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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

Marie-France Veyrat, Lyon, 1951. After living in Grenoble, she moves to the province of Tarragona where she still lives and works. She is a versatile artist who brings out a constant interest in investigating and experimenting in art creation using different languages such as textile, paintings, three/dimensional, installations, digital compositions and land art. Her work is based on lived experiences, memories and travels stored in her daily life which she transforms into real objects or virtual works. Every work represents a lived instant which is part of herself at some point in her life. She has been a teacher in Tríptic School in Reus. She is a founding member and the current president of the jury of the ARCO-BEEP Electronic Art Award. She has published three monographic catalogues for the occasion of her solo exhibitions. Veyrat’s work has been exhibited in Art Sacré, Grenoble, Display Departamento, New York, Macula, Santa Cruz de Tenerife, Alicia Rey, Madrid, Àmbit, Barcelona, Lexington, New York, Artnet, L&B Contemporary Art, Atelier, Barcelona, WTC Eurostars Grand Marina Hotel, Barcelona, Caja Madrid, Ciudad Real, Roca Barcelona, Tom Maddock, Barcelona, Centre de Lectura, Reus, Pilar Riberaygua, Andorra, Lleonart, Barcelona, Lisbon Penta Hotel Expo’98, Hotel Catalonia Berna, Barcelona, Anquin’s, Artloft, Antoni Pinyol, Reus, 1st World Meeting of the Arts in small format, Barcelona, Capçanes Caves, Priorat, MAMT, Tarragona, Salvador Vilaseca Museum, Reus, among others. Participation in solo and collective projects, “UrSmile” www.ursmile.org Net Art, ARCO, 2008; “A 33 R.P.M.” Antoni Riera “El otoño del Arte”, Barcelona/Artmadrid, 2010/2011; “Bell Tower: I Love you”, Centre de Lectura Reus, 2002; “VeyrArt” digital projection Gaudí’s Celebrations, Reus, 2002; “CADAF 2019” Jaime De los Ríos, Miami, USA; ”Materials for a new plasticity” retrospective by Arnau Puig, Tinglado Tarragona, 2006; AAF Battersea, London, 2013; “Faces” Es Baluard/BEEP Collection, Palma de Mallorca, 2019; “Plural Femení” by Dr.Antonio Salcedo, MAMT, 2016; “Urban Art “ Reus Catalan Capital Culture 2017; AAF Milan’15; “Creative Approches” BEEP Collection by Roberta Bosco and Stefano Caldana, Reus Museum, 2017; ”Session 09 Let’s talk Contemporary?” Convent de les Arts by Aleix Antillach , Alcover, 2019; ExPortArt – ImPortArt, 1st Contemporary Art Biennial, Tinglado Port of Tarragona, 2013; Performance and Video “Looking for Veyrat” Diego Latorre , art studio, 2018; “Survivals” Forum Berger-Balaguer Caixa Penedès, Vilafranca del Penedès, 2003; Selection of artworks in the modernista Casa Burès, Barcelona, 2019; “100 Textiles. II National Exhibition of Contemporary Tapestry, Finart 85, Madrid; Special mention for the 13Th Salon Saint-Florent, France, 1990; “Marie-France Veyrat vs. Manolo Millares” Torre Baró gallery, La Selva del Camp, 2006; “Artístic Couples” creative experiences for mental health, 2018/2020. Marie-France’s work is part of the following collections in Interior Design, New York, Urban Art, Almoster City Hall, Lisbon Penta Hotel, HP Madrid, Urban Art, Reus City Hall, Sorigué Foundation, Lérida, Grupotel Gran Via, Barcelona, Rovira&Virgili University, Tarragona, Torre Vella, Salou, Cambrils City Hall, Capçanes Caves, Priorat, Josep Santacreu Foundation, Barcelona, WTC Eurostars Grand Marina Hotel, Barcelona, Port of Tarragona, Display Departamento gallery, New York, Caixa Penedès Foundation, Vilafranca del Penedés, Catalonia Berna Hotel, Barcelona, Dexter Design, Los Ángeles, California, Fortuny Theatre Foundation, Reus, Meridiano Hotel, Hospitalet del Infante, Feliu-Sedó, Esparreguera. Work at the collection: Urbetrònica Marie-France Veyrat, Lyon, 1951. After living in Grenoble, she moves to the province of Tarragona where she still lives and works. She is a versatile artist who brings out a constant interest in investigating and experimenting in art creation using different languages such as textile, paintings, three/dimensional, installations, digital compositions and land art. Her work is based on lived experiences, memories and travels stored in her daily life which she transforms into real objects or virtual works. Every work represents a lived instant which is part of herself at some point in her life. She has been a teacher in Tríptic School in Reus. She is a founding member and the current president of the jury of the ARCO-BEEP Electronic Art Award. She has published three monographic catalogues for the occasion of her solo exhibitions. Veyrat’s work has been exhibited in Art Sacré, Grenoble, Display Departamento, New York, Macula, Santa Cruz de Tenerife, Alicia Rey, Madrid, Àmbit, Barcelona, Lexington, New York, Artnet, L&B Contemporary Art, Atelier, Barcelona, WTC Eurostars Grand Marina Hotel, Barcelona, Caja Madrid, Ciudad Real, Roca Barcelona, Tom Maddock, Barcelona, Centre de Lectura, Reus, Pilar Riberaygua, Andorra, Lleonart, Barcelona, Lisbon Penta Hotel Expo’98, Hotel Catalonia Berna, Barcelona, Anquin’s, Artloft, Antoni Pinyol, Reus, 1st World Meeting of the Arts in small format, Barcelona, Capçanes Caves, Priorat, MAMT, Tarragona, Salvador Vilaseca Museum, Reus, among others. Participation in solo and collective projects, “UrSmile” www.ursmile.org Net Art, ARCO, 2008; “A 33 R.P.M.” Antoni Riera “El otoño del Arte”, Barcelona/Artmadrid, 2010/2011; “Bell Tower: I Love you”, Centre de Lectura Reus, 2002; “VeyrArt” digital projection Gaudí’s Celebrations, Reus, 2002; “CADAF 2019” Jaime De los Ríos, Miami, USA; ”Materials for a new plasticity” retrospective by Arnau Puig, Tinglado Tarragona, 2006; AAF Battersea, London, 2013; “Faces” Es Baluard/BEEP Collection, Palma de Mallorca, 2019; “Plural Femení” by Dr.Antonio Salcedo, MAMT, 2016; “Urban Art “ Reus Catalan Capital Culture 2017; AAF Milan’15; “Creative Approches” BEEP Collection by Roberta Bosco and Stefano Caldana, Reus Museum, 2017; ”Session 09 Let’s talk Contemporary?” Convent de les Arts by Aleix Antillach , Alcover, 2019; ExPortArt – ImPortArt, 1st Contemporary Art Biennial, Tinglado Port of Tarragona, 2013; Performance and Video “Looking for Veyrat” Diego Latorre , art studio, 2018; “Survivals” Forum Berger-Balaguer Caixa Penedès, Vilafranca del Penedès, 2003; Selection of artworks in the modernista Casa Burès, Barcelona, 2019; “100 Textiles. II National Exhibition of Contemporary Tapestry, Finart 85, Madrid; Special mention for the 13Th Salon Saint-Florent, France, 1990; “Marie-France Veyrat vs. Manolo Millares” Torre Baró gallery, La Selva del Camp, 2006; “Artístic Couples” creative experiences for mental health, 2018/2020. Marie-France’s work is part of the following collections in Interior Design, New York, Urban Art, Almoster City Hall, Lisbon Penta Hotel, HP Madrid, Urban Art, Reus City Hall, Sorigué Foundation, Lérida, Grupotel Gran Via, Barcelona, Rovira&Virgili University, Tarragona, Torre Vella, Salou, Cambrils City Hall, Capçanes Caves, Priorat, Josep Santacreu Foundation, Barcelona, WTC Eurostars Grand Marina Hotel, Barcelona, Port of Tarragona, Display Departamento gallery, New York, Caixa Penedès Foundation, Vilafranca del Penedés, Catalonia Berna Hotel, Barcelona, Dexter Design, Los Ángeles, California, Fortuny Theatre Foundation, Reus, Meridiano Hotel, Hospitalet del Infante, Feliu-Sedó, Esparreguera. Work at the collection: Urbetrònica http://www.veyrat.org https://ca.wikipedia.org/wiki/Marie-France_Veyrat <<-- Back Urbetrònica, 1999 Urbetrònica is an audiovisual installation in the post-technological era where machines and their processes symbolize perfection in series process chains, however, this work draws on the aesthetics of glitch art that emerged at the end of the 20th century. Thus, an amalgamation of numerous computer boards and parts of machines and electronic devices currently obsolete intentionally cast imperfect images to put in crisis the apparent excellence of machines and computer systems that we enjoy today. There where the error does have a place per se, it generates a new aesthetic of the deficient or incorrect, altering from the mere image, audio, or video to the most experienced software. In short, works where digital defects become unique and singular works of art. On the other hand, once again present in Veyrat's work, we find in this piece the idea of architectural construction and recycling. The chaotic contemporary city is first glimpsed in the shapes drawn by buildings whose colophon is glimpsed in its entirety from above. We find ourselves before the urban world in action, that space-time where technique and human advances govern, and that only in its fallacious failure do we approach to capture the whole and its crude dimension.

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

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

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Robertina Šebjanič, Murska Sobota, 1975. Robertina Šebjanič is based in Ljubljana. Her art – research focus is since several years into cultural, (bio)political, chemical and biological realities of aquatic environments, which serves as a starting point to investigate and tackle the philosophical questions on the intersection of art, technology and science. Her ideas and concepts are often realized in collaboration with others, through interdisciplinary and informal integration in her work. She is a member of Hackteria Network and Theremidi Orchestra. She was awarded with Honorary Mention @Prix Ars Electronica 2016, STARTS2016 nomination and nomination for the White Aphroid award. Robertina was SHAPE platform 2017 artist. 2018 she was a resident artist at Ars Electronica (EMARE / EMAP). She exhibited / performed at solo and group exhibitions as well as in galleries and festivals: Ars electronica Linz, Kosmica festival_ Laboratorio Arte Alameda_Mexico City, La Gaîté Lyrique_ Paris, Le Cube_Paris, MONOM_ CTM Berlin, Art Laboratory Berlin, ZKM_Karlsruhe, re:publica_Berlin, Mladi Levi_Ljubljana, Centro de Cultura Digita_ Mexico City, Piksel_Bergen, OSMO/ZA_Ljubljana, Device art 5.015 at Klovičevi dvori_Zagreb, Eastern Bloc_Montreal, Eyebeam_New York, PORTIZMIR#3_ Izmir, Kiblix festival_Maribor, Spektrum_Berlin, KIKK festival_ Namur, +MSUM (Museum of Contemporary Art Metelkova)_Ljubljana and more…. Work at the collection: Aurelia 1+Hz / proto viva generator Robertina Šebjanič, Murska Sobota, 1975. Robertina Šebjanič is based in Ljubljana. Her art – research focus is since several years into cultural, (bio)political, chemical and biological realities of aquatic environments, which serves as a starting point to investigate and tackle the philosophical questions on the intersection of art, technology and science. Her ideas and concepts are often realized in collaboration with others, through interdisciplinary and informal integration in her work. She is a member of Hackteria Network and Theremidi Orchestra. She was awarded with Honorary Mention @Prix Ars Electronica 2016, STARTS2016 nomination and nomination for the White Aphroid award. Robertina was SHAPE platform 2017 artist. 2018 she was a resident artist at Ars Electronica (EMARE / EMAP). She exhibited / performed at solo and group exhibitions as well as in galleries and festivals: Ars electronica Linz, Kosmica festival_ Laboratorio Arte Alameda_Mexico City, La Gaîté Lyrique_ Paris, Le Cube_Paris, MONOM_ CTM Berlin, Art Laboratory Berlin, ZKM_Karlsruhe, re:publica_Berlin, Mladi Levi_Ljubljana, Centro de Cultura Digita_ Mexico City, Piksel_Bergen, OSMO/ZA_Ljubljana, Device art 5.015 at Klovičevi dvori_Zagreb, Eastern Bloc_Montreal, Eyebeam_New York, PORTIZMIR#3_ Izmir, Kiblix festival_Maribor, Spektrum_Berlin, KIKK festival_ Namur, +MSUM (Museum of Contemporary Art Metelkova)_Ljubljana and more…. Work at the collection: Aurelia 1+Hz / proto viva generator https://robertina.net/ <<-- Back Aurelia 1+Hz / proto viva generator, 2019 “Aurelia 1+Hz/proto viva generator” addresses the possibilities of coexistence of humans, animals and machines. The project uses living organisms to process “aliveness” of a simple robotic machine.The installation addresses two entities – jellyfish and robot – separated, but if they merged into one, causing new biocybernetic organism to occur: Would “it” be able to live forever ? https://vimeo.com/126742083

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

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Patricio Rivera, Buenos Aires, 1976. He studied art direction and photography and has a master’s degree in business administration from Universidad del Salvador and Universidad de Deusto. He was professor of the photography career track at University of Palermo. In 2012 he was selected in Salón Nacional de Artes Visuales. Between 2016 and 2018 he was a long-time resident artist at Hangar. His works were acquired by collections such as Banc Sabadell. He intervenes in the development of projects that involve programming, mechatronics, robotics and digital manufacturing, preferably with free licenses. He is co-founder of Fase, center of thought and production of contemporary art based in L’Hospitalet de Llobregat and of TMTMTM, a production, research and technological experimentation collective resident at Hangar.org. Work at the collection: Agism Patricio Rivera, Buenos Aires, 1976. He studied art direction and photography and has a master’s degree in business administration from Universidad del Salvador and Universidad de Deusto. He was professor of the photography career track at University of Palermo. In 2012 he was selected in Salón Nacional de Artes Visuales. Between 2016 and 2018 he was a long-time resident artist at Hangar. His works were acquired by collections such as Banc Sabadell. He intervenes in the development of projects that involve programming, mechatronics, robotics and digital manufacturing, preferably with free licenses. He is co-founder of Fase, center of thought and production of contemporary art based in L’Hospitalet de Llobregat and of TMTMTM, a production, research and technological experimentation collective resident at Hangar.org. Work at the collection: Agism http://www.patriciorivera.com <<-- Back Agism, 2019. The piece addresses the declarative character of the shot as a force of performative enunciation and exclamation point of an intention; a statement, although regulated by law, free to be executed within the elusive alibi of an artwork. The kinesis of the weapon becomes an allegory of the visceral drive contained in the fragility of a ball of paint, which faces the inescapable confrontation of a neat wall that always wins. The spill is the defeat that becomes the pleasure and merchandise of the other, but which will forever preserve the trace and sample of an asymmetry of power that subjugates the weakest link in the artistic food chain. Agism is part of a research and production program held by Hangar in collaboration with the NewArtFoundation and the .BEEP { collection;}. Special acknowledgments: TMTMTM and Intra Automation.

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