2010-2020-ART/IMAGE. File_món consist of a series of images generated on the computer desktop through the distribution of icons and files arranged over images. File_món uses physical world experience to talk about the over-saturation of events, the difficulty of accessing information, the lack of affinity between the viewer and the reference, and the insensitivity towards disasters.
Its methodology consists of capturing images from mass media: the internet, newspapers, webs, blogs, social networks, etc. These found images are incorporated into the wallpaper of the computer desktop and modified through the overlapping and distributing of desktop elements and icons. The significant surface of the image changes by hiding and covering small pieces of information.
The GUI deconstruction is an idea closely connected to this desktop metaphor used by artists to emphasize the interface presence in our lives. File_món changes the functionality of the computer desktop, which is used as a canvas for a critical collage, and introduces representations of the physical world connecting emotional experiences with desktop metaphors functionality. File_món wonders how to visualize images, what is hidden behind them, but also wonders what is hidden behind the computer metaphor. Who? When? Where? And: why? Also, how was the GUI programmed?
EXHIBITIONS:
2019* CASTING SCREENS, a digital exhibition space of artistic screencasts, by Tina Sauerlander.
2019* Galeria Tabacka, Blockchain in art, with Martín Nadal (Slovakia).
2019* Aksioma, Critical Tiggers, (Slovenia).
2017* INJUVE Estudio Escritorio, curated by Antonio Ferreira (Spain).
2015.* GalleriaPiu, Discomfort, curated By Vincenzo Estremo. Bologna (Italy).
2015.* PLASTIC PLANET Azkuna Zentroa. Curated by Jaime de los Rios, Bilbao (Spain).
2014.* COESPAI Traspassar la línia Post-lectures, Girona (Spain)+INFO.
2014.* MEM FESTIVAL Experimental Arts International Festival, 2014 “Special Mention”. (Spain).
2014.* R.A.M. New Media Art Festival- “Random Access Memory”, Arad Art Museum, (Romania).
2014.* WATER TOWER ART FEST FESTIVAL Rubber Gallery, Sofia, (Bulgaria).
2014.* FACH & ASENDORF GALLERY ON-LINE Exhibition INFO:
2014.* Espace Verney-Carron, NOTRE ITINÉRAIRE, Curated by Alexis Jakubowicz, Lyon (France).
2014.* RE/MIXED MEDIA FESTIVAL IV, New York City (USA). +INFO:
2014.* LA VICTORIA ART CENTER/Muzeul National de Art Contemporana, Use at your own risk. Interface Culture, Bucharest (Romania).
2014.* COPIE COMPAINS CLUB, Online exhibition. URL.
2013.* THE WRONG, New Digital Art Biennale, Pluton, Valencia (Spain).+INFO.
2013.* INCUBARTE. 6th International Art Festival. MUVIM, Museo Valenciano de la Ilustración y la Modernidad (Spain).
2013.* THE WRONG, New Digital Art Biennale, Homeostasislab The-Age-of-the World-Picture.
2013.* SHAKE YOUR MON3Y, Digital & Net. Art, Online Exhibition URL: http://www.mon3y.us/
2012.* MIMAA. III. International Exhibition of Advanced Music and Audiovisual. Valencia (Spain).
2012.* Center OF EXPERIMENTS. HOUSE OF SCIENCE. Interface Culture. Maribor, (Slovenia).
2012.* ARS ELECTRONICA FESTIVAL. 2012, Interface Culture. Brucknerhaus Linz, (Austria).
PRESS/ARTICLES.
The Metainterface, The Art of Platforms, Cities, and Clouds by Christian Ulrik Andersen and Søren Bro Pold, The MIT Press. 2018.
*MEDIAG.JP, Fach & Asendolf Gallery でCèsar Escudero Andaluz氏の《File_Món》が展示中 By Masanori Mizuno 20/08/2014. Link.
* EL PAÍS, blog Arte y Tecnología,Archivos sobre lienzo digital. Roberta Bosco y Stefano Caldana. 02/12/2013. Link.
*LA LATA MUDA. Revista digital de arte experimental,La tecnología no es un fin, es un medio, es la herramienta infinita para plasmar tús ideas, 09/11/2013 Link.
*EL PAÍS, blog Arte y Tecnología, La misteriosa exposición del francotirador digital, Roberta Bosco y Stefano Caldana, 31/10/2013. (SP) (ENG).
*EL PAÍS, blog Arte y Tecnología,Los investigadores digitales de la arqueología binaria, Roberta Bosco y Stefano Caldana, 05/09/2013 (SP) (ENG).
*EL JOLGORIO CULTURAL, Se venden se disparan Inconos. Artículo escrito por Eugenio Tisselli, publicado revista de difusión, crítica y creación cultural, social y ambiental desde Oaxaca. Impulsada por la Fundación Alfredo Harp Helú Oaxaca, distribuye gratuitamente diez mil ejemplares cada mes. Link
*EL PAÍS, blog Arte y Tecnología, La Nouvelle Cuisine del arte digital, Roberta Bosco y Stefano Caldana, 27/08/2012. Link
AWARDS:
– MEM FESTIVAL Experimental Arts International Festival, Experimento BIO“Spetial Mention” (Spain 2014).
– INCUBARTE. 6th International Art Festival. 1º Prize, (Spain 2013).
BC televisión series with John Berger, London, 1972.
“Nowadays the circulation of imagesis more important for the construction of their meaning than their actual content.” (Fontcuberta 1997: 21) In “La Cámara de Pandora.”
It is impossible to know how many images circulating on the network, also it is difficult to access the veracity of that information, to know the conditions around that picture, visualize what is usually hidden: who, how, when, where, why and for which, were taken.
Captura de pantalla 2013-05-20 a las 23.12.36″An image is a sight which has been recreated or reproduced… which has been detached from the place and time in which it first made it’d appearance”. BERGER, J Ways os seeing: Base don the BBC televisión series with John Berger, London, 1972.
To shake up the figurative world is to call into question the guarantees of our existence. The naive person believes that the appearance of the human figure is the most trustworthy experience that a human being can have of himself; he dares not doubt this certainty, although he suspects the presence of inner experiences. He imagines that in contrast to this abyss of inner experience the immediate experience of his own body constitutes the most reliable biological unit.[1]
[1] Carl Einstein, ‘Notes sur le cubisme’, Documents 1, no. 3 (1929), 146-155, 147. Translated and introduced by Charles W. Haxthausen as ‘Notes on Cubism’, October 107, Winter 2004, 158-168, 161 (translation modified).
An image is a sight which has been recreated or reproduced…
which has been detached from the place and time in which it first made
it’d appearance[1]
[1] BERGER, J Ways os seeing: Base don the BBC televisión series with John Berger, London, 1972.
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- Photo: Kristijan Vučković / Drugo more
Links related:
References:
Alexei Shulgin[1], between October 1997 and April 1998, raised the opportunity to participate in the event by sending a screenshot of the desktop, as proclaimed dogmatic and clarification for the event was added:
desktop is the main element of a human – machine interface
desktop is your window to the digital world
desktop is your first step into virtual reality
desktop is a reflection of your individuality
desktop environment is your everyday visual
desktop is an extension of your organs
desktop is the face of your computer
desktop is your everyday torture and joy
desktop is your own little masterpiece
desktop is your castle
desktop is a seducer
desktop is a reliever
desktop is your enemy
desktop is your friend
desktop is a psychoanalyst
desktop is your little helper
desktop is your link to other people
desktop is a device for meditation
That desktop is the membrane mediates Between client and server transactions
desktop is a substitute for so many other things
desktop is a question
desktop is the answer
[1]Shulgin, Alexei. Document online, [accessed 14/02/2012] http://www.easylife.org/desktop/
Related Works:
JODI, Mydesktop LINK:
Julian Palacz:LINK
Emilio Gomaliz:Link:
Bibiography:
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