PORTFOLIO (1)
BIO
LAURA PLANA GRACIA (Barcelona, 1982).
Alias: venus.dreams, misslarapearl, laura pearl grace, laure les aus, etc....

BA History of Art UB University of Barcelona, 2006. MA Curating New Media Art MECAD 2007. Curating, Communication and Criticism, Central Saint Martins, University of Arts London 2009. Has participated in study/work program at MA Media Art Histories, Vienna 2010. PhD forthcoming. Has exhibited: Field Experimental Generative Animation London 2009. Arco Cinema Madrid 2010. Sound.art Event 2013. Has been at ISEA Conference Dortmund Germany 2010. Is curator invited by MOTA Museum of Transitory Art New Media Art, Belgrade, Serbia 2011. Has been awarded by MACBA as Researcher in Residence at Centre d’Estudis Barcelona. She is developer of the research project entitled Spatial Aesthetics, regarding the city and the future technology.

EDUCATION and TRAINING
- MA New Media Curating, University of Sunderland, forthcoming.
- Curating and Communications, Central Saint Martins, University of Arts, London 2009.
- Master in Curatorial and Cultural Practices in Art and New Media, MECAD Media Center of Art and Design ESDI School of Design – URL Ramon Llull University, Barcelona 2007.
- BA in History of Art, University of Barcelona UB, Barcelona 2006.

SCHOLARSHIPS
- Researcher in Residence Program. MACBA Museum of Contemporary Art in Barcelona CED Centre for Studies and Documentation. Barcelona 2011.
- Study/work program Master in Media Art Histories. Editor, Archives and Research. DVA Database Virtual Art, Danube University, Krems, Vienna. Austria. 2010
- Grant for Research and Development, International Lifelong Learning Programme, European Commission, Directorate General for Education and Culture, June to November 2009.

WORK EXPERIENCE
- Sound Performance. Digital Arts. Rose Bruford College, London 2013.
Lecturer, Curator, Researcher. Ref.: Dc. Milo Taylor
- DVA Database of Virtual Art, MA Media Art Histories, Donau University, Krems, Austria 2010
Editor, Research and Investigation, Curator, Lecturer. Ref.: Dr. Oliver Grau
- MUTEK Festival, Festival of Digital Art and Electronic Music, Barcelona 2013-12.
- Alpha-ville. Festival of Post-Digital Culture. London 2011.
- SPILL Festival of Performance, Robert Paccitti Co., London 2009
- Nuvol. Digital Culture. Online Magazine.New Media Journalism. Barcelona, 2012
- Dali Museum, Barcelona 2008. Research, Curator, PR, Marketing, Fundraiser
- Foundation Gala – Salvador Dalí, Figueres 2007. Archive, Curator, Ass.Director, Researcher
- Antoni Tapies Foundation, Barcelona 2000-2002. Sales, Bookshop, Editorials and Publication.
- CASM Centre d’Art Santa Monica, Barcelona 2000-2002. Sales, Bookshop, Administration

PUBLICATIONS
- Future Europe. Graduation show of Pforzheim University, Department of Design, 2013.
- Spatial Aesthetics, An investigation into art and space. Digimag Journal Issue 73, Autumm, Places & Spaces, Digicult Magazine, 2012.
- Joan Ponç and the world of Literature. Carles Hac Mor, Jordi Carulla-Ruiz, Laura P.Gracia, Alèxia Sinoble. Association Joan Ponç. Editorial. Barcelona (SP) 2012.
- Antoni Tapies. Biography. Editorial El Temps. Dossier Tapies. Barcelona (SP) ​​2012.
- Longed Landscape. Cristina Ferrández Box. CandasAntonMuseum. Asturias (SP) 2011.
- Air-Space Policy. Orbiting satellites, Platform 0, Laboral Gijon, into the exhibition Invisible Fields, Ars Santa Monica, Barcelona (SP) 2011.
- Cartography, Mapping and Database. Genealogy of Space. Laura Plana Gracia. ISEA Dortmund HMKV. 2010.
- Julia Mariscal. Oblong Gallery. London (UK) 2009.
- Martín Chirino. Oriol Gallery. Biography. Barcelona (SP) 2008.
- Cartographies of non – place, Action Art – Magazine for Action, GEIFCO Studies and Research Group for Contemporary Phenomena. Published online 2007.

EXHIBITIONS
- Sound.Art Event. Visual Collective Space. London.
- Tech Noir. Mexican video.art. Screen Festival, City Screen, Loop Art Fair. Barcelona 2012.
- Forms of Identity. Catalan Artists in London. Casa Elizalde. Barcelona. 2011.
- Language Code. Telenoika. Conservas. in collaboration with LaAgencia, sponsor BEEP, Barcelon 2011.
- Shape & Material. Group Sculpture Show. The Vyner Studio. London. Aug, 2010
- Aggtelek. Solo Exhibition, Crisp LondonLos Angeles, London in June 2010, col. Institut Ramon Llull
- Joe Sola. ARCO Cinema, Madrid February 2010.
- Cartographies of non place. Arts Space, Barcelona (SP), October 2009, col. Generalitat of Catalonia
- Field. Interim Field. Generative Experimental Animation. Pebbledash Gallery. London August 2009 col. European Community Leonardo

LECTURES / SIMPOSIUMS
- Digital Analogue: Pioneersof New Media. M.A.C. Museo Arte Contemporaneo, Bogota, Colombia. February 2014.
- FLOSSIE. Women and Open Software. Women-Body-sound. Conference. Queen Mary London University. 2013.
- Metropolis. New Digital Architecture. Any Metropolis. C.C.Urgell. Barcelona. 2012.
- MOTA Museum of Transitory Art, Belgrade, Serbia, 2011. Translocal. The Notion of border in the European construction.
- ISEA 2010 Ruhr. Dortmund Cultural Capital of Europe. August 20, 2010. Cartographies, Mapping & Database Visualization.
- Arts for Human Rights. London 2010.Displaced People and Creative Practices. Ioannis Athanasiou, Conference.

COURSES / WORKSHOPS / OTHER
-MUTEK Festival, Music for Mobile Technology, Scott Snibe, Reactable, Institut Fatima, MUTEK, Convent of San Agusti, February Barcelona 2012 (SP).
- Laboral Orbiting Satellites, Organized by Platform 0, with Pedro Soler, Alejo Duque, Joanna Griffin. Gijón (SP) 2011.
- Psychogeophysics, with Gordan Savicic, Bitniks, Alejo Duque, Martin Howse, Jonathan Kemp. Space, London. 2010
- White Landscape Workshops.With Gonzalo Puch, Concha Jerez and José Iges. Murcia (SP) 2009
- Criterion, Speech and Talk. With David G. Aballí Torres. Organized by H-Association. Vic, Barcelona (SP) 2008.

WEBSITES / SOCIAL MEDIA
- WordPress: Venus Dreams. Archive about media art
http://lauraplanagracia.wordpress.com/
- Blog: Laura Plana Gracia. Curated exhibitions, publications, lectures.
http://www.lauraplanagracia.blogspot.co.uk/
- Blog: Cartographies of non-place: Curated exhibitions and lectures about art and technology
http://cartographies-of-non-place.blogspot.co.uk/
- Twitter https://twitter.com/larapearlgrace
- Linkedin http://uk.linkedin.com/pub/lara-pearl/23/7a0/9a3

ACTUALLY DEVELOPER / WRITER @ HISTORY OF ELECTRONIC ART
In collaboration with MA Curating, University of Sunderland

Curating and Cultural Management must proceed according conditions of innovation in the field of Art, Science and Technology. Internationally, different theorists and curators are developing new practices in Cultural Management that review and renew the exhibition and collection formats. Museums and Universities must develop practices that engage Research and Development. Due to a new social need, is required to train professionals in the field of Curating and Cultural Management that will allow to deliver programs in Curating New Media in Universities, Museums and Institutions.

Curatorial Practices and Cultural Management have an historical line in 1980's with the advent of the Internet and New Media. The results are artworks influenced by cybernetics, computer science and neuroscience, among others. Software Art, Web Art, Net Art, Code Art, Sound Art and Interactive Art change the course of history of art and society. These practices start the Digital Era. The qualities of the artworks require new forms of presentation and documentation in the museum as well as a different approach in their collection and preservation. The classic and traditional role of the museum becomes obsolete. These components change the processes of production, distribution and exhibition of the artwork. Sarah Cook and Beryl Graham, directors at CRUMB and MA Curating, University of Sunderland, provide support for those who expose New Media Art, such as curators, technicians and artists. Moreover, they are promoting activities on research, networking and professional development for curators. Sara Cook referring to the role of the museum in relation to New Media Artworks believes that elements such as contracts for artists barely adjust the needs of New Media Artworks displayed in the museum.

All revisions and restatements around the Cultural Management and Curating New Media Art will be analyze and studied in the academic and professional project I intend to develop during the MA Curating, University of Sunderland. The project will develop an essay. The essay will be entitled "History of Curating New Media Art in Spain". The project will provide a rigorous combination of practice and theory. It will explore the relationship between Contemporary Art and New Media Art. The intention is to generate a study about museology and curatorial practices. It sets a historical chronology, giving meaning and accessing relations between Art, Science and Technology. It will demonstrate the development of these practices in institutions and museums of Spain. The project describes referents, artist biographies and artworks. It articulates a discourse that enables and facilitates knowledge for the development of exhibitions. It will be develop as follows:
1. State the necessary knowledge and study strategies that enable the "Development of Exhibition of New Media Art" in galleries, museums and cultural institutions from Spain.
2. Develop a "History of New Media Art Exhibitions in Spain" to review the different genealogies of curating: origins, sponsorships, awards, collections and exhibitions. This will give a historical knowledge of the context of curating.
3. Delve into the "Theories" developed by intellectual references, curators and philosophers such as José Luis Brea and others.
4. It will include a study on the "Administration" in Art Museums developing practices about New Media Art. It will also examine contemporary practices of registrar, storage, collection, education of New Media Art sector.
The project involves the collaboration of artists and professionals, such as LaAgencia (New Media Art exhibitions production company directed by Vicente Matallana), Roberta Bosco (Journalist specialized in New Media Art from El País), Rosina Gómez- Baeza (Founder of Laboral Art and Production Centre), Ricardo Iglesias (Artist and Dc. Robotics, UB), Antoni Muntadas (Media Artist and Dc. Art, Culture and Technology, M.I.T), Monica Bello (Telefónica Life Award).

The acquired professional experience and my education determine my contribution to the MA within the development of a project in essay format. On one hand, the essay will have a theoretical development and serve as a Thesis to access a Ph.D. program. It is vital to develop this academic activity at the University of Sunderland. Is the only one offering Doctoral studies in the field of theoretical research on Curating Art and New Media. And on the other hand, the project try to have a social return in a book format. This is eminently necessary and urgent for Universities, Museums and Institutions involved in Art and New Media from Spain. Such a project will provide the cultural sector with an essay that will be a historical reference. It tries to create a social dynamic to provide knowledge and to facilitate economic resources in the development of other New Media Art projects. There is a lack of information affecting the industry of New Media Art. A project such like this about New Media Art in Spain is urgently required. CRUMB and MA Curating is the unique, excellent and suitable institution for the development of this practice. Within more than 15 years of experience editing and publishing, it receives funding from ARCH Arts & Humanities Research Council to publish and research about Curating New Media.
Discussions (1) Opportunities (0) Events (6) Jobs (0)
DISCUSSION

Critical review: Digital Analogue. Pioneers of New Media.


Personally, I suggest a revision around questions such as ethics, deontological code, professionalism, permission and authority in curatorial models and participatory practices in art, science and technology. Regarding the curating model used in the exhibition Digital Analogue: this is not what I do, this is not my curatorial line, this is not my work, and this is not curated by me. Actually, the participatory models of curating new media art have created new structures where to engage curators, theorist and artists in a hybrid form of exhibition, workshop, and live performance. Models that are constantly against the mainstream and the policies of power supported by authority and based within the ego of the artists: elitism and paternalism. Another point to consider is that the exhibition Digital Analogue has a lack of investigation, the research is weak, doesn’t achieve the standards of the experienced d.i.y. artists, the art electronic avant-garde and the art –science – technology experts, curators and artists. There is a lack of coherence, strength and unity. Although is a very good local exhibition and a potential project for the future, it is a very paternalist project, too. Tired, exhausted and discomforted to defend machismo, it is criticized works like this. Once surpassed the borders of curatorial mainstream inside the whitecube, those who work worldly local and with deep meaning for life and social contribution, are hard-working and developing networks with very low budgets and financial support. Art inside the whitecube is now out of the center of action, operating in labs, blackboxes and within the experiences of life. So, following it can be said that the exhibition has not gone so good. There is lack of professionalism and it deceives. Moreover, I must say that a few years ago, in 2011, I wrote an investigation project entitled Language Code. In collaboration with CED – MACBA Museum of Contemporary Art Barcelona, I studied the relations of conceptual art and code art. I did a similar work as Thomas Dreher does. Once the research was finished, I asked permission to international artists, local artists from Barcelona, activists and other theorists, curators and producers to work in a public presentation of the Project. The event was one week and hold in Conservas, an underground lab in Barcelona. I was trying to break conventional models of exhibition. It was a workshop, a seminar, an exhibition and a live event with screenings and performance. It also engaged the audiences to participate to create a language artwork based in cut-up projects. Jorn Ebner, Michael Kargl, Roy Ascott, John Angel were presented in Language Code exhibition among a total number of 20 artist more. Part of my research project Language Code has been presented in MAC Museum of Contemporary Art Bogota. According methodologies of curating, there is a new curatorial role based in appropriation. It creates new exhibition strategies. Taking artists’ works without permission or non-demanding artist participation is changing the administrative model of exhibition. Contracts, infrastructure and participation offer a new possibility to engage creation and hopefully create more opportunities for emergent and youth talented unnamed artists.

Regarding the content of the exhibition, there are 6 artists exhibiting physical artworks, 3 local artists and 3 international artists. There are no women. The use of big mainstream artists’ names is trying to attract expectations, a suggestive intention, when is in reality a screening loop. There is an excellent point and is the fact that the exhibition offers help and support to local artist to be contextualized in international frameworks. In general, local emergent talented artists from Colombia are not well represented in their own art circuit, neither in the international art scene. This is part of the post-colonial history. Although this, there is a lack and a very disappointed participation of the real pioneers of new media from Colombia. Pedro Soler states “A pair of my favorite South American pioneers: Juan Downey (from Chile, pioneer of video and interactive art, co-editor of Radical Software) and Jacqueline Nova, the first electroacoustic music composer in Colombia. Both artists lived much of their lives in the north (Juan in NYC and Jacqueline in Paris). However, they are both dead”. The title of the exhibition "Pioneers" does not correspond to the achieved goals. It cannot be said that is a pioneer’s exhibition. This is not the case. There are specialized media art historians that will recognize that this is wick and a misunderstanding. “Edward Shanken comes to mind. And in my own University, historian Charissa Terrranova” says Roger Malina.

There is a no women artists; pioneers or not, too. Marc Garret indicates some “Sarah Cook, Alison Craighead, Donna Haraway, Sadie Plant, Vera Molnar, Steina Vasulka, Joan Jonas, Marisa Olson, Pauline Oliveros, Christiane Paul, Laurie Anderson, Josephine Bosma, Ada Lovelace, Judith Butler, Olia Lialina, Natalie Jeremijenko, Coco Fusco, Ghislaine Boddington, Guerilla Girls, Ilze Black, Larisa Blazic, Daphne Dragona, Mia Makela, Sanja Ivekovic, Eva and Franco Mattes, Joasia Krysa, Valie Export, Charlotte Moorman, Lygia Clark, Yoko Ono, E.Valldosera, La Turbo Avedon, Fabi Borges, Alejandra Perez, Eleonora Oreggia, Simona Levy, Diana McCarty, Maria Llopis, Marloes de Valk, Shu Lea Cheang, Chris Sugrue, Paula Graham (Fossbox), Ruth Catlow (Furtherfield), Flossie”. This is an important failure. This is unacceptable in the context of electronic, new media, and within the frame of cyberfeminism. Women artist has contributed to the development of media art in a very deep and profound sense, changing structures and contributing to the social benefit of human behavior. This is a strong point. Some relevant data regarding feminism practices in art curating represent the problem about women in art. Only the 13.5% of works by women are in Art Collections, 18% of female professors at Art Universities, 22% of female directors at Art Museums, 27% average of female percentage at exhibitions in art museums, 32% of honorary prizes in the visual arts are won by women, 42% of all freelance employees in the visual arts are women, 55% of students in the visual arts are women (Data by Katy Deepwell, Editor of n.paradoxa).

There is a sense that the use of “big names” in the section s/edition is like an attractive suggestion rather than a matter of history, knowledge or information. Rather, I think the curator is trying to persuade, giving an illusion of history of media art. I think this is a more commercial and digital project. I think this is what exactly Baudrillard defined as Simulacra and the tendency in consumerism object to persuade the spectator. I have received many complains and it is thought that is a very paternalist project. And it does not consider the social and actual needs of its country. Marc Garret also commented “On one hand it's because the choice of ‘now’ disreputable ‘BritArt’ artists, and on the other, it's because there is an embarrassing lack of women included in the exhibition. It is not representative of the amazing women in arts and technology who deserve so much better than this”. Contrary to these opinions, it is really well received the local collaboration. The artists have a really talented work in exhibition and the effort and fight with the institutional frame and universities grow and enrich the cultural context of Bogota, an incredible city with massive social disorder and inequalities. Is very important and is a really good to exhibit 3 local artists altogether 3 international artists, this contributes to the development of cultural practices of Colombia, increases the level of participation and interested of institutions into Electronic Art and for New Media practices. It also helps to the emergent artists with good level, quality, interest and professionalism.

According this, I have to say that it is super-interesting and thanks to this kind of exhibitions, new models of distributing video- art are developed. It could probably respond to new distribution roles and methodologies of production in New Media. Surely, it changes capitalist and economic structures. I remember the editions of Picasso and Dali: thousands of copies resembled millions of millions and investment for art. The videos presented under s/edition are works from Damien Hirst, Casey Reas, Memo Atken, etc... Recently, Alessandro Ludovico has written about new techniques of printing and distributing. This is amazing, but in the case of Digital Analogue and s/edition, a private company that works online. The selection doesn’t result interesting because, from my point of view, is supporting commercial and capitalist structures of art as a merchandise. According post-marxist discourse it can damage lots of theoretical works done in the area of value and object-hood in contemporary art. Claiming for live art and live performance is to sustain our way of life as artists, developers and creators.

Museo de Arte Contemporáneo de Bogotá, @2009 BOGOTÁ - COLOMBIA
Carrera 74 No. 82A - 81 2916520 Exts: 6160 - 6161 -6159
email: ccultural@uniminuto.edu
http://www.mac.org.co/

Thanks to Marc Garret, Pedro Soler, Tamas Banovich, Anick Bureaud, Ashok Mistry, Bronac Ferran, Sarah Cook, Paul Brown, Roger Malina, Ghislaine Boddington, Vicente Matallana, Joasya Krysa, Andres Burbano.


EVENT

Nature in Code: Physical Systems in Processing


Dates:
Thu Apr 26, 2012 10:10 - Sun Apr 29, 2012

Location:
BARCELONA, Spain

[*][/*]Nature in code: Introduction to Physical Systems in Processing

This workshop is an exploration on how to use code to simulate phenomena found in nature. Introducing concepts of physics and mathematics in a computer environment with Processing, we set up a simulation of particles with different interactions from scratch. Part of the exploration is to see how to integrate these tools in an aesthetic context to give dynamic movement and emergent behaviour to visual objects.

Benjamin L. Sanchez
BA Mathematics and Computers and current master's degree in Quantum Chemistry.
Is dedicated to exploring the application of mathematics and computing in different contexts, such as 3D reconstruction from images placentas, planning of drinking water networks, synthetic biology, the search for chemical compounds and the computational tools music.

From 26 to 29 April
26 and 27 from 19:00 to 21:00
28 and 29 from 12:00 to 14:00 16:00 to 19:00
ADRESS
Laboratorio Symbolon.
C. Llatzeret 13 bx.
Poblenou, Metro
Barcelona, Spain

REGISTRATION DEADLINE APRIL 24
Registration Cost: 80 €
Places are limited

CONTACT
Circuito Electrovisiones
electrovisiones@gmail.com
ekumenetalleres@gmail.com
Mobile: 682-543-867
Phone: 933 072 018 (Barcelona, Spain)


EVENT

Alpha-ville 2011


Dates:
Thu Sep 22, 2011 12:20 - Sun Sep 25, 2011

Location:
London, United Kingdom of Great Britain and Northern Ireland

For immediate release
International Festival of Post-Digital Culture
Theme: “Zeitgeist, from digital to post-digital”
“The idea that digital is something new and transformative is now quite old. So the question for most creatives is not about going digital - it's about making it feel less digital, about making participation and interaction feel post-digital; making the tech less techy. We see this reflected back in the freshest creative and cultural work and Alpha-ville is probably where you see that most vividly in this country.” Tom Uglow, Director of Creative Labs at Google.
The 2011 edition provides an online and live platform to explore, test and disseminate new ideas, emerging trends, collaborations and groundbreaking works. Running from 22-25 September the
programme presents social media and interactive art, open labs, meet-ups, talks, workshops and screenings alongside with live music, visual performances and parties.
Taking place alongside the London Design Festival, the 2011 edition enables a network of satellite events spreading across different London boroughs and links with other European cities such as Madrid (Twin Gallery) and Brussels & The Hague (Todays Art). Selected venues include the Whitechapel Gallery, Rich Mix, Netil House, Arcola Tent, XOYO, Hearn Street Warehouse and Space Studios. The festival programme also connects east and west London thorough a link with
the V&A Digital Design Weekend.
Alpha-ville Festival | 201 Netil House, 1 Westgate St. E8 3RL | http://www.alpha-ville.co.uk | @alphavillefest


EVENT

LANGUAGE CODE an exhibition about digital narratives


Dates:
Thu Mar 17, 2011 18:00 - Sun Mar 20, 2011

Location:
barcelona, Spain

LANGUAGE CODE an exhibition about digital narratives
 
Artists participating: Konrad 
Becker, Jorn Ebner, Anaisa Franco, Rupert Goldsworhty, Brion Gysin,
Karl Holmqvist, Fran Ilich, Carlos Katastrofsky, Ambient Information
Systems, Joseph Moore, Laure Provoust.

An exhibition about computer code, contemporary
narratives, digital art, minimalism and conceptual art. It is
exploring the different discourses in the social science
(politics, programming or music) to understand the
evolution of language, from Wittgenstein to Casey Reas. It
also expresses the logical purpose of language based in intentionality
for the development, progress and evolution of this human
science based in linguistics and semiotics. In this way, databases and
programming codes are the most sophisticated languages in
evolution. As L. Wittgenstein concluded, the best way to express
an idea, rather than from paragraph, is the sentence. Here begins a way
to think through propositions, closely related to minimalism, where the
phrase as a unitary and essential expression refers to the essence
of computing and programming language. 
Exhibition
will show the research investigation process at CED - MACBA Barcelona
with the documentation of Wittgenstein, Futurism, Art&Language,
Fluxus, Sol Lewitt, John Cage
 
curated by laura p/gracia



EVENT

LANGUAGE CODE an exhibition about digital narratives


Dates:
Thu Mar 17, 2011 20:00 - Mon Mar 21, 2011

Location:
barcelona, Spain

LANGUAGE CODE an exhibition about digital narratives
Artists participating: Konrad 
Becker, Jorn Ebner, Anaisa Franco, Rupert Goldsworhty, Brion Gysin,
Karl Holmqvist, Fran Ilich, Carlos Katastrofsky, Ambient Information Systems, Joseph Moore, Laure Provoust.

Opening Thursday 17th March 2011 at 20.00H
Conservas
C/Sant Pau 58, bajos
Barcelona 08001
SPAIN
An exhibition about computer code, contemporary
narratives, digital art, minimalism and conceptual art. It is exploring the different discourses in the social science
(politics, programming or music) to understand the
evolution of language, from Wittgenstein to Casey Reas. It
also expresses the logical purpose of language based in intentionality for the development, progress and evolution of this human science based in linguistics and semiotics. In this way, databases and programming codes are the most sophisticated languages in
evolution. As L. Wittgenstein concluded, the best way to express an idea, rather than from paragraph, is the sentence. Here begins a way to think through propositions, closely related to minimalism, where the phrase as a unitary and essential expression refers to the essence
of computing and programming language.  
n collaboration with LAAGENCIA
Sponsored by BEEP