Marco Barotti wins NTU Singapore Global Digital Art Prize
  • © Marco Barotti

Congratulations to Marco Barotti who wins $25,000 dotated NTU Singapore Global Digital Art Prize, beating over 440 other entries​. The biennial international competition is designed to recognise outstanding creativity in art, design and cultural heritage that makes significant use of digital tools in its creation. The theme for the inaugural edition of the Prize is The Fourth Industrial Revolution. It aims to highlight the impact of technological transformation on society and the human condition, as the convergence of the physical, biological, and digital worlds brings about numerous opportunities and challenges.

Marco Barotti’s work Clams is inspired by the molluscs’ powerful ability to detect pollution. His audiovisual installation of moving sculptures, which resemble clams, taps on sensors that measure water quality. The sensors can be placed in any natural or artificial aquatic environment, either close to the clam sculptures or via wireless remote connection from anywhere in the world. The real-time data streamed by the sensor is processed and converted into an audio signal that generates a soundscape as well as the opening and closing movement of the clams. Sound and motion unite to create an audiovisual experience that allows the audience to see and hear the water quality in real time. Using recycled plastic, multiple colours and patterns featuring opaque and transparent characteristics are merged together to create unique sheets that form the shape of the clams.
Oceans 4.0 & no bodies welcome | all bodies welcome
  • © Marco Barotti
  • © Robertina Šebjanič and Gjino ŠutićRobertina Šebjanič and Gjino Šutić
  • © Anna Dumitriu and Alex May

The exhibition Oceans 4.0 presents three projects that monitor, reflect and imagine the future of our threatened oceans.

In nature, clams are detectors of pollutants; they serve as tiny filtration systems. Inspired by this natural phenomenon, Marco Barotti presents his new work Clams, a kinetic sound installation triggered by water quality. Live data is streamed by a sensor placed into the ocean and converted into an audio signal. Barotti’s clam sculptures - made from recycled industrial plastic waste - are triggered by this signal, generating an evolving soundscape, creating an experience that allows us to see and hear water quality in real-time.

How do the oceans feel our impact? Robertina Šebjanič and Gjino Šutić’s aqua_forensic illuminates invisible pollutants, residues of human consumption, and ‘monsters’ in our waters. Documenting the artists’ ‘in vitro’ experiments, the project shows microorganisms dying in weak solutions of pharmaceuticals - 20,000 times weaker than the average human dose. Interrogating the negative impact we are having on water habitats and lifeforms, aqua_forensic questions our solidarity and empathy with water systems beyond our human perception.

What will ‘life’ mean in a post-climate change future? Anna Dumitriu & Alex May’s ArchaeaBot is an underwater robotic installation based on new research on archaea: a group of micro-organisms believed to be the oldest form of life on earth, adapted to live in extreme conditions. Combined with the latest innovations in artificial intelligence and machine learning, the artists have tried to create the ultimate species for the end of the world.

Marco Barotti, Anna Dumitriu and Alex May, Robertina Šebjanič and Gjino Šutić


no bodies welcome | all bodies welcome is a speculative choir piece housed within a ‘void pod’, by Aay Liparoto, FACT’s 2019 EMAP artist-in-residence. In their work, Liparoto acknowledges our interdependence with technology for information, work, sex, entertainment, communication, socialising, banking, healthcare and the crossovers in between. What does this web of interdependence mean for queer feminist bodies which rely heavily on more DIY information exchange? no bodies welcome | all bodies welcome invites us to question the politics and power of the spaces we participate in online, and the behaviour of ourselves and others within them via the ‘void pod’. Housing a new sound piece created through workshops with HOT BODIES – CHOIR a queer, LGBTIEA+ and feminist choir based in Brussels. In the pod, cocooned with light and sound, their voices invite us to reflect and question these spaces and behaviours.

Liparoto’s artwork has been informed by their ongoing research Not Found On, part of which they carried out during their residency, where they held workshops across Liverpool with the aim to dicuss the co-creation of an online knowledge bank with, by and for feminist queer bodies to record and exchange community knowledge.

Aay Liparoto with HOT BODIES - CHOIR

Call for Applications – Residencies for European media artists in 2020 and 2021

Does an AI dream of tulips? Can an intimate kiss be translated into neuro-feedback data? What would the ultimate species for the end of the world look like? These are some of the questions which artists are playfully exploring through new technologies – from digital media to bio art and robotics – within the framework of the European Media Artists Residency Exchange programme.

Eleven renowned media arts institutions from all over Europe – from FACT in Liverpool and LABoral in Gijón to Onassis Stegi in Athens and RIXC in Riga – have joined forces and with the generous support of the EU’s Creative Europe Programme created the European Media Art Platform (EMAP). The programme supports emerging European media artists with a grant to produce new work, and a two-month residency at a host institution with access to their facilities and in-house expertise.

Over the last two years, the success of the initiative can be demonstrated through high quality exhibitions, and EMAP alumni winning numerous accolades. Last year’s artists in residence Karen Lancel and Hermen Maat have been awarded by the Global AI ART Competition of the Tsinghua University; Chloé Galibert-Laîné and Kevin B. Lee won the Eurimages Lab Project Award at the film festival in Karovy Vary; Anna Ridler’s work MOSAIC VIRUS received an honorary mention at Ars Electronica 2018, and was also shown at the prestigious Barbican in London this year.

EMAP is now calling for applications for residencies in the years 2020 and 2021.

Call for Applications – Residencies for European media artists in 2020 and 2021

The European Media Art Platform will offer EMARE (European Media Artist in Residence Exchange) residencies for artists working in the fields of digital media – in internet and computer-based arts, in sound or video art, in media-based performance, as well as in robotics or bio-art. The upcoming call covers residency stays in 2020 and in 2021 at eleven renowned European media art organisations.
European artists can apply with a project proposal for a residency at one of the following institutions:
• Ars Electronica, Linz, Austria
• Onassis Stegi, Athens, Greece
• Bandits Mages, Bourges, France
• FACT, Liverpool, United Kingdom
• IMPAKT Centre for Media Culture, Utrecht, the Netherlands
• Kontejner, Zagreb, Croatia
• LABoral Centro de Arte y Creación Industrial, Gijón, Spain
• M-Cult, Helsinki, Finland
• RIXC, Riga, Latvia
• WRO Art Center, Wroclaw, Poland
• Werkleitz Centre for Media Art, Halle (Saale), Germany
The residencies are for two months in one of two time frames, either from March to August 2020 or from January to May 2021. Applicants can choose one of the two options or indicate that they are available for both. EMARE includes a grant of 3.000 €, a project budget of 4.000 €, free accommodation, travel expenses up to 500 €, free access to technical facilities and media labs of the host institution, consultation by production and market experts and a professional presentation as well as the option to participate in exhibition tours at our members festivals in 2020-2021.

Applications should be submitted online and must include a CV, (audio)-visual documentation of previous work and a preliminary plan or sketch of the proposed project to be developed within the EMARE programme. Applicants must be EU residents and taxpayers in an EU member country. Undergraduate and Master’s students are not eligible (PhDs are accepted), but emerging artists, regardless of age, are encouraged to apply.

More information and application at:

Deadline for Applications: December 2nd 2019, 12:00 CET

The platform annually awards production grants to outstanding European media artists and supports research, production, presentation and distribution of media art in Europe and beyond.

Short history:
1995 the European Media Artists in Resicence Exchange (EMARE) was initiated by werkleitz, Hull Time Based Arts and Intermedia Department Budapest.
The ongoing residency exchange had various partners and members during the years. In 2007 the European Media Art Network (EMAN) was founded as institutional backbone for the EMARE program.
In 2007 and 2008 EMAN received support from the European Union's 'Culture 2007–2013' programme to organise a series of residencies for European artists as part of the residency programmes of the four EMAN members. In 2012 and 2013 the EU supported an exchange of European and Mexican artists for residencies at the four European EMAN members and media art labs in Mexico. For 2014 and 2015 EMAN received similar EU funding to organise a residency exchange for artists from Europe, Canada and Australia.
In 2017 newly founded EMAP (European Media Art Platform) has started to offer grants in 11 member institutions all over Europe.

The three EU fundings for these activities resulted in the move exhibitions and werkleitz festival series in Halle:
2018 EMAN expands to 11 European countries and transforms with the help of the Creative Europe funds into EMAP!