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Libres Para Siempre is a Spanish pop-inspired artist collective founded in 1989, composed of Beatriz Alegre, Almudena Baeza, Alberto Cortés, Juan Jarén, Miguel Ángel Martín, Álvaro Monge, Ana Parga, and Mª Luz Ruiz. Their first exhibition took place in 1990 at Sala Estrujenbank, associated with the collective of the same name. This experience established a lasting professional and personal relationship between the two groups. In their initial phase, the group remained anonymous and used various names for their projects (such as Arigato Obrigado, La Rubia, G.A., Agradezco Esta Oportunidad, Artistas Todos, and more). These names often changed with each exhibition. In their next phase, as they transitioned to electronic art and began engaging with the Internet, they adopted the permanent name Libres Para Siempre. They have exhibited in both commercial galleries (Fúcares, Almagro, 1991; Buades, 1992; DoblEspacio, 1998; Valle Quintana, 2000) and alternative spaces (El Ojo Atómico, Sala Cruce). They have also participated in fairs (ARCO 1992, ARCO 1996, ARCO 2001), performance festivals (IIFIARP, 1992; Faculty of Fine Arts Performance Festival, Cuenca, 1998; Cha Cha Chá, 1999; Pasen y Vean at CCCB, 1999; Doméstico 2000; Faculty of Fine Arts Performance Festival, Madrid, and Los Lunes de La Fábrica, 2002), and electronic art festivals (Art Futura, 1997; Existencias Agotadas, 1999). The collective has produced prints and videos, published the book Arte en las Redes (Anaya Multimedia, 1997), and organized an online competition during the Observatori 2000 festival. Their website, libresparasiempre.net, serves as a platform for periodic open calls (e.g., Devorolor, las plantillas que devoran el olor. El Plantillazo, 2003) and as a gallery for their digital artworks, such as the illustrated alphabet ¡Libres, 2003. In February 2013, an exhibition connected the group with a neopop movement that began with Luis Gordillo, continued through the Nueva Figuración Madrileña and its successors (e.g., Jaime Aledo, Elena Blasco), followed by Juan Ugalde, Patricia Gadea, and Estrujenbank, culminating with Libres Para Siempre themselves. Their electronic artwork Composite was acquired by the MEIAC (Museo Extremeño e Iberoamericano de Arte Contemporáneo). The Museo del Barro in Asunción (Paraguay) includes works by the collective in its Spanish contemporary graphic art collection. Despite working in a wide range of expressive media (painting, photography, performance, digital animation, video, virtual reality, and Net Art), Libres Para Siempre maintains a consistent formal and symbolic coherence. This is reflected in their recurring use of characters, settings, and a playful domestic irreverence across their body of work. Libres Para Siempre is a Spanish pop-inspired artist collective founded in 1989, composed of Beatriz Alegre, Almudena Baeza, Alberto Cortés, Juan Jarén, Miguel Ángel Martín, Álvaro Monge, Ana Parga, and Mª Luz Ruiz. Their first exhibition took place in 1990 at Sala Estrujenbank, associated with the collective of the same name. This experience established a lasting professional and personal relationship between the two groups. In their initial phase, the group remained anonymous and used various names for their projects (such as Arigato Obrigado, La Rubia, G.A., Agradezco Esta Oportunidad, Artistas Todos, and more). These names often changed with each exhibition. In their next phase, as they transitioned to electronic art and began engaging with the Internet, they adopted the permanent name Libres Para Siempre. They have exhibited in both commercial galleries (Fúcares, Almagro, 1991; Buades, 1992; DoblEspacio, 1998; Valle Quintana, 2000) and alternative spaces (El Ojo Atómico, Sala Cruce). They have also participated in fairs (ARCO 1992, ARCO 1996, ARCO 2001), performance festivals (IIFIARP, 1992; Faculty of Fine Arts Performance Festival, Cuenca, 1998; Cha Cha Chá, 1999; Pasen y Vean at CCCB, 1999; Doméstico 2000; Faculty of Fine Arts Performance Festival, Madrid, and Los Lunes de La Fábrica, 2002), and electronic art festivals (Art Futura, 1997; Existencias Agotadas, 1999). The collective has produced prints and videos, published the book Arte en las Redes (Anaya Multimedia, 1997), and organized an online competition during the Observatori 2000 festival. Their website, libresparasiempre.net, serves as a platform for periodic open calls (e.g., Devorolor, las plantillas que devoran el olor. El Plantillazo, 2003) and as a gallery for their digital artworks, such as the illustrated alphabet ¡Libres, 2003. In February 2013, an exhibition connected the group with a neopop movement that began with Luis Gordillo, continued through the Nueva Figuración Madrileña and its successors (e.g., Jaime Aledo, Elena Blasco), followed by Juan Ugalde, Patricia Gadea, and Estrujenbank, culminating with Libres Para Siempre themselves. Their electronic artwork Composite was acquired by the MEIAC (Museo Extremeño e Iberoamericano de Arte Contemporáneo). The Museo del Barro in Asunción (Paraguay) includes works by the collective in its Spanish contemporary graphic art collection. Despite working in a wide range of expressive media (painting, photography, performance, digital animation, video, virtual reality, and Net Art), Libres Para Siempre maintains a consistent formal and symbolic coherence. This is reflected in their recurring use of characters, settings, and a playful domestic irreverence across their body of work. http://www.libresparasiempre.net <<-- Back Viva el Paro, 1998. Lightbox, 90 x 120 cm. This work was created by the collective Libres Para Siempre (LPS) for the exhibition Pinturas paranormales, held at the Doble Espacio gallery in Madrid in 1998. Doble Espacio was a gallery dedicated to multiple art, which included this artwork in its digital catalog alongside other works, such as paintings offered at multiple art prices, i.e., affordable prices. In that context, the collective expressed the following: ¨The collective offers original works cheaper than multiples because manual production costs less than mechanical production. In the end, the group finances its reproducible works through the non-reproducible ones, thus losing the added value enjoyed by unique works made by hand. This honesty with the buyer exposes the hypocritical stance of the alternative art market for multiple works, which offers cheaper artworks at the expense of the artist, who is usually the one financing the multiples, while making the public believe that the lower cost of the artwork lies in it not being unique¨. The multiple art produced by Libres Para Siempre always reflected the technological moment the group was experiencing. This practice was driven by a vanguardist concern to connect art with the technological models of each era. This approach was termed by the group as advanced versions of painting, which they called Advanced Painting. The path towards Advanced Painting was carried out using various programs. One of them was Animator Pro, an animation software released in 1989 by Autodesk under the license of Yost Group, created by Peter Kennard, Gary Yost, and Jim Ken. This program, which ran on MSDOS with a palette of 256 colors and whose native formats were FLI or FLC, was used in 1995 to create electronic works that the collective contributed to Pandora, a program by Simon Birrel. In Pandora, a digital museum was created—an illusory digital space where these works were exhibited in a conventional manner. In 1996, during the exhibition Ciberchic (at Cruce), photographs of computer screens were presented alongside animations created with Animator Pro and virtual worlds designed with the Russian program Virtual Home Space Builder (VHSB). For this exhibition, the studio was relocated to the gallery space, where some videos were edited, allowing the audience to interact with the artists and observe their working methods. In No hay nadie (Art Futura, 1997), plastic tarpaulins printed by mechanical injection were juxtaposed with virtual reality environments created with Virtual Home Space Builder (VHSB). This program allowed the design of 3D domestic spaces for integration into the emerging web, combining text, digital images, animations, digital video, sound, and hyperlinks. Moreover, with rapid rendering, these created worlds could be visualized in real- time. The artwork Viva el paro, presented as a lightbox, takes advantage of all the digital resources acquired by the group. It was created in a moment of crisis in Spanish society, where, faced with brutal unemployment, the collectives best response was to continue creating art. Hence the slogan: ¡VIVA EL PARO! HIP HIP HOORAY LONG LIVE UNEMPLOYMENT! With Viva el paro, the collective began developing its first website. Today, their digital space is: www.libresparasiempre.net Artwork in storage by the LaAgencia

Christophe Bruno, Bayonne, 1964. Christophe Bruno lives and works in Paris. He began his artistic activity in September 2001. His polymorphic work (installations, hacks, performances, conceptual pieces, drawing, sculpture…) has a critical take on network phenomena and globalisation in the field of language and images. He was awarded at the Prix Ars Electronica 2003 and the Piemonte Share Festival in 2007. His work has been shown internationally: Jeu de Paume in Paris, ARCO Madrid, FIAC Paris, Diva Fair in New-York, Palais de Tokyo in Paris, ArtCologne, MOCA Taipei, Modern Art Museum of the city of Paris, Biennale of Sydney, New Museum of Contemporary Art in New-York, National Museum of Contemporary Art in Athens, SMAK in Ghent, NIMk Amsterdam, galerie Aeroplastics Bruxelles, Tirana Biennale of Contemporary Art, HMKV Dortmund, Gallery West in The Hague, Vooruit Arts Center in Gent, Share Festival in Torino, Transmediale in Berlin, Laboral Cyberspaces in Gijon, galerie Sollertis in Toulouse, ICC in Tokyo, Nuit Blanche de Paris, File Festival in Sao Paulo, Centre Pompidou for the Rencontres Paris-Berlin-Madrid, f.2004@shangai, ReJoyce Festival in Dublin, P0es1s.net in Berlin, Microwave Media Art Festival in Honk-Kong, Read_Me Festival in Dortmund and Aarhus, Vidarte in Mexico City, among others. He divides his time between his artistic activity, curating, teaching, lectures and publications. Since october 2013, he teaches art and new media at the École Supérieure d’Art d’Avignon. His work “Fascinum” won the 2nd edition of the ARCO-BEEP Electronic Art Award Work at the collection: Fascinum Christophe Bruno, Bayonne, 1964. Christophe Bruno lives and works in Paris. He began his artistic activity in September 2001. His polymorphic work (installations, hacks, performances, conceptual pieces, drawing, sculpture…) has a critical take on network phenomena and globalisation in the field of language and images. He was awarded at the Prix Ars Electronica 2003 and the Piemonte Share Festival in 2007. His work has been shown internationally: Jeu de Paume in Paris, ARCO Madrid, FIAC Paris, Diva Fair in New-York, Palais de Tokyo in Paris, ArtCologne, MOCA Taipei, Modern Art Museum of the city of Paris, Biennale of Sydney, New Museum of Contemporary Art in New-York, National Museum of Contemporary Art in Athens, SMAK in Ghent, NIMk Amsterdam, galerie Aeroplastics Bruxelles, Tirana Biennale of Contemporary Art, HMKV Dortmund, Gallery West in The Hague, Vooruit Arts Center in Gent, Share Festival in Torino, Transmediale in Berlin, Laboral Cyberspaces in Gijon, galerie Sollertis in Toulouse, ICC in Tokyo, Nuit Blanche de Paris, File Festival in Sao Paulo, Centre Pompidou for the Rencontres Paris-Berlin-Madrid, f.2004@shangai, ReJoyce Festival in Dublin, P0es1s.net in Berlin, Microwave Media Art Festival in Honk-Kong, Read_Me Festival in Dortmund and Aarhus, Vidarte in Mexico City, among others. He divides his time between his artistic activity, curating, teaching, lectures and publications. Since october 2013, he teaches art and new media at the École Supérieure d’Art d’Avignon. His work “Fascinum” won the 2nd edition of the ARCO-BEEP Electronic Art Award Work at the collection: Fascinum https://christophebruno.com <<-- Back Fascinum, 2001 The piece shows in real time the most searched and seen photos in Yahoo ranked from 1 to 100. It was a Yahoo Hack, that became a Google Hack in 2004 after Google’s IPO. It shows in real-time the news pictures the most viewed on different national news feeds. The viewer surfs at the top of the infotainment wave and experiments in a panoptic view the paradoxes of the unique thought. With a selector inside the internet, the most searched images from U.S.A, UK, Italy, France, Spain, Germany and India (updated approximately every two minutes) can be observed. This allows one to make connections between “accounting and globalisation”. http://www.unbehagen.com/fascinum

Antoni Muntadas, Barcelona, 1942. Considered one of the pioneers of media art and conceptual art in Spain, he has been working for more than four decades on projects in which he poses a critical reflection on key issues in the configuration of contemporary experience. His objective is to detect and decode the mechanisms of control and power through which the hegemonic gaze is constructed, exploring the decisive role played by the mass media in this process. In his works, which always have a clear processual dimension and in which he often appeals directly to the participation of the spectators, Muntadas resorts to multiple supports, languages and discursive strategies, from interventions in public space to video and photography, from the edition of printed publications to the use of the Internet and new digital tools, from multimedia installations to the implementation of multidisciplinary and collaborative research projects. Throughout his career, Antoni Muntadas, who conceives his works as "artifacts" (in the anthropological sense of the term, that is, as something that can be activated in different ways depending on the context and the moment in which it is presented), has addressed issues such as the changing relationships between the public and the private, the naturalization of consumerist logic, the processes of cultural homogenization imposed by globalization, the use of architecture as a tool to legitimize political and economic power, the importance of the mass media in the expansion of financial capitalism, the functioning of the artistic ecosystem or the use of fear of the "other" as a strategy of social control. Work at the collection: “Tasmanian Tiger: case study of the Museum of Extinction” Antoni Muntadas, Barcelona, 1942. Considered one of the pioneers of media art and conceptual art in Spain, he has been working for more than four decades on projects in which he poses a critical reflection on key issues in the configuration of contemporary experience. His objective is to detect and decode the mechanisms of control and power through which the hegemonic gaze is constructed, exploring the decisive role played by the mass media in this process. In his works, which always have a clear processual dimension and in which he often appeals directly to the participation of the spectators, Muntadas resorts to multiple supports, languages and discursive strategies, from interventions in public space to video and photography, from the edition of printed publications to the use of the Internet and new digital tools, from multimedia installations to the implementation of multidisciplinary and collaborative research projects. Throughout his career, Antoni Muntadas, who conceives his works as "artifacts" (in the anthropological sense of the term, that is, as something that can be activated in different ways depending on the context and the moment in which it is presented), has addressed issues such as the changing relationships between the public and the private, the naturalization of consumerist logic, the processes of cultural homogenization imposed by globalization, the use of architecture as a tool to legitimize political and economic power, the importance of the mass media in the expansion of financial capitalism, the functioning of the artistic ecosystem or the use of fear of the "other" as a strategy of social control. Work at the collection: “Tasmanian Tiger: case study of the Museum of Extinction” https://es.wikipedia.org/wiki/Antoni_Muntadas <<-- Back “Tasmanian Tiger: case study of the Museum of Extinction” (2022). Faithful to his personal language, alien to any current and label, Muntadas presents a project about an extinct animal, the Tasmanian Tiger, and he does it with an endangered technology, holography, and a totally strange installation in high tech aesthetics, which rather evokes the charm of the old natural science museums. The work raises the debate on obsolescence and the eternal race to create new and sophisticated technologies, which ultimately generate a deepening social gap. The work recreates a room in a natural history museum, with three showcases and a 1.5 m. hologram, which had to be produced in Lithuania, as it is the only place capable of making it of such dimensions. The showcases contain photographs of the research carried out and some moving images on tablets; another showcase shows DNA studies on how to revive disappeared animals, the Tasmanian tiger being one of the most studied cases; and there is a third showcase with merchandising, which is what keeps the Tasmanian tiger alive in popular culture (T-shirts, beers, coasters, postcards...). These are elements that allow it to remain very present in Tasmania. https://www.arshake.com/en/antoni-muntadas-and-the-tasmanian-tiger-at-ars-electronica/ https://bist.eu/science-and-art-ibec-collaborates-on-a-work-by-antoni-muntadas-at-ars-electronica-2022/

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

The digital and technological art space of southern Europe. (New Art Centre). New Art Centre (NAC) Services Activities Press Room The digital and technological art space of southern Europe.

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

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

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