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<-- Return PATRONAGE OF THE NEW ART FOUNDATION President Farovey, SL - Sr. Andreu Rodríguez Valveny Vocals Associació Catalana d’Enginyers de Telecomunicacions (ACET) - Sr. Gonçal Bonhome Altable Col·legi Oficial d’Enginyers Industrials de Catalunya - Sr. Miquel Manuel Obradors Melcior Col·legi Oficial d’Enginyeria Informàtica de Catalunya (COEINF) - Dra. Karina Gibert Oliveras Universitat Oberta de Catalunya (UOC) - Sr. Pau Alsina González Art Futura - Sr. Santi Fort Fernández Pausovia 2004, SL - Sr. Joaquim Barriach Sugrañes Masergrup SLU - Sra. Amèlia Ribera Gironés Piman Rova, SL - Sr. Jordi Gibert Bru Sra. Pilar Rodríguez Valveny Sra. Marie-France Veyrat Mr. Vicente Matallana - Director of the New Art Foundation Mrs. Beatriz Niño - Secretary of the Board of Trustees

Corporate information of the New Art Foundation_New Art Collection_New Art Centre Press Room Dossier New Art Centre (NAC) Services Activities Dossier Logos Imatges Press Clipping 2024 Download Dossier (CAT) Download Dossier (ESP) Download Dossier (ENG) <-- Return

We offer technical support and equipment loans to third party institutions, aiming to share its resources to support the electronic arts community. Performances Leo Pum From 20 th to 22 th February 2025 Mèdol, Centre d’Arts Contemporànies de Tarragona i Cal Massó, Centre d’Art. Reus https://medol.cat/activitats/leopum2025/?wcs_timestamp=1740078000 Exhibition “Con Fe y Sacrificio” by Andrea Lería Fundació Úniques, Barcelona From 19th December 2024 to 21st February 2025 https://www.exibart.es/exposiciones/la-fundacio-uniques-barcelona-presenta-con-fe-y-sacrificio-de-andrea-leria/ https://www.bonart.cat/ca/n/44957/con-fe-y-sacrificio-memoria-personal-i-histories-compartides ArtFutura 30, From March 1 to April 3 2023 Espacio n-1, Universitat Politècnica de València http://www.upv.es/entidades/ACU/noticia_1212069c.html Museu d'Art de Sabadell (MAS) - Casa Turull Exhibition "RESTITUCIÓ. DIÀLEG INTERGENERACIONAL ENTRE MARIAN BURGUÈS I SERRA (SABADELL, 1851-1932) I ROC PARÉS" From May 9 to July 9, 2023 https://www.sabadell.cat/en/?option=com_content&view=article&id=213886&Itemid=3360 Conce rt Hyper_O, CARLES VIARNÈS & ALBA G. CORRAL July 15, 2023 Festival GONG, Coves de Montserrat https://www.gong.cat/es/progra macio/hyper_o/ "On safeguarding", Roc Parés. July a September 2019. Arbar, La Vall de Santa Creu (El Port de la Selva). https://www.arbar.cat/es/acciones-en-la-naturaleza-a-a/2019-ciclo-iteraciones-relatorias-ecoestetica-rural/intervencion-roc-pares-al-resguardo/ ISEA2022 Barcelona, Santa Mònica - La irrupció From June 9 to August 21 2022. https://isea2022.isea-international.org/event/santa-monica/ Festival Eufònic August 25 to 28, 2022 Terres de l'Ebre https://eufonic.net/es/edicio/2022/ “Cabinet of Hypnosophical Curiosities”, Nourathar, Art & Technology Studio. April - Mayo 2019. ArtFutura Ibiza 2019. Can Jeroni, Sala dÉxposicions. Sant Josep de Sa Talaia. Ibiza. http://www.nourathar.com/news/cabinetofhypnosophiccuriosities “Them an d Us” September 2018 - February 2019. Es Baluard Museu d'Art Modern i Contemporani de Palma . Technology Sponsorships of the installation Eskizo by Marcel·lí Antúnez. https://www.esbaluard.org/en/exposicion/ellos-y-nosotros “And what did you do for art?” Eugenio Ampudia. November 2018 - June 2019. Centre d’Art Tecla Sala, Hospi talet. https://Detall agenda | Centre d’Art Tecla Sala “Asymmetrical Response”. Cory Arcangel and Olia Lialina. June - December 2017. Art Projects Ibiza, Ibiza. https://artprojectsibiza.com/asymmetricalresponse-en “La Venezia che non si vede. Unveiling the Unseen”, Antoni Abad. May – November 2017. Catalonian Pavilion at the 57th edition of the Venice Biennale. Venice. Organized by the Institut Ramón Llull. https://www.llull.cat/monografics/blindwiki/index.php?l=en “Net.Art and Control”, Ricardo Iglesias. January - March 2017. La NeoMudejar, Mad rid. http://www.laneomudejar.com/net-art-y-control-ricardo-iglesias/ Festival Eufònic "Thalastasi: La simfonia de l’oceà que il·lumina els invisibles", Pablo Sánchez, Vanessa Balagué, Alba G. Corral, Playmodes and SHOOK. "Santuari. Paradís", Alba Matilla. July 4 to 14, 2024 Terres de l'Ebre https://eufonic.net/presentacio-del-programa-deufonic-2024/ Festival Eufònic August 25 to 27, 2023 Terres de l'Ebre https://eufonic.net/edicio/2023/

Entities that Sponsors who collaborate with the foundation and its activities such as exhibitions or support for artists Sponsors Institutions Founding Companies FAROVEY S.L PIMAN ROVA S.L Sponsoring companies Corporate Benefactors Corporate Protectors Comp.Spons a work of art

Patrick Alain Tresset, Noyon, 1967. From a very young age in France, Patrick discovered and practiced computer science, painting, drawing and sculpture. After graduating in computer science, Patrick moved to London to devote himself to painting. Between 1991 and 2003, his work was shown in solo and group exhibitions in London and Paris. Artist and researcher Ateliers Tresset Goldsmiths College, U. of London Especially for his performative installations that use robotic agents as stylized actors who follow a set of instructions and for his exploration of the practice of drawing through the use of computer systems and robots. In "Human Study #1", a multi-award winning series of performative installations, a human being is drawn live by various robots in a twenty-minute session. Both viewers and participants often define the robot's attention as a surprising element. In the last three years, Tresset's research has focused on creating other series of installations, including the development of a new robot (RNR). Instead of making it strongly influenced by human behavior that is perceived as familiar, like the robots in "Human Study #1," he is exploring ways to make the robot (RNR) be perceived as something alien, unfamiliar, and strange. Patrick Alain Tresset, Noyon, 1967. From a very young age in France, Patrick discovered and practiced computer science, painting, drawing and sculpture. After graduating in computer science, Patrick moved to London to devote himself to painting. Between 1991 and 2003, his work was shown in solo and group exhibitions in London and Paris. Artist and researcher Ateliers Tresset Goldsmiths College, U. of London Especially for his performative installations that use robotic agents as stylized actors who follow a set of instructions and for his exploration of the practice of drawing through the use of computer systems and robots. In "Human Study #1", a multi-award winning series of performative installations, a human being is drawn live by various robots in a twenty-minute session. Both viewers and participants often define the robot's attention as a surprising element. In the last three years, Tresset's research has focused on creating other series of installations, including the development of a new robot (RNR). Instead of making it strongly influenced by human behavior that is perceived as familiar, like the robots in "Human Study #1," he is exploring ways to make the robot (RNR) be perceived as something alien, unfamiliar, and strange. https://patricktresset.com/new/ <<-- Back "RNR" 2022 It is a mediating piece, in which the author investigates how having a robot looking at us with a different and unknown perception system affects our perception. As animals, if attention is directed towards us, we have to evaluate it instantly: can we eat it? Will it eat us? As humans, the way we are observed triggers a flood of emotions. What if we can't decode the observer's intent? And what will the robot draw if it sees it differently? The goal of the final installation will be to get the emotions of the human being being drawn during ten-minute sessions to progressively shift from unease to intrigue, reassurance, attraction and fascination. This project has been awarded the ISEA2022 Barcelona Grant from .Beep Collection and NewArtFoundation. https://www.youtube.com/watch?v=bbdQbyff_Sk

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

Dmitry Gelfand, St. Petersburg, 1974 and Evelina Domnitch Minsk, 1972. The duo creates installations and performances that merge physical phenomena with uncanny philosophical practices. Current findings, particularly regarding wave phenomena, are employed by the artists to investigate questions of perception and perpetuity. Such investigations are salient because the scientific picture of the world, which serves as the basis for contemporary thought, still cannot encompass the unrecordable workings of consciousness. Having dismissed the use of recording and fixative media, Domnitch and Gelfand's installations exist as ever-transforming phenomena offered for observation. Because these rarely seen phenomena take place directly in front of the observer without being intermediated, they often serve to vastly extend the observer's sensory envelope. The immediacy of this experience allows the observer to transcend the illusory distinction between scientific discovery and perceptual expansion.​ Dmitry Gelfand, St. Petersburg, 1974 and Evelina Domnitch Minsk, 1972. The duo creates installations and performances that merge physical phenomena with uncanny philosophical practices. Current findings, particularly regarding wave phenomena, are employed by the artists to investigate questions of perception and perpetuity. Such investigations are salient because the scientific picture of the world, which serves as the basis for contemporary thought, still cannot encompass the unrecordable workings of consciousness. Having dismissed the use of recording and fixative media, Domnitch and Gelfand's installations exist as ever-transforming phenomena offered for observation. Because these rarely seen phenomena take place directly in front of the observer without being intermediated, they often serve to vastly extend the observer's sensory envelope. The immediacy of this experience allows the observer to transcend the illusory distinction between scientific discovery and perceptual expansion. http://portablepalace.com/ <<-- Back Orbihedron, 2017 Installation in collaboration with LIGO and William Basinski. A dark vortex in the middle of a water-filled basin emits prismatic bursts of rotating light. Akin to a radiant ergosphere surrounding a spinning black hole, Orbihedron evokes the relativistic as well as quantum interpretation of gravity – the reconciliation of which is essential for unraveling black hole behaviour and the origins of the cosmos. Descending into the eye of the vortex, a white laser beam reaches an impassible singularity that casts a whirling circular shadow on the basin’s floor. The singularity lies at the bottom of a dimple on the water’s surface, the crown of the vortex, which acts as a concave lens focussing the laser beam along the horizon of the “black hole” shadow. Light is seemingly swallowed by the black hole in accordance with general relativity, yet leaks out as quantum theory predicts. With the generous support of LIGO, Isabel De Sena and Fulcrum Arts. https://vimeo.com/310659758/

Marina Núñez, Palencia, 1966. Marina Núñez is a multidisciplinary artist who works with different formats, including painting, video and new technologies, she holds a Bachelor’s in Fine Arts from the University of Salamanca and a PhD in Fine Arts from the University of Castilla-La Mancha. She currently combines her artistic career with teaching at the University of Vigo. With her recent works, Marina Núñez invites us to reflect on how our subjectivity and our lives are affected by the interferences between the human and the technological that are produced more frequently each time. Because of this sense of anticipation to many of today's most important philosophical reflections, her work has had a great influence on contemporary debates. ​ A constant in her work is the representation of aberrant, different beings, those that exist on the fringes of the canon. The anomalous bodies that populate her paintings, computer graphics or videos speak to us about an identity that is metamorphic, hybrid and multiple. She recreates an unstable and impure subjectivity so that otherness is not something alien, but that basically constitutes the human being. Thus, her hysteric women, medusas, mummies, monsters or cyborgs —though they belong to the territory of the outcasts— do not seem to be distant but can affect and identify with us. And her images are perceived as slightly deformed mirrors that suggest us that madness or monstrosity are simply a question of degree. ​ Her work is included in the collections of Museo Nacional Centro de Arte Reina Sofía in Madrid, Artium in Vitoria, MUSAC in Leon, Patio Herreriano in Valladolid, TEA in Tenerife, Fundación La Caixa, Fundación Botín, Corcoran Gallery of Art in Washington DC, National Museum of Women in the Arts in Washington DC, Mint Museum of Art in Charlotte, North Carolina, Katzen Arts Center, American University Museum, in Washington DC, Fonds régional d'art contemporain in Corsica. ​ ​ Her works “Still Life Swell” and “Still Life Tornadoes” won the 16th edition of the ARCO-BEEP Electronic Art Award. Works at the collection: - Still Life Swell - Still Life Tornadoes Marina Núñez, Palencia, 1966. Marina Núñez is a multidisciplinary artist who works with different formats, including painting, video and new technologies, she holds a Bachelor’s in Fine Arts from the University of Salamanca and a PhD in Fine Arts from the University of Castilla-La Mancha. She currently combines her artistic career with teaching at the University of Vigo. With her recent works, Marina Núñez invites us to reflect on how our subjectivity and our lives are affected by the interferences between the human and the technological that are produced more frequently each time. Because of this sense of anticipation to many of today's most important philosophical reflections, her work has had a great influence on contemporary debates. A constant in her work is the representation of aberrant, different beings, those that exist on the fringes of the canon. The anomalous bodies that populate her paintings, computer graphics or videos speak to us about an identity that is metamorphic, hybrid and multiple. She recreates an unstable and impure subjectivity so that otherness is not something alien, but that basically constitutes the human being. Thus, her hysteric women, medusas, mummies, monsters or cyborgs —though they belong to the territory of the outcasts— do not seem to be distant but can affect and identify with us. And her images are perceived as slightly deformed mirrors that suggest us that madness or monstrosity are simply a question of degree. Her work is included in the collections of Museo Nacional Centro de Arte Reina Sofía in Madrid, Artium in Vitoria, MUSAC in Leon, Patio Herreriano in Valladolid, TEA in Tenerife, Fundación La Caixa, Fundación Botín, Corcoran Gallery of Art in Washington DC, National Museum of Women in the Arts in Washington DC, Mint Museum of Art in Charlotte, North Carolina, Katzen Arts Center, American University Museum, in Washington DC, Fonds régional d'art contemporain in Corsica. Her works “Still Life Swell” and “Still Life Tornadoes” won the 16th edition of the ARCO-BEEP Electronic Art Award. Works at the collection: - Still Life Swell - Still Life Tornadoes http://www.marinanunez.net https://en.wikipedia.org/wiki/Marina_N%C3%BA%C3%B1ez <<-- Back Still Life Tornadoes & Still Life Swell, 2021. The works “Still Life Tornadoes”, “Still Life Swell”, are a reformulation of the Neo-Barroc Still Life genre in several videos, allegorizing both the questions related to human existence and its relationship with Nature. Their pictorial tonality is very sophisticated, offering a fascinating hyper-reality approach that presents the viewer with specific details such as the movement of a piece of cloth or the spilling of liquid from a glass due to an inexplicable turbulence. Drama and beauty are intertwined in these works that explain this artist’s maturity. http://www.marinanunez.net/naturaleza-muerta

Joan Fontcuberta, Barcelona,1955 and Pilar Rosado, Sant Boi del Llobregat, 1965. Joan Fontcuberta and Pilar Rosado have their work facilities at Roca Umbert Factory of the Arts in Granollers, Barcelona. This neighborhood situation allowed them to find shared concerns about art and technology that fueled their collaboration on different projects. Joan Fontcuberta has developed both an artistic and theoretical activity, focused on the conflicts between nature, technology, photography, and truth. He is a self-taught artist and his training is mainly in communication and social sciences. From that theoretical starting point, his work has focused on the changing nature of images. However, beyond aesthetic qualities, images are understood as social and historical constructions that provide models for the real world and allow human interaction. Pilar Rosado is an artist, teacher, and researcher. Graduated in Biology and PhD in Fine Arts, she has published various essays on the application of artificial vision models for the analysis of large collections of abstract art images, which provide alternative points of view for reflection and which question the conventions of our gaze. In her artistic practice, she explores political issues that can be addressed from the image and that implicate machine learning technologies, such as information management in the visual archives of the future, revision of collective memory, or artificial creativity. Their work “Prosopagnosia” won the 15th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Prosopagnosia Joan Fontcuberta, Barcelona,1955 and Pilar Rosado, Sant Boi del Llobregat, 1965. Joan Fontcuberta and Pilar Rosado have their work facilities at Roca Umbert Factory of the Arts in Granollers, Barcelona. This neighborhood situation allowed them to find shared concerns about art and technology that fueled their collaboration on different projects. Joan Fontcuberta has developed both an artistic and theoretical activity, focused on the conflicts between nature, technology, photography, and truth. He is a self-taught artist and his training is mainly in communication and social sciences. From that theoretical starting point, his work has focused on the changing nature of images. However, beyond aesthetic qualities, images are understood as social and historical constructions that provide models for the real world and allow human interaction. Pilar Rosado is an artist, teacher, and researcher. Graduated in Biology and PhD in Fine Arts, she has published various essays on the application of artificial vision models for the analysis of large collections of abstract art images, which provide alternative points of view for reflection and which question the conventions of our gaze. In her artistic practice, she explores political issues that can be addressed from the image and that implicate machine learning technologies, such as information management in the visual archives of the future, revision of collective memory, or artificial creativity. Their work “Prosopagnosia” won the 15th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Prosopagnosia https://www.fontcuberta.com http://pilarrosado.eu <<-- Back Prosopagnosia, 2019 Prosopagnosia is an artificially created speculation on the dialectic of facial recognition and the oversight of celebrity portraits in historical archives. Generative Adversarial Networks (GAN) have been used, which are deep neural network architectures composed of two networks that face each other (therefore, the term "adversary"), to create portraits that have never existed. Ian Goodfellow and other researchers from the University of Montreal introduced GANs in an article in 2014. The potential of these models is enormous because they can learn to mimic any dataset, that is, GANs can be taught to create haunting worlds, similar to ours in any domain: images, music, speech, or prose.

Eduardo Kac, Rio de Janeiro, 1962. Eduardo Kac is internationally recognized for his telepresence and bio art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac (pronounced "Katz") emerged in the early '90s with his radical works combining telerobotics and living organisms. His visionary integration of robotics, biology and networking explores the fluidity of subject positions in the post-digital world. His work deals with issues that range from the mythopoetics of online experience (Uirapuru) to the cultural impact of biotechnology (Genesis), from the changing condition of memory in the digital age (Time Capsule) to distributed collective agency (Teleporting an Unknown State), from the problematic notion of the "exotic" (Rara Avis) to the creation of life and evolution (GFP Bunny). At the dawn of the twenty-first century Kac opened a new direction for contemporary art with his "transgenic art"--first with a groundbreaking piece entitled Genesis (1999), which included an "artist's gene" he invented, and then with "GFP Bunny," his fluorescent rabbit called Alba (2000). Kac’s work has been exhibited internationally at venues such as Exit Art and Ronald Feldman Fine Arts, New York, Maison Européenne de la Photographie, Paris, Castello di Rivoli, Turin, Mori Art Museum, Tokyo, Reina Sofia Museum, Madrid, Zendai Museum of Modern Art, Shanghai, and Seoul Museum of Art. Kac's work has been showcased in biennials such as Yokohama Triennial, Biennial of the End of the World, Ushuaia, Gwangju Biennale, Bienal de Sao Paulo, International Triennial of New Media Art, National Art Museum of China, Beijing, and Bienal de Habana. His work is in the permanent collections of the Tate, London, the Victoria & Albert Museum, London, the Museum of Modern Art in New York, Frac Occitanie—Regional collections of contemporary art, Les Abattoirs—Museum of Modern and Contemporary Art, Toulouse, the Museum of Modern Art of Valenci, Spain, the ZKM Museum, Karlsruhe, Art Center Nabi, Seoul, and the Museum of Contemporary Art of São Paulo, among others. Kac has received many awards, including the Golden Nica Award, the most prestigious award in the field of media arts and the highest prize awarded by Ars Electronica. His work “Time Capsule” won the 1st edition of the ARCO-BEEP Electronic Art Award Eduardo Kac, Rio de Janeiro, 1962. Eduardo Kac is internationally recognized for his telepresence and bio art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac (pronounced "Katz") emerged in the early '90s with his radical works combining telerobotics and living organisms. His visionary integration of robotics, biology and networking explores the fluidity of subject positions in the post-digital world. His work deals with issues that range from the mythopoetics of online experience (Uirapuru) to the cultural impact of biotechnology (Genesis), from the changing condition of memory in the digital age (Time Capsule) to distributed collective agency (Teleporting an Unknown State), from the problematic notion of the "exotic" (Rara Avis) to the creation of life and evolution (GFP Bunny). At the dawn of the twenty-first century Kac opened a new direction for contemporary art with his "transgenic art"--first with a groundbreaking piece entitled Genesis (1999), which included an "artist's gene" he invented, and then with "GFP Bunny," his fluorescent rabbit called Alba (2000). Kac’s work has been exhibited internationally at venues such as Exit Art and Ronald Feldman Fine Arts, New York, Maison Européenne de la Photographie, Paris, Castello di Rivoli, Turin, Mori Art Museum, Tokyo, Reina Sofia Museum, Madrid, Zendai Museum of Modern Art, Shanghai, and Seoul Museum of Art. Kac's work has been showcased in biennials such as Yokohama Triennial, Biennial of the End of the World, Ushuaia, Gwangju Biennale, Bienal de Sao Paulo, International Triennial of New Media Art, National Art Museum of China, Beijing, and Bienal de Habana. His work is in the permanent collections of the Tate, London, the Victoria & Albert Museum, London, the Museum of Modern Art in New York, Frac Occitanie—Regional collections of contemporary art, Les Abattoirs—Museum of Modern and Contemporary Art, Toulouse, the Museum of Modern Art of Valenci, Spain, the ZKM Museum, Karlsruhe, Art Center Nabi, Seoul, and the Museum of Contemporary Art of São Paulo, among others. Kac has received many awards, including the Golden Nica Award, the most prestigious award in the field of media arts and the highest prize awarded by Ars Electronica. His work “Time Capsule” won the 1st edition of the ARCO-BEEP Electronic Art Award http://www.ekac.org/ https://en.wikipedia.org/wiki/Eduardo_Kac <<-- Back Time Capsule, 1997 On 11 November 1997, Eduardo Kac created his “Time Capsule” in the cultural centre Casa das Rosas of Sao Paulo (Brasil). Transmitting on live television and the internet, the artist implanted a digital microchip before a series of sepia coloured photographs that documented the life of his family in Europe previous to 1939. In this way, Kac became the first human carrier of a microchip. To celebrate its 10th anniversary and with the piece in its final form, including all the diverse original elements of this live performance, he activated a webcast and a web scanner to allow an interactive, tele-robotic tracing of the chip in internet. https://vimeo.com/320053560 https://www.ekac.org/timcap.html ADSUM Consists of a 1x1x1 cm glass cube that contains a message in symbols, which traveled to the Moon aboard Firefly's Blue Ghost where it landed on Sunday, excuse the redundancy, perfectly. Eduardo Kac is one of the leading figures in contemporary art. Throughout his long career he has created numerous works at the confluence of art, technology and organic and biological processes. ADSUM is a trip to the Moon but also to the processes of territorialization and deterritorialization characteristic of the Smithsonian dialectic. It is an anthropological and cosmological work whose title ADSUM, I am here, speaks of the processes of terraforming and our place in the universe. The trip to the moon in the background allows us to locate ourselves both from the WORK that is on the Moon and from the object that is exhibited at ARCO, to think about the dimension of destiny and also about our existential crossroads. XX - ARCO_BEEP Electronic Art Award 2025. NewArtAward@ARCO First Edition 2025.