Roc Parés Burguès (Mexico, 1968. Lives and works in Catalonia since 1983).My art experiments have been presented at Centre de Cultura Contemporània de Barcelona (CCCB), Fundació Joan Miró (FJM), Museo Nacional Centro de Arte Reina Sofia (MNCARS), Centro Cultural de Belem, Tate Gallery, Art Gallery of Ontario (AGO), National Museum of Photography, Film and Television (NMPFT), Centro Cultural de España en México, Brandts Danmarks Mediemuseum, among others.
• PhD in Audio-visual Communication especializing in Virtual Reality, 2001, Department of Audiovisual Communication, Interactive Communication Area, Universitat Pompeu Fabra.
• Degree in Fine Arts ,1992, Sculpture Department, Universitat de Barcelona (UB).
• Researcher of the Experimentation on Interactive Communication Group (eIC), UPF.
• Professor of Interactive communication and Media Arts: Master in Digital Arts (MAD), the Interdisciplinary master in Cognitive Systems and Interactive Media (CSIM), Pompeu Fabra Univeristy, Barcelona, and the MACAPD - Master in Contemporary Arts Practice & Dissemination, L’animal a l’esquena – Fundació Universitat de Girona.
Introductory notes to my experiments and writings on Interactive Communication.If I were asked to define my work in a single word, I would call it interstitial. The concept of interstitial allows me to metaphorically refer to my passion for looking into the cracks and in-between spaces; places in wich -in an almost imperceptible way- we can find examples of the fragility and relativity of what we sense, belief, think, do, say, or appear to be.
In this portfolio You will find documentation on some of the works which, since 1990, I have been producing throughout this vital, critical, and esthetical attitude.
I am not including on this site the important research and production work which I developed, between 1993 and 2000, in collaboration with my brother Narcís Parés , within our own platform named Galeria Virtual.
Infestation of photocopied insects which propagates, by night, through museum and art gallery fax machines, until their fax paper is gone. (Barcelona, 1990)
Year 1990: I make photostat copies of dried insects which i bought at a taxidermist in Plaça Reial, Barcelona. I use the magnifying function of the photostatic machine to create images in which the insects can be seen as the ink spots from Roscharch's psychological tests. I fax these images, by night (when no one will stop the automatic reception mode), to different museums and art galleries until they finish with their fax paper. Plague was my first network art project. I planned it as an urban space intervention. At that time, I was an Arts student at Fine Art University and my Parents ran a Xerox dealer in Barcelona. It must be taken into account that, in 1990, fax machines were new technological gadgets and the first ones to disseminate images instantaneously throughout a telephone network. For this reason, fax machines used to sit on the Manager's desks at that time, before the Internet days, allowing me to access the heart of the Art Institution for the cost of a telephone night call.
A wireless camera sending its video stream to a computer is taken away, flying up in the sky, by a bunch of helium filled ballons.
(Barcelona, 2004 / Mexico City, 2006)
Visitors are given a helium filled ballon each when they arrive to the announced place for the performance. I enter the place visibly hidding something in my hands. I ask each person to give me their balloon as I show them, one by one, what's in my hands (a wireless video camera which sends it's stream to a computer). When I finish collecting all the balloons, I tie them up all together with the small camera. Finally, I let it go, up to the sky, until it disappears.
Immediately after, a continuous projection of the video stream which i have recieved from the camera and stored in my hard drive is shown, from end to beginning. The resulting video progressively shows -from a strange viewpoint which descends from the sky- the group of fascinated people looking up. The impossible first-person shot moves downwards, slowly, reaching the level where the awaiting people's faces are, and taking portraits of their detailed facial expressions.
Project curated by laPinta premiered at OFF-Loop'05.
A farm silo -typical of the industrial agriculture of the region where I live- reconverted into a mobile laboratory for interactive audio-visual experimentation. ( Camallera, 2006)
It is both an interactive installation and a ln intervention on the landscape. Laying in the interior of the silo, the participants can modify certain parametres of the audio-visual compositions. These changeing compositions are formed by elements and by properties which are mathematicaly defined and generated by computers in Real-Time. SIL01 has been conceptualized and produced to become a mobile laboratory for full body interactive audio-visual interaction. My intention is to find places where local artists can organize workshops for developing their own enviroments and interactive compositions. The silo works simultaneously as a place for research, production, dissemination and reception.
Produced and premiered at Nau Côclea, Camallera, 2006.
Project supported by:
Institut Universitari de l’Audiovisual (IUA), of the UPF
Grup d’Experimentació en Comunicació Interactiva (EIC)
Departament de Cultura de la Generalitat de Catalunya
A low-cost, participative television, posing questions about mass-media communication, based on the Art Center and the web.
(Mexico City, 2006)
"la vecindad" is an interactive installation in which participants are invited to inhabit an environment inspired on a famous mexican TV show from the seventies.
The audience in the gallery: Is captured by a video camera and projected onto the white wall in front of them. By using a “blue screen” effect the audience is moved into “la vecindad”. People can wear different character costumes which are available in the room. Every now and then, they can listen to voices that talk to them, questioning their actions, from an indetermined place.
The audience on the Internet: Can see and listen to the people in the room, moving through "la vecindad", wearing costumes or doing what they wish(within the law). By using the specially designed interface and their microphone, they can talk to the people in the gallery.
Premiered at Centro Cultural de España en México.
The virtual puppet of an industrial Robot performs its self-disassembly responding to the captured motion from a stripping dancer.
I have a dream which i call Self-disassembling Robot: Designing and building a robot which consists of the parts, functions and behaviors strictly necessary to develop its only task: self-disassembly. After its one-and-only performance, this robot will stop working (being) as a consequence of the execution of its own disassembly. Its action would be similar in mechanism and effect to a suicide or a striptease.
My first attempt to make my dream come true ended up in frustration. But i managed to work on this therapeutic performance: The virtual puppet of an industrial Robot performs its self-assembly responding to the captured motion from a stripping dancer. The performance is recorded. The resulting video footage is projected backwards (from end to beginning), suggesting the idea of the Robot's Self-disassembly.
Performance supported by Departament de Cultura de la Generalitat de Catalunya and Fundació Rafael Tous. Developed by Grup d’Experimentació en Comunicació Interactiva of the Institut Universitari de l’Audiovisual, UPF.
Volunteer lawyers offer "First Aids" for artists, in Spain's leading Contemporary Art Fair. Co-author with Daniel García Andújar.
e-arco.org "primeros auxilios para artistas", by Daniel García Andújar and Roc Parés, supported by Unión de Asociaciones de Artistas Visuales and Fundación Arte y Derecho took place during ARCO'03 as a "Proyecto Sala" commissioned by the Museu de la Universitat d'Alacant. In the context of ARCO -the leading Art Fair in Spain- we offered the artist's community a "first Aid" service ran by lawyers who assisted more than a hundred questions regarding contracts between artists, gallery owners, public art Institutions, Fundations and collectors. The commented case studies were collected on the web-site www.e-arco.org
Shamefully, www.e-arco.org was removed by its host, the Universitat d'Alacant.
His Master's Voice
A robot dog plays tricks and dances responding to “his master’s voice” which is no other than the analog recording of human voices and music playing on an old gramophone. (Odense, 2007)
Títle: His Master's Voice
Type: Media Performance / Video Installation
Original Idea: Roc Parés (Barcelona)
Programació: Diego Esteban Pardo Ayala (Bogotá)
Choreographies: Roc Parés & Diego Esteban Pardo Ayala
Vinyl recording: dr. dub
Music: "Oh! How I Hate To Get Up In The Morning", words & music by Irving Berlin in 1918 / "Technologic", Daft Punk 2005.
Human Voices: Rem & Maia Parés de Llobet
Acknowledgments: Narcís Parés (IUA/UPF), Blanca de Llobet, Jordi Vitrià & Santi Seguí (CVC/UAB), Ricardo A. Téllez.
Grup de Recerca GREC-UPC (Vilanova)
Premiered at Robots at Play, Odense, Denmark.
My independent and academic research is not limited to the experiments on interactive communication. Here you can read some of my thoughts on Media Art, Cultural Policies and HCI.
Title: "Interaction-driven virtual reality application design. A particular case: 'El Ball del Fanalet or Lightpools'." Parés, N., Parés, R. PRESENCE: Teleoperators and Virtual Environments. Cambridge, MA: MIT Press, 2001. Vol 10.2. Pag. 236-245, 2001.
Title: Chapter about "Production" in the "Libro Blanco sobre el Sistema Arte Ciencia Tecnología en el estado español", Fundación Española para la Ciencia y la Tecnología, Madrid 2007. (in Spanish)
Title: "Towards a Model for a Virtual Reality Experience: The Virtual Subjectiveness.", Parés, N., Parés, R. Proceedings of PRESENCE 2005, The 8th Annual International Workshop on Presence. UCL, London, UK, 2005.
Title: Ethology of Z, text about the work of Antoni Abad. Published at "Ligações - Links - Liaisons", Porto 2001.
Title: The lack of a promotional policy for the artistic creation in Catalonia, published in Debates of the Art Museum of Girona (Núm. 5/2006).