Nourathar Studio is a creative technologies lab dedicated to
the creation of experiences which explore the full potential of emerging media. Current members of the studio are Caen Botto (Buenos Aires, 1970) and Marta Rupérez (Madrid, 1977). Their art occurs at the intersection between the physical and the virtual, in
the hybrid space between technology, history and magic. Their research
articulates contemporary history and archaeology, and materializes in projects
which implement augmented reality, immersive environments, interaction, optical
illusionism and other lo & hi-tech mirages. SELECTED EXHIBITIONS Nourathar Studio’s recent exhibitions present audiovisual installations and artworks which combine interaction and augmented reality with analog media and obsolete technologies. Through technological tricks and optical illusions which highlight the synesthetic correspondences between colour, sound and motion, Nourathar’s aim is to explore the impact of technology on our perception, as well as the subjective nature of reality. The confluence of proto-cinematic techniques with digital tools in Nourathar’s work, draws audiences into a dreamscape inhabited by futurities from an imaginary past and memories from an oneiric future.
INTERACTIVE & SITE SPECIFIC
Nourathar's interactive artworks invite users to explore the connections between the light,
colour and sound spectra. The visitor’s physical experience with these artworks
generates further correspondences with the environment. In this way, the
gallery becomes a sensitive space, an audiovisual instrument with an invisible
interface that allows for an intuitive experience of the work, in which
audiences become active participants of the artwork, instead of passive
spectators. Custom application in each interactive artwork, developed in Max/MSP/Jitter by Caen Botto.
Recent audiovisual devices by Nourathar combine technological antiques and analogue media with augmented reality and contemporary, digital media. These artworks expose the obsolescence of technologies which determined historical realities and underline how the promises of the future inherent to those appliances have faded away. The convergence of physical and virtual elements in these artworks seeks to recover antique tricks, optical illusions or scientific conjurations from XIXth century stage magic, a time when "technology was indistinguishable from magic". In all of them the silent animation is approached with a musical sense of rhythm and balance.
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