Reflections By Hannah Diamond
The leaks reflected on the glass reveal the unwanted. They reveal at disparate scales. A home recording when it meets the mirror takes us to corners which remain out of control inside the frame. Ana Mari shows us her house, and at the same time thinks. Her home are those tables of chipped melanin. Empty television cabinets that overflow presence in small rooms. Wet yellowish towels hanging, waiting to lose the rest of the water that once belonged in a body. Moldy shower curtains from the same moisture that never went away. The lack of control on the reflection of the mirror, of the glass, is a vital, shared, close reality.
The architecture of modernity, which wants to achieve globality, stretches the glass and it becomes a facade, consolidating a generic city that is built around the reflection of what surrounds it. What already existed before globalization. City. Buildings made up of surfaces that trap behind their false transparency. A total snapshot, which adapts towards and from where you are looking. Looking from bottom to top, the city reflects heaven, the city becomes heaven. When looking from bottom to bottom, the sky becomes body, life, with a brick background, weight and the passage of time. Its e fantasi of transparensi.
Andrea Muniáin is an architect and multidisciplinary artist, whose practice focuses on the current relationships between digitality and corporeality. At present, Andrea's work explores, beyond the digital representation of bodies, the political component of these same representations. Both as an artist and in her more academic work, Andrea critiques the current aesthetic regime, analyzing how digital visualization practices tend towards the standardization of a universal body. This criticism aims to highlight the need to find a new universal body representation, not anchored in the visual practices that constitute the current hegemonic regime. Her work is linked to different cultural institutions, architecture studios and universities, among which are La Casa Encendida, Matadero, Takk architecture, UTS Sydney, ELISAVA. At present, Andrea focuses on the development of what he calls "bodyscapes", material approaches where physicality and virtuality intertwine. In turn, she combines material production with her work as a researcher at the Alicante School of Architecture.
Feel little vibrations under your skin
In “Feel little vibrations under your skin” a body, from the point of view of a film camera, appear with a new skin: a curated playlist of Spotify. With a post-punk cybernetic aesthetics, the use of music playlists remind us our digital intrinsic code. The corporate image of the large multinationals in the digital age is expanding, becoming the packaging that represents us. They end up being part of our needs just like the skin we inhabit. The white shinning and almost celestial background seems to be the light screens of our devices. We are part of them and they are part of us.
Jesu Moratiel is a Spanish multidisciplinary artist. His work explores the impact of digital technologies and internet culture on our everyday ecosystem, as well as the influence of ancient civilisations and science fiction on contemporary society. Using new digital techniques in an expressive way, he brings together art, technology, humanity and artificiality. He is represented by MTart Agency London and Paris, Galerie Benjamin-eck in Munich as well as Crypto.com for his NFTs.
When we’re walking on the street or in the forest and we decide to pick up a strange object or a beautiful rock, we enter a moment of fragility, our self becomes porous and we enter the liminal zone between ourselves and the other. What gets lost is our past self as we form another connection in our mind. We lose and we gain. But what if we looked at this moment the other way around, and would instead say that something discovered us, lured us in, guided us, and helped to solidify who we are by making it evident what we look at? Let us imagine that we’re next to someone who is stepping into a lived-in cave, touching its walls and appreciating the history that they have witnessed, let us listen as they lean down to pick up a rock to tell us how they feel about it... And finally, let’s become porous to nature’s way of speaking to us through its simple gifts, as we're resting from a hard day of work or maybe instead, what we call - existence.
Biographical info not available
The Desire Of The Fish
There is some kind of hypnosis in the fish tanks, like a seduction, not on the part of the fish, but you are already completely lost in its colors and neon. Suddenly you don't want to stop looking at them, although they don't care. The Desire Of The Fish is the evolutionary path of the fish created by us, what we want from them.
Lolita is a rising digital artist who has grown exponentially in the past 2 years.
From a very young age she was awarded at the NYC Independent film festival as best video art, she was also the first artits to be represented as a digital avatar in Spain. She notably attracted the attention of the press and has been interviwed in various media, one of them MTV, she was also rated by the IED as one of the promises of innovation in 2019, being invited to the desing week organized by the European institute of design. More lately she was asked to joing NeoShipurchasea exihibition all arround Tokyo, where she has the opportunity to show her work for a week in all the screens of Tokyio during the paralympic games and the Tokyio Fashion Week. The latest work focused more on the transpecies beings has attracted the attention of several artist arround the world, some of whom are well known and are soon to work on new projects. In the present Lolita is working with very known artists and making her own path. Lolita ́s interest are in the field of science, tecnology, empathy and instinct.
A Garden For Your TV
A video artwork of digital vines growing and shrinking is played. The vines are of an otherworldly color, they drift, thrive, and melt as though each one has a life of its own. They are distributed into an array of colors with glistening shimmers. Tones of birds, distorted and artificial, can be heard in the background, an intentional echo of the digital world. The artwork will continue ad infinitum until the viewer stops watching.
Natalia Stuyk is an artist based in Granada, Spain. Spanning installation and video, her fluid animations fuse oscillating shapes and psychedelic colour fields. Her work explores escapism, ritual behaviors and impossible worlds. She is currently working on interactive projects and installations, creating multi-sensory experiences that combine emerging technologies to bridge new areas of moving image.
Retablo, deshacer puertas
“Altarpiece, Deconstructing Doors”, is a digital piece made by itself through procedural and mathematical formations, aimed at capturing easily movable and destructible architectural structures.
As a representation of itself, this digital altarpiece tells us about the capabilities of physics in computational environments.
Teresa Rofer is a designer and visual artist who investigates, from an experimental perspective, the expressive possibilities of digital media and how they are related to reality. Teresa develops pieces where she displays, always from an existential and intimate approach, distinct ways of understanding the fragility of an utopian subject who does not renounce to express his direct experience of the world. The collective psychic traces somatized in the physical body, the intrinsic mistakes of the digital image or the frustrations of the individual exposed to a programmed impersonality find in her pieces a series of suggestive and novel hybridizations.
This piece works around the complexity that dissociates the “natural” and “artificial” constructs relating it to a study of the Orchid, its image and its origin. In this case, this species symbolizes the historical uprooting of flowers, the mechanical production of the image and the capitalization of desire. Orchid Disorder abstracts the uprooted dynamics of imaging produced by Artificial Intelligence. Through the deconstruction of an orchid image bank, a new root is created: one that has been totally separated from its original sources. Behind this machinic system, there are hundreds of human eyes that look, label and categorize, in a second, each one of these images, in order to feed the algorithm (like Amazon Mechanical Truck). In this sense, the image starts from its human selection towards an artificial reproduction, separating its own roots. This piece wonders about a possible symbiosis between the material and physical decontextualization of the garden in the landscape and the decontextualization of the images produced by artificial intelligence. This denaturing uprooting is combined in a plurimorphic journey that twists the images of orchids, generating a new "flower" for each frame that passes. In this visual journey there are even landscapes reminiscent of mountains or mountain ranges, the result of a random combination with a bank of images typical of the "natural". The audio that accompanies the piece is an amalgam of recordings of extractive places such as mines and quarries, combined with sounds of sewers. The suburb that hides the artificial production of virtual images acts in some way like those invisible spaces in the most common capitalist production chain, such as the subsoils of our cities and peripheries. Through this series of naturalizing denaturing processes, the orchid becomes a beautiful perversion of our time: an uprooting of the image, a deconstruction of roots and origins, through an exercise in the fossilization of the artificial.
Yosi Negrín Ruiz is an artist, architect, designer and curator whose work focuses on the existing and hidden relationship between the virtual and the real. His work investigates the construction of landscape and material reality in our relationship with technology and the digital. His work has been exhibited in Tenerife, Madrid, Barcelona, Palermo, Venice, Tehran and New England. Yosi is also co-founder of Casa Antillón Art and Architecture collective.