Art is like blood: it has to flow continually to stay alive. When the media through which it is expressed do not expand, its only alternative is to find new channels that almost magically lift it to a higher level. Art Futura ’93/Retrospective ’90-92 is a video and conference programme that presents some of the most important pieces and contributions to the field from works seen over the four years of Art Futura, an annual art and technology programme that came to life in Barcelona in the 1990s. It four sessions, dedicated respectively to Virtual Reality (1990), the Cybermedia (1991), the Global Mind (1992) and to Artificial Life (1993) have been guided by the idea of “scratching the future”, of building a space for artists’ ideas and expressions that, by their very nature, do not fit into the categories established by art institutions, as especially occurs in the case of those that make use of the new technologies.
Virtual reality, telematic networks, artificial life, the new electronic media, etc. are only the tip of the iceberg. The world as we know it is transforming by leaps and bounds: art media, museums, social relations and individual lives are metamorphosing at the rate of the successive technological developments. From this point of view, Art Futura advocates enhancing the more human aspects of the new technologies since, as Sherry Turkle has noted, “the computer is neither good nor bad; it is just extremely powerful”.
Taking into account the inherently unpredictable, controversial, contradictory and sceptical nature of every new art form, this programme includes, among other works, videos by unclassifiable artists like Brian Eno (Woodbridge, 1948), Moebius (Nogent-sur-Marne, 1938 - Paris, 2012), Zbigniew Rybczyński (Lódz, 1949), Peter Gabriel (Chobham, 1950) and Buzz, among others and computer animations from Karl Sims (Boston, 1962), Susan Amkraut and Michel Girard, Yoichiro Kawaguhi (Tanegashima, 1952), deGraf/Wahrman and William Latham (England, 1961). Art comes from the soul and talks to the soul. But the ‘forms’ this dialogue takes are infinite. And they will continue to be so.