The objective of the Beep Electronic Art Collection is to be witness and agent of the transgression created at the intersection of art, science and technology. It is recognized not only for what it collects, but for how it does so; it has generated a new type of collectionism promoting programs of production, preservation and patronage of technological art, encouraging the debate around issues related to the introduction of new technologies in art.
At this year’s Ars Electronica Festival, the Beep Electronic Art Collection in collaboration with the NewArtFoundation will present the results of the new production program developed with Hangar, with works by TopLap, Kenneth Dow and Patricio Rivera. It is a proposal accompanied by a selection of pieces, including new productions and acquisitions. Works by Robertina Šebjanič, Mariano Sardón and Mariano Sigman, Félicie d ́Estienne d ́Orves, and José Manuel Berenguer establish an expanded concept of Bio-Art, questioning our role and interaction with our environment, both nearby and far away, as earthly, aquatic and cosmic beings.
“In our obsession with antagonisms of the moment, we often forget how much unites all the members of humanity. Perhaps we need some outside universal threat to make us recognize this common bond. I occasionally think how quickly our differences worldwide would vanish if we were facing an alien threat from outside this world.”
Ronald Reagan at the United Nations General Assembly, New York, September 21, 1987
Robertina Šebjanič (SI)
Aurelia 1+Hz / proto viva generator addresses the possibilities of coexistence of animals and machines. The project uses living organisms to process “aliveness” of a simple robotic machine. The two entities – jellyfish and robot – are separated. If they merge into one, causing new biocybernetic organism to occur, would they be able to live forever?
Félicie d’Estienne d’Orves (GR/FR)
“Eclipse II helps us to experience the inherent game between the relative position of the observer, a light source and an eclipsing disk. By means of a projection on a suspended circular screen, it questions the instinctive and mystic understanding that natural manifestations of light induce. “
Mariano Sardón (AR), Mariano Sigman (AR/ES)
The Wall of Gazes aims to engage people with those parts of the face that are really seen and those parts that remain “unseen” while attention is focused elsewhere on the portrait.
Kenneth Dow (DE)
The last few years have witnessed art spaces and clubs reaching out to each other, each seeking the others’ prestige, credibility and audience. It seems as if clubs as cultural spaces were able respond better to the current discourse in and around art than white cubes. In their very struggle for survival, art spaces are the spitting image of capitalist conformity. The white cube is capable of digesting even the most fierce critique, by separating it in time and space. In small portions it is made indigestible to the observer without poisoning the productive, working brain. It is sane. It allows for sober consideration, reflection. It allows the observer to remain in their position as body-less bystander, possibly a freecam. Like when you’ve been shot dead in Counter Strike and are waiting for a new game to start.
José Manuel Berenguer (ES)
Luci reproduces the functioning of a self-organizing system inspired by the behavior of fireflies in south-east Asian mangrove swamps. It has been observed that when the male launches an intermittent signal the female responds with a similar signal. Luci is, in the final instance, an allusion to the irreversibility of nature and the absolute security of death.
Patricio Rivera (AR)
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.
TopLap – Lina Bautista (CO/ES), Ivan Paz (MX/ES)
post-window reflects on the semantic, semiotic and affective bridges connecting our imaginary sonic and written languages. It is conceived as a high-level device for sound live coding that visualizes algorithmic sentiment analysis. It is a window that invites us to find the nonconformity within the limits of the algorithm. The training bias, the implicit values of humans involved in data collection and processing, might never replicate the plasticity of the individual mind.