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CCEBA Buenos Aires

Medialab Laboratorio de Producción
CCEBA Centro Cultural de España en Buenos Aires

Since 1988, the CCEBA, Spain’s cultural center in Buenos Aires, has been a space for cultural meeting and exchange where outstanding Latin American creators who explicitly share the mission for collaborating in the name of cultural development have come together.
The coordination of the CCEBA’s MediaLab has as an objective the establishment of a space for work, production, investigation and assessment within the field of Art and Technology. From this perspective, the proposal envisages the coordination of the following areas: Production Laboratory, Art and Technology Workshops, Courses in Digital Formats and International Seminars.
The Production Laboratory is aimed at offering a production environment for artists working on Art and Technology projects. With this aim, annual competitions are held which select projects to be developed in the center over five-month periods and finally exhibited.
ArtFutura 2010, presents projects selected for the last edition by a jury comprising Emiliano Causa, Matías Romero Costas and Patricia Saragueta (invited jury)



Cultus sp. (Dramatization of a diffuse interaction)
Authors: ScF-129. (Jorge Champredonde, Guido Corallo, Laura Molina.)

Cultus sp is an interactive robotic installation. A series of autonomous robots which circulate inside the area dedicated to the work interact with the public within an environment and with information that come from Internet. Each robot carries a plant from a vegetable garden which it treats differently depending on the interaction proposed.
The work comes into being through dramatization, in which the links between the different participants involved are manifested, and the tensions caused by the changes on each of them highlight their prominence.
The robots-vegetable garden interact with the public and other environmental conditions as they move up to or away from the sources of light adhering to the system’s rules. This link is modified by information related to the intensive cultivation of soy and other indices of interest. In turn, the public, by means of its own behavior, influences the actions/decisions made by the robots by modulating the effect of the information over the interaction.
Cultus sp includes, in its turn, pieces of audio in which as much these concepts as the previously mentioned indices are specified, but not the underlying connections and proposes a reflection on the relationship between the industrial cultivation of grains – particularly soybean – and its socioeconomic consequences by highlighting the complexity of the aforementioned relationship.


Los Aparatos
Authors: Federico Joselevich and Julia Vallejo
The installation consists of a group of sculptures, diagrams, lecterns and stands with tools, apparatus and plans of laboratory inventions, some of which are clear, others being simply reminiscent. Los Aparatos is an installation that ironically plays with the idea that technology is the solution to everything and uses poetry as a catharsis. It brings into question the application of widely generalized solutions for very particular conflicts. It criticizes the offers of happiness and wellbeing through objects of massive consumerism dictated by a universalizing discourse. Technology as nourishment for comfort, modern western pharmacopeia – naturalized as the ideal way of curing --, everyday consumer goods, they forget about the question related to the singularity and peculiarity of every culture in its way of falling ill, suffering, enjoying and curing, a threat to cultural diversity.
The piece consists of ten objects/prototypes simulating a functioning laboratory and the visitor interacts and contributes different elements to the installation itself.
Each invention has been given a descriptive name: “Extractor of anxieties for when the sun goes down”, “Oil humidifier for rusty friendships”, “A machine to help you resign yourself to those lost years”, “Transcodifiers of undefined moods”, “Extractor of old encrusted thoughts”, “A guilty-feeling shredder”, “Wrapping, body covering for difficult times”, “An ego reducer/ego builder”, ”A de-intellectualizer”, “A psychic procedural accelerator”.

Author: Paula Rivas

QUÁNTICA is an interactive kinetic sculpture comprising a three-dimensional form which is in constant transformation and movement as a result of the number of visitors present and the way they position themselves. The piece was conceived from the idea of “respect for cultural diversity” taking into account collaboration in which the sum of individualities lead to petitions for evolution and dynamic balance.

The piece is made up of 185 spheres of differing diameters tied together by 37 nylon cords that are moved in vertical directions by electric motors controlled by software. The optical super-positioning and movement of the spheres in different positions determines the general form of the piece to which the positioning and numbers of visitors are interactive variables: the more visitors there are, the more complex are the dynamic interrelationships produced between the modules which generate the dynamic floating three-dimensional forms in a space in constant transformation.

The spheres in movement represent individual awareness displacing itself in a space-time in which the total resulting form is induced by the visitors who co-create the piece by generating, by means of their presence and positioning, the metaphor that signifies the sum and interrelationship of individual awareness. The visitors presence and induce the construction of the piece by formally clarifying the resulting richness of the group conception which is the result of a respect for diversity among men.


Authors: RedPanal (Matías Lennie Bruno) + Lisandro Fernández
siNetesik proposes the creation of an interactive multi-user installation through which the public will be able to produce musical pieces by manipulating sounds (loops, samples, tracks, etc.) from an extensive online audio database (RedPanal) in a simple, intuitive and novel way.
The user finds, projected onto a surface similar to that of a table, a visual representation of each of the sound files from the database recreated as entities based on their own particular psychoacoustics. In this way, a cloud of navigable audios and graphics is created that can be operated from a haptic interface (table and objects). Each visual element that is contemplated corresponds to one of the materials accommodated in the server which has previously been uploaded by a user from the social networks. In this way, the cloud can be explored and as a result the materials that make it up can also be mixed so as to create other new ones. In both practices, the search and authorship occur simultaneously and they are unified in the same application. The limits between exploration and production are dynamic and marked by the user’s action and not by the tool in itself.

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