Artech 2019, Braga, Portugal

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Art, Ecosystem and Digital Media

According to common sense, a system is a set of elements that are interdependent and in synergy to form an organized whole. Synergy implies cooperation or, in other words, “teamwork.” Water is a good illustration of this idea: hydrogen and oxygen separately do not form the water molecule, as it only exists when the two elements are in cooperation. In this sense, systemic thinking, contrary to the analytical reasoning, is contextual: here the relationships are fundamental to the understanding and viability of the system.

Systems theory began in the twentieth century with Russian thinker Alexander Bogdanov, but gained wider recognition with the research of Austrian biologist Bertalanffy, when he transformed general systems theory into a particular kind of scientific movement that could also be applied in a vast number of phenomena: the solar system, the academic system, the nervous system, among others.

To think of the field of arts in digital media from the notion of system means, firstly, to look at this creative practice from a procedural point of view: what matters is not what is given, but the field of relationships established between the work and the public, as well as the entire network of relationships that are manifested in the context of the arts in digital media: their modes of production, presentation and circulation; a living, constantly moving whole.

In this sense, the concept proposed by the 9th International Conference on Digital and Interactive Arts – ARTECH 2019, Digital Media Art Ecosystems could not be more revealing, as it recognizes the growing network of relationships and symbioses that involve this area of expertise and creation with different fields of knowledge, whether technological, scientific, philosophical, educational or artistic.

Of the 173 initial entries, representing 27 countries, the International Scientific and Artistic Committee selected 58 scientific papers and 49 artworks.

In this exhibition we present 37 artworks—including installations, musical and audio-visual performances—whose themes and topics such as environment, perception, identity, memory, as well as issues related to social and political issues, nonlinear narrative, data visualization, robotics, 3D printing, virtual reality and augmented reality, social networks, among others unquestionably materialize the concept of ecosystem proposed by the event.

The show is a network effort, a result not only from the work of members of the International Scientific and Art Committee, but also from the impeccable work of the local organization and of the show’s production and installation team. Last but not least, to hold this exhibition in Braga, elected by UNESCO the city of digital art, could not be better: the city is indeed the perfect embodiment of ecosystemic thinking, with its numerous events, festivals, research centers and universities.

May this show forge synergies and cooperation, both creative and intellectual, between the visitors and the numerous researchers, artists and academics present during these three days of the event.

Enjoy your visit!

Priscila Arantes

Exhibition Curator

Curatorship of Artworks:
Priscila Arantes
University Anhembi Morumbi / Paço das Artes (BR)
Luís Fernandes
gnration / Braga Media Arts (PT)
Exhibition Manager:
Gisela Rebelo de Faria
Universidade Católica Portuguesa (PT)


List of artworks:

1 – Gilbertto Prado, Grupo Poéticas Digitais
Encontros, 2012

2 CAT – Ciência Arte Tecnologia (Milton Sogabe, Fernando Fogliano, Fabio Oliveira Nunes, Tiago Rubini, Soraya Braz, Rodrigo Dorta Marques, Mirian Steinberg, Roberta Carvalho, Danilo Crispim, Daniel Malva)
Toque: Diálogo entre poética e tecnologia, 2017

3 – Alejandro Borsani
The End of the Sun, 2016

4 – Bruna Sousa, Nuno Coelho, Penousal Machado
Stop and Care — Changing Behaviours Through Participatory Interaction, 2019

5 – Yeohyun Ahn
Social Homelessness on US Campuses, 2016

6 – Ianni Luna
555, 2019

7 – Nicolau Centola
R$ 4.00, 2018

8 – Paulo Veloso Gomes, António Marques, Javier Pereira, António Correia, João Donga, Vítor J. Sá
e-EMOTION CAPSULE: As artes digitais na criação de emoções, 2019

9 – Sophia Brueckner
Captured by an Algorithm, 2019

10 – António Bandeira Araújo, Lucas Fabian Olivero, Sara Antinozzi
HIMmaterial: Exploring new hybrid media for immersive drawing and collage, 2019

11 – Manuel Silva, Diogo Morais, Rodrigo Assaf, Luis Teixeira, Denise Pollini The Apprentice Gaze – AR Experience on Serralves Museum, 2019

12 – Rosangella Leote
Viridis – Lux castellum, 2018-2019

13 – Catarina Sampaio, Luísa Ribas, Pedro Ângelo
Data Self-Portrait, 2019

14 – Bruno Mendes da Silva, António Araujo, Mirian Tavares, Susana Costa
Cadavre Exquis – A Motion-Controlled Interactive Film, 2019

15 – Linda Kronman, Andreas Zingerle
Panopticities, 2018

16 – João M. Cunha, Pedro Martins, Penousal Machado
Emojinating: Hooked Beings, 2019

17 – Amalia Foka
The Invisible Structures of the Artworld, 2019

18 – Annie Sungkajun, Jinsil Hwaryoung Seo
Though Miles Apart, 2019

19 – Paulo Teles, Juliano Prado
Pontos G – Pecados Capitais, 2018

20 – Filipe Lopes
Old New Technologies #1, 2019

21 – Rachel Zuanon
[Por não ser existindo], 2013-2019

22 – Grupo Realidades (Silvia Laurentiz, Marcus Bastos, Bruna Mayer, Beatriz Murakami, Clayton Policarpo, Dario Vargas, Loren Bergantini, Sergio Venancio, Cassia Aranha)
R-Scuti: da série Quando as Estrelas Tocam, 2019

23 – Eduardo D. Hebling, Elena Partesotti, Charles P. Santana, André Figueiredo, Cássio G. Dezotti, Tales Botechia, César A. Pereira da Silva, Micael A. da Silva, Danilo Rossetti, Victor A. W. de Oliveira, Sandra Cielavin, Artemis S. Moroni, Jônatas Manzolli
MovieScape: Experiência Enativa com o Cinema Silencioso, 2019

24 – Rosimária Rocha
Quintal dos Sons, 2019

25 – Sonia Guggisberg
Roda Viva, 2018

* Anastasia Tyurina
Colour 32, 2017

Clea T. Waite, Angelika von Chamier
Ice Time, 2017

Marina Zerbarini, Celeste de Tejada, Mariana Emilia Gramajo
Envolverse de Espacio, 2019

Pedro Veneroso
Tempo: cor, 2019

Vasileios Bouzas
Dismemberment, 2012