Lend Me Your Softness

Debatable Screenings: a Curated Series of Global Contemporary Video

July 21st and 28th, 7-9pm
Los Angeles Times Auditorium
Art Center College of Design
1700 Lida St
Pasadena, CA 91103

Single-channel video constitutes a prime vehicle for the widespread dissemination of discourse and critique. Its rapid availability through the Internet, as well as its low-cost infrastructural requirements enables exceptional possibilities for establishing networks of collaboration and transnational dialogue.

Debatable Screenings is a series of video programs organized by different curators from around the globe, considering the potentiality of collective agency, artistic and curatorial discourse, and intercultural dialogue. The interaction between these programs creates a stage for debate, where the nuances of the concept of screening are explored against the light of the individual discourse of artists and filmmakers.

In its inaugural cycle, Debatable Screenings features works by Doplgenger, Driant Zenelli, Igor Bošnjak, Endri Dani, Ibro Hasanović, Katarina Zdjelar, Lana Čmajčanin, Mladen Miljanović, Olson Lamaj, Saša Tkačenko, Siniša Ilić & Tina Gverović, Buen Calubayan, Raquel Friera, Lyra Garcellano & W. Don Flores, Elaine W. Ho & Lucio Castro, Mario Santamaria, Julia Sarisetiati, Christian Tablazon, Mahardika Yudha, Claudia Joskowicz, Laura Huertas Millán, Juan Manuel Echavarría, Carlos Guzman, and Felipe Steinberg.

Please join us at the Los Angeles Times Auditorium at Art Center on Thursday, July 21 for a presentation and talk with curators Maja Ciric and David Ayala-Alfonso, and the first screening program, “Lend Me Your Sofness”, curated by Renan Laru-An. Debatable Screenings will close on Thursday, July 28 with two more programs: “Potentials Within”, curated by Maja Ciric and “A Pilgrimage to the Ruins of the Future”, curated by David Ayala-Alfonso.

Debatable Screenings is possible thanks to the kind support of the Humanities and Sciences Department of Art Center College of Design.


Group exhibition of Ibero-American artists REMOTE SIGNALS curated by Pau Waelder
Exhibition OPENING: 19.00 (right after the talk). Exhibition remains open until the 20th March (opening hours 15-19, on Sunday 12-15 )
Place: project room (1st floor), ARSi maja

Content: 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.
Participating artists:

Clara Boj & Diego Díaz [ES], Daniel Canogar [ES], César Escudero Andaluz [ES], Gilberto Esparza (MX), Varvara Guljajeva & Mar Canet [EE/ES], INTACT Project [CL/ES], Néstor Lizalde[ES], Rafael Lozano-Hemmer [MX/CA], Félix Luque & Íñigo Bilbao [ES], Moisés Mañas [ES], Tiago Martins & Justyna Zubrycka [PT/PL], Joana Moll [ES], Brisa MP [CL], Mónica Rikic & Lucía Segurajáuregui [ES], Mario Santamaria [ES], Román Torre[ES], Pablo Valbuena [ES], Ricardo Vega [CL].

The events take place in the frames of Iberofest cultural festival organized by the Spanish Embassy in Estonia (www.iberofest.ee).
Organizers of the two events are artist duo Varvara & Mar (www.var-mar.info)
Supporters: Spanish Embassy in Estonia, Tallinn City Culture Department, Varvara & Mar OÜ

Appunti. Inéditos 2015. La Casa Encendida, Madrid



19 Nov 2015 - 10 Jan 2016 - Group Exhibition

Inéditos 2015. La Casa Encendida, Madrid

Comisariada por: Javier Arbizu, María Buey González, Jorge González Sánchez, Elena Peña Castillo y Diego Rambova

Appunti es una propuesta que investiga las relaciones entre objeto, obra de arte, poder e identidad. Una enumeración de fracasos, accidentes, circunstancias y grietas en los grandes relatos que invitan a nuevas formas de conocimiento y experiencia. La exposición agrupa desde objetos domésticos y religiosos hasta libros, partituras y fotogramas de películas de procedencias diversas, como Alemania, Italia, España o Estados Unidos, y que se inscriben dentro de un gran espectro histórico que se extiende desde el siglo xiv hasta nuestros días, haciendo énfasis en el siglo xx.

Artistas: Karlheinz Stockhausen, Pier Paolo Pasolini, Leni Riefenstahl, Tony Labat, Sabrina Fernández Casas, Eulàlia Valldosera, Mario Santamaría y Rafael Munárriz.

GLOBALE: Infosphere. ZKM

GLOBALE: Infosphere. ZKM, Karlsruhe
05.09.2015 - 31.01.2016

Peter Weibel (Curator), Daria Mille (Co-Curator) and Giulia Bini (Co-Curator).

The »Infosphere« exhibition presents an overview of art in the era of the digital revolution and its social consequences. In addition, it provides insights into the new data world – whose existence has been finally brought home to the general public, through the NSA affair.

Today, people live in a globally interconnected world in which the biosphere and the infosphere are interfused and interdependent. The Earth is surrounded by a layer of gases which we call the atmosphere. It is the product of photosynthesis, of algae working for millions of years, converting light energy from the sun into air. Evolution’s answer to the atmosphere was the lung. Thus the atmosphere is essential for most living organisms, including people. For around 150 years now, we have been surrounded by an infosphere, as well. With this neologism the technical network is meant, consisting of telegraphy, telephony, television, radio, radar, satellites, and the Internet, which covers the globe and enables global exchange of data as well as the organization of transport for people and goods. Without the global traffic in data, goods, and passengers it would be impossible to meet the biological and social needs and aspirations of over seven billion people.

In the nineteenth century, new transport routes and paths of communication were developed through machines operating on land, sea, and in the air. In the years 1886 to 1888, Heinrich Hertz conducted experiments proving the existence of electromagnetic waves and demonstrating that light consists of these electromagnetic waves. With this discovery, the age of wireless communication began, which enabled message and messenger to be separated: Henceforth data could travel through space without the body of a messenger. In the twentieth century, this resulted in a densely interconnected communication and information network of mobile media: the infosphere – an envelope of radio waves surrounding the Earth. Using artificial, technical organs human beings can, for the first time, use electromagnetic waves for the wireless transmission of words, images, and other data – waves for which humans do not actually possess a sensorium. The social media, which have changed our daily lives, are a part of these technological networks. Thus the formula for the nineteenth and twentieth centuries, “Machinery, Material, and Men” (Frank Lloyd Wright, 1930), must be modified for the twenty-first century: “Media, Data, and Men” (Peter Weibel, 2011). Now that the alphabetic code has been supplemented by the numeric code, algorithms constitute a fundamental element of our social order – from stock exchanges to airports.

Against this backdrop, contemporary art operating in the thematic field of big data is especially significant. The artworks on show in this exhibition present answers that artists, designers, architects, and scientists have found today to the acute challenges of the infosphere.


Timo Arnall & Jack Schulze & Einar Sneve Martinussen
Amy Balkin
Aram Bartholl
Wafaa Bilal
Zach Blas
Blast Theory
Bonjour Interactive Lab
Natalie Bookchin
Dineo Seshee Bopape
David Bowen
James Bridle
Bureau d'Etudes
Emma Charles
Tyler Coburn
Sterling Crispin
The Critical Engineering Working Group
Stéphane Degoutin and Gwenola Wagon
Dennis Del Favero with Elwira Titan, Peter Weibel and Som Guan, Volker Kuchelmeister, Robert Lawther, Alex Ong
Aleksandra Domanović
Thomas Feuerstein
Fraunhofer-Institut für Optronik, Systemtechnik und Bildauswertung IOSB
Laurent Grasso
Yoon Chung Han & Byeong-Jun Han
Jonathan Harris
Mischka Henner
Femke Herregraven
Brian House
Scottie Chih-Chieh Huang
Jennifer Lyn Morone™ Inc
Matt Kenyon (SWAMP)
Erik Kessels
Jeong Han Kim, Hyun Jean Lee, Jung-Do Kim
Brian Knappenberger
Oliver Laric
Marc Lee
George Legrady
Rafael Lozano-Hemmer
!Mediengruppe Bitnik
Sommerer & Mignonneau
Jonathan Minard & James George
Achim Mohné / Uta Kopp
Warren Neidich
The Office for Creative Research
The Otolith Group
Julius Popp
Stephanie Rothenberg
Mario Santamaria
Philipp Schaerer
Shinseungback Kimyonhung
Adam Slowik
Smart Citizen Team in collaboration with IAAC | Fab Lab Barcelona, Media Interactive Design and Hangar
Karolina Sobecka, Christopher Baker
Werner Sobek
Software Studies Initiative
Fabrizio Tamburini
Timo Toots
Suzanne Treister
Unknown Fields Division
Clement Valla
Alex Verhaest
Richard Vijgen
José Luis de Vicente
Christoph Wachter & Mathias Jud
Addie Wagenknecht
Gwenola Wagon
Where Dogs Run
Krissy Wilson
Manfred Wolff-Plottegg
Matthias Wölfel / Angelo Stitz / Tim Schlippe

+ info: http://zkm.de/en/event/2015/09/globale-infosphere

Meta(data)morphosis, Or Gallery Berlin

Or Gallery Berlin
Featuring Heini Aho (FI), Timo Bredenberg (FI), Emma Holten (DK), Ryan Maguire (US) & Mario Santamaría (ES). Curated by Søren Rosenbak. Part of Jaw Versus Eye Attack - 3rd JVEA annual event.

In essence, metadata presents us with a rich frame around a blank canvas, a space with ample room for interpretation, misinterpretation, miscarriage of justice, etc. An inherently irrational human intervention will always enter this equation, respond to the metadata frame, and thus render a distorted portrait into a temporary proxy for truth. How can we make sense of these ever-shifting digital shadows that social media, corporations, intelligence agencies, individuals etc., constantly draw from server farms from around the world? In other words, how do we respond to the power of metadata and its speculative qualities, the elusiveness, the lack of control and apparent meaning? Metadata pervades our lives in both trivial and profound ways. We know that a lack of response is essentially a submission to this very fact. How do we then deal with this dynamic? Do we experiment, resist, play along? This is some of the questions explored in the five works on display. While all the works engage with the process of meta(data)morphosis, they do so in highly different ways, employing a wide range of tactics and sensibilities.

Søren Rosenbak

Cibergeografías: Arte, mapas, territorios y las nuevas coordenadas de Iberoamérica en el paradigma digital.

"Cibergeografías: Arte, mapas, territorios y las nuevas coordenadas de Iberoamérica en el paradigma digital". Exposición itinerante curada por Gustavo Romano. Ahora en el Centro Cultural Parque de España de Rosario (Argentina), en colaboración con AECID.

"A partir de la aparición de Internet -y posteriormente, de nuevas redes tecnológicas como la de los móviles o los sistemas de localización por satélite- las comunicaciones han logrado conformar una nueva topología global más allá de la geográfica. Podemos afirmar que un nuevo continente se agregó a los conocidos. Un continente cuya materia es sólo información y que está en constante movimiento. Un espacio liso, sin accidentes geográficos, que permitan generar una cartografía. Un territorio en el cual hasta hace poco todos éramos inmigrantes pero en el que ya ha surgido una generación de vernáculos: los nativos digitales.

En este contexto que podemos denominar cibergeográfico, una Iberoamérica desterritorializada tiene la oportunidad de redibujar sus fronteras culturales y los flujos de recirculación de la información; de generar nuevas arquitecturas relacionales desde las cuales  aprovechar las diferencias y potenciar el intercambio y la colaboración horizontal y punto a punto.

Las obras que conforman esta selección -entre las que encontraremos todo tipo de producciones digitales- se valen de los medios tecnológicos para proponernos una reflexión a la vez crítica e innovadora sobre temas como los metaversos y universos virtuales, las nuevas cartografías, la vigilancia y el control, o las nuevas formas de participación que proporciona la red."

Joan Leandre, Manuel Fernández, Daniel García, Yucef Merhi, Gilbertto Prado, Fran Ilich, Belén Gache, Mark Skwarek, Antoni Abad, Joan Leandre, Brian Mackern, Mario Santamaría, Christian Oyarzún, Iván Abreu, Kim Asendorf, Rachel Rosalen, Rafael Marchetti, Eduardo Navas, Santiago Echeverry, Rogelio López Cuenca, Etoy, Giselle Beiguelman, Fernando Vázquez, Sander Veenhof, Carlos Sánchez, RSG (Radical Software Group), Antonio Mendoza, Alexei Shulgin, Carlos Sáez, Daniel González Mellado, Antoni Abad, Molleindustria - Radical Games, Udo Noll, Ivan abreu, Colectivo Espacial Mexicano, Ciro Múseres, Brian Mackern, Arcángel Constantini y Eduardo Karc.


Species of Spaces - MACBA, Barcelona

6 Jul 2015 - 31 Jan 2016 - Group Exhibition

Especies de Espacios
Macba, Museu d'Art Contemporani de Barcelona
Group exhibition curated by Frederic Montornes

Ignasi Aballí, Lara Almarcegui, Serafín Álvarez, Martí Anson, Marcel Broodthaers, Luz Broto, Stanley Brouwn, Victor Burgin, Joan Colom, Jordi Colomer, Guy Debord, Pep Duran, Andrés Fernández, León Ferrari, Lucio Fontana, Dora García, Gego, Joan Hernández Pijuan, Marla Jacarilla, Adrià Julià, Emma Kay, Guillermo Kuitca, Manolo Laguillo, MAIO, Gordon Matta-Clark, Ester Partegàs, Lois Patiño, Gerhard Richter, Humberto Rivas, Pedro G. Romero, Gino Rubert, Francesc Ruiz, Ed Ruscha, Mario Santamaria/Azahara Cerezo, Daniel Steegman Mangrané, Saul Steinberg, Ignacio Uriarte.

When asking ourselves about the course of our life, we should accept that the best way to explain our world is by referring not only to its temporal but also its spatial reality. That is, to the category that develops between a beginning and an end – and is subjected to constant mutations – and to the category in which everything occurs because it encompasses everything and everything takes place within it. Therefore, as well as understanding life as what we are between birth and death, we should be able to approach it in a fragmentary way by reviewing the foundations of the spaces on which it develops and evolves.

Setting aside the fact that the linearity of our existence depends on the dictates of chance and that no matter how hard we try we will never be able to dominate it completely, the starting point of our project is based on the locations where it takes place. That is, on the spaces that define us according to the way we use them.

In the course of this adventure, Georges Perec – known, among other things, for his obsessive tendency to make lists of everything that happens when nothing happens, or that which we note but never annotate – appears to us as the most appropriate guide. So as well as being the author of the book that gives this exhibition its title, Perec shows us the way into the spaces we wish to enter, without any kind of encyclopaedic intention and by posing questions on the meaning they may have for everyone of us.

Conceived as a spatially fragmented building according to the typology established by Perec in his book Species of Spaces, the exhibition features a selection of works chosen by their capacity to refer to the areas in which we act, exist, move, think and live. That is, a series of spaces that, seen through the eyes of an artist, bring us close to the meaning they may have for us through specific productions, through works in the Collection, or through other works that, for a variety of reasons, appear to us as the ideal counterpoint for forcing the imagination to seek the best way of defining the use we make of them.

More than an exhibition with a thesis, archive or documentation, our proposal for Species of Spaces should be understood as a free interpretation of a book set adrift around some corners of the public and private space, intimacy and social life, what we are and what others see in us. In other words, like human existence itself, it drifts from the minimal and limited space of a page to the impossibility of setting limits to the idea of space in general.

Dialog 3. Goethe-Institut Barcelona

2 Jul 2015 - 31 Oct 2015 - Group Exhibition
Dialog 3. Goethe-Institut Barcelona

Concealment Algorithms (2015)
Collection of .pdf files covered by a automated process in "Google Images"


26 Jun - 5 Jul 2015 - Group Exhibition
Embarrat. With Azahara Cerezo
Museo Fábrica J.Trepat de Tàrrega, Lleida

Actions in Between the Rescued (Dublin - Belfast, 2012 - 2014)

Azahara Cerezo / Mario Santamaría (Girona/Barcelona)
Carla Cañellas (Madrid)
Daniel Gasol (Barcelona)
Daniel Schweitzer (Madrid)
Daniel Tomàs Marquina (València)
David Giribet (Tàrrega)
David Ribas (Barcelona)
Demetrio Salces (Córdoba)
Edurne Herrán (Madrid)
Errazu & Asensio (Madrid/Barcelona)
Estela Ortiz (Barcelona)
Con.Tatto -Francesca Leoni and Davide Mastrangelo- (Itàlia)
Gabriela Golder (Argentina)
Jordi Lafon (Vic)
Jorge Catoni (Chile)
José Salguero (Guadalajara)
Julián Barón (Castelló)
Madhuban Mitra and Manas Bhattacharya (Índia)
Miquel García (Barcelona)
Pablo Bellot (Alacant)
Patxi Araujo (Pamplona)
Paula Muhr (Alemanya)
Pedro Torres (Brasil/Barcelona)
Stefanie Herr (Alemanya)
Rubén Tortosa (València)

Exposició Col·lectiva LA GRAN MÀQUINA II
Del 26 de juny al 5 de juliol de 2015>
Tàrrega (Lleida)

Ciudad Pantalla 24:7 en Estruch, Sabadell

Presentación de trabajos de los artistas residentes en La Estruch fabrica de creación, Sabadell.

Partcipantes: Caterina Almirall, Sergi Botella, Camila Cañeque, Azahara Cerezo & Mario Santamaria, fer cosa fora, LSM, Omaris Mariñas, La Fem Fatal y Nucelar.

Presentación de Screen: city: 24: 7 con Azahara Cerezo.

PARATEXT nº3 - Hangar.org, Barcelona

Luis Guerra, Mario Santamaría, Bea Stach y Kaspar Wimberley/Susanne Kudielka

Este nombre, Paratext, esconde una programación mensual de presentaciones de los artistas residentes en Hangar de larga y corta duración, así como de las residencias internacionales, siempre en miércoles, de 19.00 a 21.00h. Varios artistas presentarán en formatos no convencionales proyectos concretos o partes de su trabajo. Las sesiones son siempre abiertas al público con el propósito de posibilitar la interacción con los propios artistas.

La próxima sesión de Paratext tendrá lugar el miércoles 13 de mayo en Hangar a las 19h. Luis Guerra, Mario Santamaría, Bea Stach y Kaspar Wimberley/Susanne Kudielka estarán presentando sus proyectos. Todos/as ellos/as han sido residentes en el marco de la beca de intercambio 2015 para proyectos artísticos entre Stuttgart (Baden-Württemberg, Alemania) y Barcelona (Cataluña, España).

Estudios abiertos en Hangar, Barcelona

Los Tallers Oberts del Poblenou nacen el 1996 con el objetivo de acercar el público a los artistas, abriendo las puertas de sus talleres para mostrar las obras y los espacios de trabajo.

Sobretodo los últimos años son muchos los artistas, creadores y galerías que se han instalado en el barrio, hecho que ha conformado una matriz de profesionales de gran peso específico en el conjunto del tejido social, cultural y artístico del barrio de Poblenou.

En la edición de este año la programación se amplia a 2 semanas de actividades del 2 al 14 de junio, actividades que tendrán como punto fuerte la inauguración de la exposición retrospectiva de la historia de Tallers Oberts Poblenou el 6 de junio; y su cierre con las Puertas Abiertas de los talleres participantes el 13 i 14 de junio.

Artistas residentes: Marc Serra, Giuliana Racco/Matteo Guidi, Lucia C. Pino, Ariadna Guiteras, German Portal, Diego Paonessa, Mario Santamaría, Andrea Gómez, Christina Schultz, Marco Noris, Ciprian Homorodean, Antonio Ruiz Montesinos, Megan Michalak.

Residentes internacionales participantes: Santiago Borja, David Ellis (2014), Travers Nash, Ioana Georgescu (2013).

To Whom It May Concern. Bass and Reiner

April 4 - May 8  2015 - Group Exhibition. San Francisco, US

Bass and Reiner gallery is proud to present To Whom It May Concern,curated by Cléa Massiani,and featuring works by Alyssa BlockJon GourleyLe Kolaj, and Mario M. Santamaría.The exhibition addresses the absurdities of miscommunication, false connectivity, and delusions surrounding the dissemination of information in modern society. To Whom It May Concerndiscloses the greeting of the self to aninfinite number of unknown recipients. Translated through collage, sculpture, works on paper, and installation, the exhibition conveys the enigmatic and eclectic relationship such a statement may imply. Words and images usually present a unified fiction, but any confrontation of multiple narratives inherently leads to misunderstandings, negations, or simply voids any dialogue. This exhibition aims to address the status of intimacy versus desire and catharsis versus expectations through explorations of the relationship between artistic production and an audience.

Righted Museum in Printed Web #3


5 x 8 in.

388 pages

ISBN 9781320767903

Paperback black-and-white print-on-demand book

with uncoated cream-colored interior pages.
Unlimited edition.


The Philosophical Origins of Digitality”

an interview with Alexander Galloway


In Defense of Poor Media
by Silvio Lorusso


The Printed Web #3 Open Call
Index of 329 Files Received
(List of 147 artists included)


The Act & The Tracer | Württembergischer Kunstverein Stuttgart

 5 Mar - 24 May 2015
The Act and the tracer. Querungen, WKV, Württembergischer Kunstverein Stuttgart, Germany

"The Act & the Tracer" is an exhibition produced by Mario Santamaria and Luis Guerra, both visual artists based in Barcelona, living and working in Stuttgart as stipendiaries of a new exchange studentship between Catalonia and Baden-Württemberg, based on a cooperation between Württembergischer Kunstverein Stuttgart, Kunststiftung Baden-Württemberg, HANGAR Centro de Arte and Goethe Institute Barcelona. 

Mario Santamaria bases his practice in the study of the phenomenon of the contemporary observer. Starting from a specific historical event, Santamaria researches about the contradictions of the transparency, visibility and access system that the technological rhetoric seems to have consolidated at the beginning of the 21st century. In this exhibition, he articulates a series of items in relation to the incident occurred on December 11, 2009, when the owning company of GeoEye1, considered the best provider of satellite imagery at that time, recognized an irregularity in the satellite antenna affecting their data sent to earth.

Luis Guerra presents a sub-set from a larger project called Anarchistory of Action (2014-2017). He conceives his practice as an ongoing process in which the creative event and the ephemeral instant of its manifestation, sometimes, are more important than the possible trace. As such, his works may have not been documented or may just exist under a subtle memory, a tale, or even as a whisper. The Act (2015) works within that condition of the inexistent, a low degree of appearance, an abysmal deed without reason and without justification.