DIGITAL ART EXHIBITION REMOTE SIGNALS

Group exhibition of Ibero-American artists REMOTE SIGNALS curated by Pau Waelder

14th-20th March (opening hours 15-19, on Sunday 12-15h )
Place: project room (1st floor), ARSi maja (Pärnu mnt 154, Tallinn)

Most of the art we see and experiment today arrives to us through a screen. Some artworks have been created precisely for this type of distribution: they inhabit the network and feed from it, offering us a vision of a world immersed in a constant flux of information. These works thus become remote signals which allow us to discover the reality of a distant geographic zone, as well as to re-examine our own. This exhibition aims to present in Tallinn a selection of new media artworks created by artists from Spain and Ibero-America that offer visitors a view of our globalized society by means of current digital technologies.

The curator of the exhibition is art critic and investigator Pau Waelder who has also worked as a curator for exhibitions like «Real Time. Arte en tiempo real» (Arts Santa Mònica), «Data Cinema» (Festival Media Art Futures), and «Extimidad. Arte, intimidad y tecnología» (Es Baluard Museu d’Art Modern i Contemporani), amongst others. He is editor for the Media Art section of the art.es magazine and writes for ETC media (Canada). From 2011, Waelder is part of the curator team of the Art Futura festival.

INDIVIDUAL ARTWORKS

Rafael Lozano-Hemmer (MX / CA)

Photo: Antimodular Research. Courtesy of the artist.

Nivel de confianza, 2015

“Level of Confidence” is an art project to commemorate the mass kidnapping of 43 students from the Ayotzinapa normalista school in Iguala, Guerrero, Mexico. The project consists of a face-recognition camera that has been trained to tirelessly look for the faces of the disappeared students. As you stand in front of the camera, the system uses algorithms to find which student’s facial features look most like yours and gives a “level of confidence” on how accurate the match is, in percent. The piece will always fail to make a positive match, as we know that the students were likely murdered and burnt in a massacre where government, police forces and drug cartels were involved.

Varvara Guljajeva y Mar Canet (EE / ES)

Photo: Courtesy of the artists.

Tree of Hands, 2014

A post-human landscape shows the unpredictable effects of biotechnology in a “human” tree, on whose branches hang hands instead of leaves. The hands are created by the viewers themselves by performing gestures in front of the artwork: a camera records these movements and shows the hand on the tree, which seems strangely alive.

Photo: Courtesy of the artists.

Glitch ‘n’ Hit, 2015

A screen displays a glitch, it seems to be malfunctioning. When the viewers hits it, the device changes the composition of the image, which is still a glitch, although it can also be contemplated as having an aesthetic value. The artwork plays with our dependency on technology and its programmed obsolescence, which is conceived from a conceptual point of view, and the glitch as having its own value within our visual culture, which is elevated to an aesthetic category.

Photo: Courtesy of the artists.

Smile, 2016

This interactive installation is meant to be exhibited in a public space during the long, cold winter days and invites passersby to smile. The artwork recognises when someone smiles, and lights up a neon sign in the shape of a smiley face. The idea is that, when we smile, we feel better, so why not lighten up our day with a smile?

Moisés Mañas (ES)

Photo: Courtesy of the artist.

Two Movements Around a Found Text, 2013

Part of the #Around series, this net art work deals with found content on the Internet based on Twitter posts that use the words: “around”, “about”, “encircling”, “surrounding” and “environment”. The artwork generates a constantly evolving visual composition based on these words that refer to the interaction between the individual and her environment, which is mediated by the data flow.

Joana Moll (ES)

Photo: Courtesy of the artist.

C02GLE, 2015

It is usually believed that browsing the web is an “immaterial” activity that has no effect on the physical world. However, according to recent studies, the Internet is responsible for the 2% of CO2 of global emissions, more than that of the aviation industry. CO2GLE is a real-time, net-based installation that displays the amount of CO2 emitted each second due to the global visits to Google.com.

Photo: Courtesy of the artist.

AZ: Move and Get Shot, 2012-2014

The landscape of the U.S. / Mexico border in the state of Arizona is shown through the eyes of six surveillance cameras.These cameras are part of an online platform created by a group of landowners with properties in the U.S. border. The piece is composed of six independent films automatically made from the images captured by each camera. Every 24 hours, a bot detects if there are new pictures and add them to the last frame of the corresponding video. Thus, the films expand and reveal, day by day, the pace and the nature of the movement of the Arizona borderland.

Mario Santamaria (ES)

Photo: Courtesy of the artist.

Collage City, 2011

There are thousands of streamed video inputs on the Internet. Webcams produce images, and these images produce specific views and perspectives of the city. The position of the cameras determine the experience of the city and create new digital urban spaces in real time. This artwork creates a collage of a global city by combining various sources of streaming, cctv and webcam.

Photo: Courtesy of the artist.

Fog ‹Script›, 2015

The Spanish government approved the March 26, 2015 the new Public Safety Act (Gag Law). This law limits the right of protest and demonstration and it also punishes the communication and dissemination of unauthorized protests. “Fog ‹script›” is a software application that generates and disseminates meetings in public places. The system produces random calls and posts on social networks without the intervention of any individuals or legal entities.

Ricardo Vega (CL)

Photo: Courtesy of the artist.

myConstitution, 2013-2015

A visualization of the 1980 Political Constitution that aims to generate debate around the critical points of this document. It was written under the dictatorship of Pinochet and is still in use today in Chile. It is being debated that this Constitution should be replaced by a new one, debated, written a voted by all. However, how can we change it if the majority of citizens have not read the text nor are aware of its implications? This work is part of the www.c80.cl project, which aims to facilitate access to the 1980 Constitution as a way to generate public debate.

Photo: Courtesy of the artist.

Estados Variables de Latinoamérica: Chile, 2014-15

This work shows several variations of the Chilean flag with different parameters (dimensions, colors) that change according to random values. The notion of variability is used to metaphorically test a landscape of possible unstable representations of the flag, in contrast with the programmatic idea of a nation state, fixed, hierarchical and unchangeable.

INTACT Project (CL / ES)

Photo: Courtesy of the artist.

Rachael Runner, 2015

Rachael Runner is a robot artist that lives on the Internet and acts through telepresence. Created by INTACT Project (Sara Malinarich, Manuel Terán, Jaime de los Ríos and Jorge Ruiz Abánades) as part of their “Carnival” system, in 2015 it started its career as an independent artist. In Carnival, Runner creates and distributes her work to Twitter users who employ the hashtag #telepresence by sending them a tweet made of their username, an image generated in real time from a webcam photo and a verse of the poet and filmmaker José Val del Omar (1904-1982).

César Escudero Andaluz (ES)

Photo: Courtesy of the artist.

I WAS NOT HERE, 2012

This is an action in the virtual and physical space: furniture, bathrooms, walls and other objects or places can be intervened by using a set of customized QRs stickers that direct to websites of random users who posted pictures containing the sentence “I was here”. The action is completed when a passerby scans the QR code with her own smartphone, and finds the message in the appropiated image.

Román Torre (ES)

Photo: Courtesy of the artist.

Tokio / Reconstructed Digital Memory, 2015

The artist digitally reconstructs the memory of a summer spent working in Tokyo through the data captured by a sports app, the music he listened to and screengrabs from Google Street View. He elaborates an interpretation of that experience both through his memory and the data collected by the devices he used.

CYCLE OF PROJECTIONS

Clara Boj y Diego Díaz (ES)

Photo: Courtesy of the artists.

Las Calles Habladas, 2013

A smartphone app invites the user to walk around the city and listen to a voice that reads all the information available in real time on the Internet about the places she is visiting.

Moisés Mañas (ES)

Photo: Courtesy of the artist.

Collision. Around an ensemble into play, 2015

Based on an algorithm developed by the artist, the artwork is configured as a DIY laboratory that enables a game of relationships around the idea of collision, both physical, metaphorical, and virtual.

Pablo Valbuena (ES)

Photo: Courtesy of the artist.

Kinematope [gare d’Austerlitz]

A site-specific installation that uses light and sound to explore the architecture and future use of a train station under construction by means of a filmic experience.

Felix Luque (ES)

Chapter I, 2010

The installation “Chapter I: The Discovery” consists of a sculpture representing an unidentified object in the shape of a dodecahedron and a number of videos restaging the moment of its discovery.

Photo: Félix Luque & Íñigo Bilbao. Memory Lane, 2015. Courtesy of the artists.

Memory Lane, 2015

By means of 3D scanning techniques, Luque and Íñigo Bilbao recreate locations of their childhood and carry out an investigation on memory and space, on perception of reality and on the human capacity of generating fictions.

Néstor Lizalde (ES)

Photo: Courtesy of the artist.

PII, 2015

PII is an autonomous entity, a mutant sculpture always displayed in under a different shape. PII observes while it is observed, generating an infinite process where it feeds as well as nourishes itself out of its environment.

Tiago Martins y Justyna Zubrycka (PT / PL)

Photo: Barbara-Dzierań. Artwork commissioned for the ArtBoom Festival – Fresh Zone contest in 2011.

Wcielenie, 2011

An interactive audio narrative experienced on the streets of the Kazimierz neighbourhood (Krakow, Poland) by means of an imaginary media device: the Mnemoscope, which allows access to auditory memories of people and places.

Varvara Guljajeva y Mar Canet (EE / ES)

Photo: Courtesy of the artists.

Wishing Wall, 2014

This interactive installation invites users to express a wish and see how it turns into a butterfly, whose features are determined by every person’s desires.

Brisa MP (CL)

Photo: Courtesy of the artist.

I am not here, 2014

Created for the media façade of eTOPIA in Zaragoza, this artwork is based on finding a physical encounter between the architectural space and its disproportion in relation to the human body through image processing tools.

Mónica Rikic y Lucía Segurajáuregui (ES)

Photo: Courtesy of the artist.

Contacto estelar, 2015

An interactive game in which users create constellations by uniting points, although instead of doing it with a pencil on a paper, they do it with their bodies. The users coordinate themselves to complete the constellations in a choreographical manner.

Daniel Canogar (ES)

Photo: Daniel Canogar. Courtesy of the artist.

Asalto Durham, 2015

Using methods of public intervention and video installation, Asalto is an artwork in which the public symbolically liberates their fantasies of overcoming the obstacles in our lives. The action was projected onto the surface of the aqueduct in Durham (UK).

Gilberto Esparza (MX)

Photo: Courtesy of the artist.

Parásitos Urbanos, 2007

Created from technological scraps and reconfigured using mechanical and electronic systems, the Urban Parasites are artificial organisms that are able to survive in urban environments. Many of them feef from the energy that they steal from a city’s electric grid and interact with their environment by moving about and emitting sounds in order to communicate with other parasites of the same species. In this way, they are part of the urban soundscape.

The events take place in the frames of Iberofest cultural festival organized by the Spanish Embassy in Estonia.
Organizers of the two events are artist duo Varvara & Mar
Supporters:
Logo EMb+AECID color       Logo-Embajada-Estonia (1)      Tallinna_Kultuurivaartuste_Amet_logo      ekl      Varvara&Mar