prize in Non-traditional supports and video 2008” given by Argentinean Association of Art Critics. He studied Physical Sciences in the University of Buenos Aires. Some exhibitions: Pilar Serra Gallery, Madrid, 2018. Artericambi Gallery, Verona, 2018. Artissima 2017, Artericambi Gallery. “Images of Journeys; The New Pushkin Museum”, “Viva Arte Viva”, 57th Bienale di Venezia 2017. “Intuitions”, Pallazzo Fortuny, Bienale di Venezia, 2017. Ars Electronica Berlin, 2017. Ars Electronica Linz 2017, 2016, 2013. Pushkin Museum Moscow, 2016. Ruth Benzacar Gallery, 2016, 2012, 2004. BAPhoto 2017 Ruth Benzacar Gallery. AIPAD Photography Show 2014 Bryce Wolkowitz Gallery, NY. Pulse Miami Beach Bryce Wolkowitz Gallery, 2014. 11th Bienal de La Habana 2012. Bryce Wolkowitz Gallery NY, 2013, 2007. Fundación PROA, 2013 and 1999. Akademie der Künste Berlin, 2010. Museo de Arte Moderno de Buenos Aires (Mamba) 2012, 2010, 2004. Ars Electronica México 2010. Fundación Telefónica Buenos Aires 2008 and Santiago de Chile 2011. Museo de Arte Latinoamericano de Buenos Aires (MALBA) 2003 y 2005. Among others. Mariano Sigman grew up in Barcelona. He obtained a master degree in physics at the University of Buenos Aires and a PhD in neuroscience in New York. He moved to Paris to investigate decision making, cognitive architecture and consciousness. In 2006 he founded the Integrative Neuroscience Laboratory, at the University of Buenos Aires, an interdisciplinary group integrated by physicists, psychologists, biologists, engineers, educational scientists, linguists, mathematicians, artists and computer scientists. His lab has developed an empirical and theoretical approach to decision making, with special focus on understanding the construction of confidence and subjective beliefs. Many aspects of his investigation rely on data mining and computational tools on massive corpus of human behavior (text, decision making…). Recently, he has progressively shifted his research to understand how current knowledge of the brain and the mind may serve to improve educational practice. Many of the projects conduct are developed at schools throughout the country and he is extending these investigations on cognitive development to hundreds of thousands of children through the One Laptop Per Child (OLPC) framework. Throughout his career he developed numerous research interactions with representatives of different domains of human culture including, musicians, professional chess players, mathematicians, magicians, visual artists and chefs. Several of these interactions resulted in exhibits presented in museums and galleries in Argentina, Mexico, Brazil, US, Japan, New York, Austria. Mariano Sigman is the only Latin American scientist to be a director of the Human Brain Project, was awarded a Human Frontiers Career Development Award, the national prize of physics, the young investigator prize of “College de France”, the IBM Scalable Data Analytics award and is a scholar of the James S. McDonnell Foundation. Their work “The Wall of Gazes” won the 14th edition of the ARCO-BEEP Electronic Art Award Work at the collection: The Wall of Gazes Mariano Sardón & Mariano Sigman, Bahía Blanca, 1968 / Buenos Aires, 1972. Mariano Sardón is professor and chair of the Electronic Art Degree at the Universidad Nacional de Tres de Febrero, Buenos Aires, Argentina. He obtained the “Konex Prize” in Visual Art Category 2012 given by Konex Foundation, Buenos Aires, and the “Experimentation prize in Non-traditional supports and video 2008” given by Argentinean Association of Art Critics. He studied Physical Sciences in the University of Buenos Aires. Some exhibitions: Pilar Serra Gallery, Madrid, 2018. Artericambi Gallery, Verona, 2018. Artissima 2017, Artericambi Gallery. “Images of Journeys; The New Pushkin Museum”, “Viva Arte Viva”, 57th Bienale di Venezia 2017. “Intuitions”, Pallazzo Fortuny, Bienale di Venezia, 2017. Ars Electronica Berlin, 2017. Ars Electronica Linz 2017, 2016, 2013. Pushkin Museum Moscow, 2016. Ruth Benzacar Gallery, 2016, 2012, 2004. BAPhoto 2017 Ruth Benzacar Gallery. AIPAD Photography Show 2014 Bryce Wolkowitz Gallery, NY. Pulse Miami Beach Bryce Wolkowitz Gallery, 2014. 11th Bienal de La Habana 2012. Bryce Wolkowitz Gallery NY, 2013, 2007. Fundación PROA, 2013 and 1999. Akademie der Künste Berlin, 2010. Museo de Arte Moderno de Buenos Aires (Mamba) 2012, 2010, 2004. Ars Electronica México 2010. Fundación Telefónica Buenos Aires 2008 and Santiago de Chile 2011. Museo de Arte Latinoamericano de Buenos Aires (MALBA) 2003 y 2005. Among others. Mariano Sigman grew up in Barcelona. He obtained a master degree in physics at the University of Buenos Aires and a PhD in neuroscience in New York. He moved to Paris to investigate decision making, cognitive architecture and consciousness. In 2006 he founded the Integrative Neuroscience Laboratory, at the University of Buenos Aires, an interdisciplinary group integrated by physicists, psychologists, biologists, engineers, educational scientists, linguists, mathematicians, artists and computer scientists. His lab has developed an empirical and theoretical approach to decision making, with special focus on understanding the construction of confidence and subjective beliefs. Many aspects of his investigation rely on data mining and computational tools on massive corpus of human behavior (text, decision making…). Recently, he has progressively shifted his research to understand how current knowledge of the brain and the mind may serve to improve educational practice. Many of the projects conduct are developed at schools throughout the country and he is extending these investigations on cognitive development to hundreds of thousands of children through the One Laptop Per Child (OLPC) framework. Throughout his career he developed numerous research interactions with representatives of different domains of human culture including, musicians, professional chess players, mathematicians, magicians, visual artists and chefs. Several of these interactions resulted in exhibits presented in museums and galleries in Argentina, Mexico, Brazil, US, Japan, New York, Austria. Mariano Sigman is the only Latin American scientist to be a director of the Human Brain Project, was awarded a Human Frontiers Career Development Award, the national prize of physics, the young investigator prize of “College de France”, the IBM Scalable Data Analytics award and is a scholar of the James S. McDonnell Foundation. Their work “The Wall of Gazes” won the 14th edition of the ARCO-BEEP Electronic Art Award Work at the collection: The Wall of Gazes http://marianosardon.com.ar/ <<-- Back The Wall of Gazes, 2011 The Wall of Gazes consists of one screen in which visitors can see how portrait images are revealed by the eye movements of many persons simultaneously. Gazes were captured by an eye tracker device. Around 100 participants were seated in front of a portrait image and the device recorded their gazes for 15 seconds. The screen is connected to a computer and a special software displays the eye tracks stored in a database. Portraits are ever-changing composition, according the gazes captured and displayed by the software. The Wall of Gazes aims to engage people with those parts of the face that are really seen and those parts that remain “unseen” while attention is focused elsewhere on the portrait. Technological collaboration: Germán Ito. Development Team: Cecilia Cisneros, Lucia Carvallo, Nahuel Rodrigues. Eye tracking data generated at the Muntref Centro de Arte y Ciencia. Universidad Nacional de Tres de Febrero. Buenos Aires.

Ken Matsubara, Tokyo, 1949. Ken Matsubara graduated from Musashino Art University in Tokyo in 1974. His work often examines our understanding of memory. Matsubara lives and works in Tokyo. Using photos, movies, objects and collages, Matsubara’s work addresses memories and histories to which we can all relate, regardless of our backgrounds, statuses or age. He incorporates photographs, videos, object installations, and collages to bring forth the past and to converse with future generations. The artist sees human consciousness as recollections of the same ancient knowledge that transcends the individual, passed down through generations and across peoples, at a microcosmic level. By recollecting shared memories, Matsubara believes that we can overcome individuality. His work is part of several international collections as the Newport Harbor Art Museum, Newport, California, Maison du Livre de L' image et du Son, La Bibliotheque de Villeurbanne, Lyon, Bayly Art Museum, Virginia, Museum of Fine Arts, Houston, Texas, Bell Atlantic Corpolation, New York, Readers Digest, New York, Goldman Sachs Corporation, New York, Nippon Polalroid "Polaroid Corpolation of Japan", Tokyo, International Polaroid Collection, Cambrige, Massachusetts, Tokyo Metropolitan Art Museum, Tokyo, Deutsche Bank Collection / Bulgari Collection, New York, among others. Work at the collection: Moon Bowl Ken Matsubara, Tokyo, 1949. Ken Matsubara graduated from Musashino Art University in Tokyo in 1974. His work often examines our understanding of memory. Matsubara lives and works in Tokyo. Using photos, movies, objects and collages, Matsubara’s work addresses memories and histories to which we can all relate, regardless of our backgrounds, statuses or age. He incorporates photographs, videos, object installations, and collages to bring forth the past and to converse with future generations. The artist sees human consciousness as recollections of the same ancient knowledge that transcends the individual, passed down through generations and across peoples, at a microcosmic level. By recollecting shared memories, Matsubara believes that we can overcome individuality. His work is part of several international collections as the Newport Harbor Art Museum, Newport, California, Maison du Livre de L' image et du Son, La Bibliotheque de Villeurbanne, Lyon, Bayly Art Museum, Virginia, Museum of Fine Arts, Houston, Texas, Bell Atlantic Corpolation, New York, Readers Digest, New York, Goldman Sachs Corporation, New York, Nippon Polalroid "Polaroid Corpolation of Japan", Tokyo, International Polaroid Collection, Cambrige, Massachusetts, Tokyo Metropolitan Art Museum, Tokyo, Deutsche Bank Collection / Bulgari Collection, New York, among others. Work at the collection: Moon Bowl http://www.kenmatsubara.com <<-- Back Moon Bowl, 2016. Moon Bowl Just as hands scooping water, the bowl serves as if a vessel of acceptance, where images sink to the depths of the basin as memories. As the water reflects the moon’s ever-shifting presence, one comes to embrace its fragile state as the beauty of impermanence and discover its coming hopes as restoration. The Bodhisattva statue, plaster figurine, glass bottle, bird’s corpse all shatter for means to restore once again in a continuous state of repetition. Houjyoki: The flowing river never stops and yet the water never stays the same. Foam floats upon the pools, scattering, re-forming, never lingering long. So it is with man and all his dwelling places here on earth. http://www.kenmatsubara.com/Bowl5.html https://vimeo.com/569817265#_=_

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

Davide Grassi, Bergamo, 1970. Davide Grassi is a Slovenian artist of Italian origin, who lives and works in Ljubljana, Slovenia. His work has a strong social connotation and is characterized by an intermedia approach. He is the author of numerous videos, performances, installations, documentaries and intermedia projects. He is co-founder and member of the Bast Collective (1999) and of the open research platform for interventions in public spaces SilentCell Network (2003). He is co-founder (2002) and artistic director of Aksioma -Institute of contemporary art. Davide Grassi, Bergamo, 1970. Davide Grassi is a Slovenian artist of Italian origin, who lives and works in Ljubljana, Slovenia. His work has a strong social connotation and is characterized by an intermedia approach. He is the author of numerous videos, performances, installations, documentaries and intermedia projects. He is co-founder and member of the Bast Collective (1999) and of the open research platform for interventions in public spaces SilentCell Network (2003). He is co-founder (2002) and artistic director of Aksioma -Institute of contemporary art. https://performingtheeast.com/davide-grassi/ <<-- Back Brainloop, 2007 The work of Slovenian artist Davide Grassic consists of an interactive platform that uses a BCI computer system that can be operated only by imagining specific motor commands. In the performance "Brainloop", the subject, Markus Rapp, is able to investigate urban areas and rural landscapes that he sees on Google Earth. He selects the location, camera, angles and positions and records the images in sequences in a virtual world. In the second part of the performance, he returns to the footage and uses Brainloop to compose a soundtrack, selecting and manipulating audio recordings in real time, which sound designer Brane Zorman places in the physical space. The virtual environment allows the audience to perceive the events in 3D. The work is the result of a collaboration between Slovenian artists and Austrian scientists. https://www.youtube.com/watch?=_BRJyl8WBK0&ab_channel=MediaArtTube

Paolo Cirio, Torino, 1979. Paolo Cirio’s art practice embodies the conflicts, contradictions, ethics, limits, and potentials inherent to the social complexity of information society through a critical and proactive approach. Cirio’s artworks stimulate ways of seeing, examining, and challenging modern complex social systems, processes, and dynamics. Cirio uses popular language, irony, interventions, and seductive visuals to engage a wide public in works of art about critical issues. His aesthetic investigations are highly conceptual with layered and interconnected meanings, functions and agents presented as whole closed referential system of interrelated ideas and actions. Paolo Cirio’s fine art translates critiques of information systems into artifacts to visually document and illustrate social structures examined by his conceptual work. Cirio’s installation art combines images, photographs, diagrams, documents, public art, and videos to engage the general audience in experiencing and discovering subjects, outcomes, and significance of his interventions and concepts. Paolo Cirio has exhibited at major international institutions including C/O Berlin; Museum für Fotografie, Berlin; Musée National d’Histoire et d’Art of Luxembourg; Victoria and Albert Museum, London; Somerset House, London; ICP Museum, NYC; China Academy of Art, Hangzhou; MoCA Sydney; ZKM, Karlsruhe; CCCB, Barcelona; MAK, Vienna; National Museum of Contemporary Art, Athens; MoCA Taipei; Sydney Biennial; 12th Gwangju Biennale, South Korea; Fondazione Sandretto Re Rebaudengo, Turin; and NTT ICC, Tokyo. Work at the collection: Michael Rogers Paolo Cirio, Torino, 1979. Paolo Cirio’s art practice embodies the conflicts, contradictions, ethics, limits, and potentials inherent to the social complexity of information society through a critical and proactive approach. Cirio’s artworks stimulate ways of seeing, examining, and challenging modern complex social systems, processes, and dynamics. Cirio uses popular language, irony, interventions, and seductive visuals to engage a wide public in works of art about critical issues. His aesthetic investigations are highly conceptual with layered and interconnected meanings, functions and agents presented as whole closed referential system of interrelated ideas and actions. Paolo Cirio’s fine art translates critiques of information systems into artifacts to visually document and illustrate social structures examined by his conceptual work. Cirio’s installation art combines images, photographs, diagrams, documents, public art, and videos to engage the general audience in experiencing and discovering subjects, outcomes, and significance of his interventions and concepts. Paolo Cirio has exhibited at major international institutions including C/O Berlin; Museum für Fotografie, Berlin; Musée National d’Histoire et d’Art of Luxembourg; Victoria and Albert Museum, London; Somerset House, London; ICP Museum, NYC; China Academy of Art, Hangzhou; MoCA Sydney; ZKM, Karlsruhe; CCCB, Barcelona; MAK, Vienna; National Museum of Contemporary Art, Athens; MoCA Taipei; Sydney Biennial; 12th Gwangju Biennale, South Korea; Fondazione Sandretto Re Rebaudengo, Turin; and NTT ICC, Tokyo. Work at the collection: Michael Rogers https://www.paolocirio.net/ https://en.wikipedia.org/wiki/Paolo_Cirio <<-- Back Michael Rogers, 2015 This artwork is part of a series of nine unauthorized photos of high-ranking U.S. intelligence officials of NSA, CIA, NI and FBI that were related to the Edward Snowden’s revelations. Michael S. Rogers has served as Director of the National Security Agency (NSA), Commander of U.S. Cyber Command, and Chief of the Central Security Service since April 3rd, 2014. The photos were found by monitoring the Internet public platforms with selfies and images of informal situations published without the control of the officials. Ultimately, the images were reproduced with the street art HD Stencils technique and they were disseminated onto public walls throughout major cities. The artwork satirizes the era of ubiquitous surveillance and overly-mediated political personas by exposing the main officials accountable for secretive mass surveillance and over-classified intelligence programs. New modes of circulation, appropriation, contextualization, and technical reproduction of images are integrated into this artwork. Work on deposit from LaAgencia Collection. https://youtu.be/bB8Iv8bL5co

Antoni Abad, Lleida, 1956. He began his career as a sculptor, and evolved over time towards video art and later in net.art and other forms of new media. His work has evolved away from a traditional sculptural practice to the use of new technologies, and in particular the creation of community-based artworks using cell phones.He moved also from photography to video art, followed by interest in computers Net.art. He uses Internet as a creative & research platform. Antoni Abad's expresses the desire to formal experimentation around the concepts of space and time, always present in his work, not exempt lately of certain ironic and critical aspects. He has presented his work at Fundació Joan Miró, Museu d'Art Jaume Morera, Museo Nacional Centro de Arte Reina Sofía, Museo de Arte Moderno de Buenos Aires, Venice Biennale, P.S.1. – MOMA, Centre d'Art Santa Mònica, MACBA, among others. He got the Premi d'Arts Plàstiques Medalla Morera (medal) 1990, Premi Ciutat de Barcelona in the category of Multimedia (2002), Golden Nica at Ars Electronica[15] within the category of virtual communities in 2006. Considered the most important prize in the world in terms of art and new technologies and the Premi Nacional d'Arts Visuals (National Prize for Visual Arts) in 2006 given by the Government of Catalonia. His work is part of the following collections Artium, CGAC, Centre d’art La Panera, Col·lecció d’art contemporani de Lleida, Colección Caja de Ahorros del Mediterraneo, Colección Sanitas, Fundació “la Caixa”, Fundación ARCO, Fundació LaCaixa, Fundació Suñol, Fundación Unión Fenosa, Generalitat de Catalunya, Grupo Endesa, Künstlerhaus Palais Thurn & Taxis, Bregenz. MACBA, Marugame Hirai Museum, Marugame, Japan.MUSAC, Museo Nacional Centro de Arte Reina Sofía, Museu d Art Jaume Morera, Museo de Bellas artes de Murcia, Museo Morera, Museo de Teruel, Museo Pablo Gargallo, Museu de Granollers, Pinault Collection. Work at the collection: Ego 1999, Spanglish Antoni Abad, Lleida, 1956. He began his career as a sculptor, and evolved over time towards video art and later in net.art and other forms of new media. His work has evolved away from a traditional sculptural practice to the use of new technologies, and in particular the creation of community-based artworks using cell phones.He moved also from photography to video art, followed by interest in computers Net.art. He uses Internet as a creative & research platform. Antoni Abad's expresses the desire to formal experimentation around the concepts of space and time, always present in his work, not exempt lately of certain ironic and critical aspects. He has presented his work at Fundació Joan Miró, Museu d'Art Jaume Morera, Museo Nacional Centro de Arte Reina Sofía, Museo de Arte Moderno de Buenos Aires, Venice Biennale, P.S.1. – MOMA, Centre d'Art Santa Mònica, MACBA, among others. He got the Premi d'Arts Plàstiques Medalla Morera (medal) 1990, Premi Ciutat de Barcelona in the category of Multimedia (2002), Golden Nica at Ars Electronica[15] within the category of virtual communities in 2006. Considered the most important prize in the world in terms of art and new technologies and the Premi Nacional d'Arts Visuals (National Prize for Visual Arts) in 2006 given by the Government of Catalonia. His work is part of the following collections Artium, CGAC, Centre d’art La Panera, Col·lecció d’art contemporani de Lleida, Colección Caja de Ahorros del Mediterraneo, Colección Sanitas, Fundació “la Caixa”, Fundación ARCO, Fundació LaCaixa, Fundació Suñol, Fundación Unión Fenosa, Generalitat de Catalunya, Grupo Endesa, Künstlerhaus Palais Thurn & Taxis, Bregenz. MACBA, Marugame Hirai Museum, Marugame, Japan.MUSAC, Museo Nacional Centro de Arte Reina Sofía, Museu d Art Jaume Morera, Museo de Bellas artes de Murcia, Museo Morera, Museo de Teruel, Museo Pablo Gargallo, Museu de Granollers, Pinault Collection. Work at the collection: Ego 1999, Spanglish https://catalogo.artium.eus/artistas/antoni-abad https://es.wikipedia.org/wiki/Antoni_Abad_Roses <<-- Back Ego - Spanglish, 1999 Ego is a computer-based projection that uses drawing software that enables the computer to generate swarms of houseflies that buzz and flit around the space in random patterns. Every few minutes several dozen flies gradually group themselves to spell out a single English or Spanish word: “I,” “Me,” “Yo,” or some variant of the first-person singular. No sooner has the word become eligible, then the flies disperse and scatter to the far margins of the projection wall before reassembling once more. This work was presented in 2001 at the New Museum of NewYork Powered by https://archive.newmuseum.org/exhibitions/364 REALtime, 2021 In REALtime, Antoni Abad has created a clock with an international sign system that shows the variety and complexity of linguistic registers and, at the same time, the (im)possibility of translating the real dimension of time.

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

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Weidi Zhang, Beijing, 1991. ​Weidi Zhang is an LA-based new media artist and researcher. Her current research and media art practices investigate A Speculative Assemblage – interactive image-data-based visualization of a human-machine reality in the context of data visualization, responsive Intelligence system design, and immersive media. Her works are featured at international venues, such as the SIGGRAPH Art Gallery Best In Show, ISEA, Times Art Museum (CN), Japan Media Arts Festival, Lumen Prize (UK), SIGGRAPH ASIA, IEEE VISAP, Planetarium 1 (RUS), Zeiss-Planetarium (GE), Society For Arts and Technology (CAN), and others. Currently, she is a Ph.D. candidate in the Media Arts and Technology Program and a graduate researcher in Experimental Visualization Lab. She lectures at UC Santa Barbara and The Ohio State University. She holds her MFA degree in Art + Technology at the California Institute of the Arts and a BFA degree in Photo/Media at the University of Washington, Seattle. Weidi Zhang, Beijing, 1991. Weidi Zhang is an LA-based new media artist and researcher. Her current research and media art practices investigate A Speculative Assemblage – interactive image-data-based visualization of a human-machine reality in the context of data visualization, responsive Intelligence system design, and immersive media. Her works are featured at international venues, such as the SIGGRAPH Art Gallery Best In Show, ISEA, Times Art Museum (CN), Japan Media Arts Festival, Lumen Prize (UK), SIGGRAPH ASIA, IEEE VISAP, Planetarium 1 (RUS), Zeiss-Planetarium (GE), Society For Arts and Technology (CAN), and others. Currently, she is a Ph.D. candidate in the Media Arts and Technology Program and a graduate researcher in Experimental Visualization Lab. She lectures at UC Santa Barbara and The Ohio State University. She holds her MFA degree in Art + Technology at the California Institute of the Arts and a BFA degree in Photo/Media at the University of Washington, Seattle. https://www.zhangweidi.com/ <<-- Back Ray ,2021 Ray is an interactive multi-modal Intelligent system that is designed to re-interprets Rayograph, a modern image-making technique, through visualizing the hidden information of live streaming video in the context of AI and surveillance. In the art installation, the intelligent system RAY constantly observes audiences via a camera and translates the live streaming data of audiences into an ever-evolving semantic Rayograph in real-time. https://www.zhangweidi.com/ray