Patxi Araujo (Spain, 1967) is an artist and Professor at the Faculty of Arts at the University of the Basque Country UPV/EHU. Departament of Art and Technology. He is experienced in the field of Fine Arts, he applies his research in scenery, installations and events, and in immersive and interactive environments. Hi is also working with disciplines such as dance or robotics. He has made numerous individual and collective exhibitions, receiving awards and mentions in various competitions and international video art animation: the International Film and Video Festival, (Monterey, 2000) and L’Imagine Leggera, (Palermo, 2001), the International Image Festival of Manizales (Colombia, 2009) and the FILE -09 (Brazil), among others.


In his recent work explores the relationships between art, technology and poetry. The interest of this born Clarke’s 3rd Law (2008), a project that analyzes and recreates the territory of the techno-magic and Tears of Alice (2009), conceived as a meeting point for an aesthetic synaesthesic and hyperconnective. Soft_Wall (2010 -…) investigates significant applications throughout the world mapping. Currently is developing the project Codex Contaminari_Humana Coded as an exercise of aesthetic criticism and creation around the concept of the human through bodies, perceptions and metaphors from environments of programming, robotics, artificial life and simulation.


The Trained Particles Circus proposes an improbable, precarious and potentially dangerous meeting place caged between the real and the virtual. It’s embodied in the relationship between a synthetic biomechanics and an automaton, recreating the figure of the circus artist, the puppet with its own life or the fantastic animal. And it places us as spectators to a contemporary spectacle of hybrid and augmented subjects that weaves light and shadow, fake and magic, virtual and physical reality, machine and organism.


The Trained Particles Circus

On sensography
In a gloomy space, or in total darkness, a hanging metal cage shelters the virtual and physical body of The Trained Particles Circus. The particles and their connections, dissected through a Pepper’s ghost in light and shadow, dance alongside an automaton which is composed of articulated rods and servos in an illusory common space. All its movements, images and sounds respond to the activity of a software entity submitted to interaction through attractors.


On sensography