Contemporary artist specialized in art, science, sociology and technology.

Founder of Harddiskmuseum, OLEA crytocurrency and Innovation director at ESAT (Escuela Superior de Arte y Tecnología).

Solimán López, born in Burgos, Spain in 1981, develops his artistic production between his studio in Paris, France (UAS, Updated Art Studio) and ESAT LAB, Innovation department that he runs at ESAT, Escuela Superior de Arte y Tecnología de Valencia, Spain.

His career as an art historian and master's degree in Art and Communication have conditioned his artistic evolution towards what we could call conceptual technological art.
His work with the meaning and nature of digital archives, as shown by some pieces such as the Harddiskmuseum, an art museum on a hard disk, Framed Memory Card, Host-in, Langpath or File Genesis or more recent works in which virtual and analog worlds are connected through photogrammetry as in High Meshes, are examples of his interest in human presence and its impact in this era of communication and digitalization.

Technically, his works are achieved thanks to the combination of 3D techniques, electronics, software programming, artificial intelligence, virtual and augmented reality and digital synchronization.
TAtchers' ART Management team talked to Soliman and asked a few questions about his work and new projects.

- What does the term "digital art" mean to you?
- The term digit, associated with art, has two origins in my opinion.

The first is related to the appearance of writing in Sumerian and even earlier cultures. Doing "mathematical counts" with digits became an everyday task linked to agriculture and natural goods. Let us recall those Egyptian Excel sheets a little later.

The second origin is even further back in time and has more to do with prehistoric cultures and the emergence of primitive typewriting with those hands engraved in caves. Our ancestors made these airbrushes showing us a double intention. That of presence and that of absence at the same time. That of the tangible and the intangible.

With these concepts in mind, I can only say that digital art comes from very far away and that the only thing it has done is to change its materialisation.

Digital art works with immaterialities and materialities, the data, the digit and its visual correspondences and it´s not related exclusively with a screen or the internet medium.

Digital art is the understanding that art is a transformation and a translation of information in a process where the input is the data, the process is the manipulation of that information and the final result is not the work (as happens in plastic works) but the work itself is the process, the manipulation in co-creation with the machine or technology in general, with the intellectual product of humanity.
- Tell us more about the process of creating a new project?
- I am quite a hyperactive person. I don't understand the world without movement (physical or mental). And in this process, observation is fundamental (passive or active). Seeing and analysing what is happening in our environment is the basis for understanding reality and, of course, for designing a new future. This is where the process of materialisation of the artistic idea begins.

I try to read the social changes brought about by the digital and technological revolution using the artistic process as a communication strategy to highlight these changes, democratise them and make them visible to a wider community.

Of course, in this process there is a very intimate and personal work that helps me to understand the particular motivations of the themes that interest me.

More specifically, I locate the subject matter that I am passionate about and begin to connect it with techniques and technological processes that represent it. After that choice I move on to the visual possibilities of representation and communication, approach to the public and materialisation (if necessary).
- You are a very productive artist! Among many projects that you've done what is your favorite project? Why?
- Time passes very quickly and although I have had some conflicts with my own practice far from the concept of "art collection" that organises contemporary production, I think that finally there is a solid common thread between all my projects. I can openly say that I am very proud of the conceptual capital I am creating around art, science and technology.

If I had to choose, the Harddiskmuseum, founded in 2013 and registered in 2015, remains a reference project in my artistic production. The first museum of history on a hard disk, the first museum of history stored in DNA, the first infinite museum of history (we are working on the Metadiskmuseum). A project that has opened many doors for me personally and professionally, connected me to many communities and expanded my network to a great extent. It is also the kind of project that stays with you forever. Since its birth I acquired the responsibility to keep this repository alive, active and safe, and that is a life project.

In terms of more current practices, the OLEA project has also become something very personal and my own. Storing the smart contract of my OLEA token in DNA and introducing it in olive oil is a very original process that always generates an expression of surprise in my interlocutors. That "wow" effect is very satisfying and shows a job well done. It is also a project that has opened up a universe of biotechnological possibilities in my practice and, above all, has shown me that there are no limits.

But the better one is not already done!
- Do you work with a team? Describe it, please.
- The artist's work with new technologies is always a collective work in the sense that we use the common imaginary related to the global production of innovation and research.

From this point of view, my team starts with the international community, open source and networks.

But more internally we have a lot of work related to the management of the Museum and my works that are sometimes exhibited in several places at the same time, which requires an important work of management and control of "quality" and processes.

On the other hand in the team there are specialists in electronics, interactives and blockchain who help me technically to solve the challenges of the ideas that arise. Of course, I also have external collaborations in which scientists, biotechnologists, lawyers, sociologists and many other profiles are associated with my studio in order to be able to evolve the projects.
- As a rule, each crisis gives points of development, how do you think the pandemic and the war in Europe can turn out for the arts? How do you see art in the future?
- Every social change has an immediate and direct impact on the art world. Artists, as a rule, are individuals who are quite sensitive to change and reality and this is always present in artistic production and practice.

I have always said that COVID has been like the "perfect storm" that has shaken up the structures related to the production of the immaterial/digital and the everyday integration of biotechnology.

In that sense, people have started to understand the value of the intangible and at that precise moment blockchain and NFTs came to, "technically" give us the solution to this unprecedented notion of the value of the digital.

In this context, the emergence of metaverses and hyperconnectivity, the mixed realities that I summarise in the concept of "virreality" as an absolute reality created by the sum of different integrations of information in the world between the physical and the digital, completely decontextualise any war linked to geopolitics, making these war conflicts linked to natural resources and "land", a situation belonging to another world, whose promoters are still archaic humans or are no longer human at all.

The body, land and physical possessions will (and must) change in an unprecedented way. The commodification of the body as a tool comes from a bygone era. The industrial revolution displaced the use of the body as a mechanical labour tool, leaving a conceptual vacuum in the social use of the body.

With the digital revolution, this body has ceased to be used as a material and is now used as a symbol, aesthetics and sexualisation. It is a horrible situation that must be changed urgently and in which social networks and those responsible for them must take responsibility.

We are going to live a real new era of representation of the human in the virtual where we will no longer bet on an AI (Artificial Intelligence) but on an AI (Augmented Intelligence) in which technology will come to be associated with our cognitive and physical capacities to increase our possibilities of relating to the world.

This issue will undoubtedly also be represented in the world of art and modes of expression. This integration between machine and human will be part of the way we will produce art, exhibit it and collect it.

But undoubtedly, the dematerialisation of all elements of society is an absolute trend and art will be present in this change. In fact, it will be an active driver in accelerating this understanding.

Our world is unsustainable. There are already more than 8,000,000,000,000 of us on this planet that is starting to run out of resources, so an alternative to consumerism and object satisfaction is through intangible production, and for that, digital is the place.
- Please tell our audience about your recent project Celeste?
- Celeste has now reached maturity. Its first version dates back to 2017 where I started to digitise the sky of Valencia from its port thanks to the support of the Escuela Superior de Arte y Tecnología where I had recently founded its innovation department, ESAT Lab.

Celeste talks about the space of the non-border and the rupture of the geopolitical limits proposed by the macro economy and residual history.

But she also talks about the Anthropocene and the interlinked processes of environmental impact.

And it also speaks of the concepts of appropriation embedded in the common imaginary and the devices of capture.

When we talk about this rupture of the frontier, the project proposes a common space in which the colour data of skies from different parts of the world converge in the same interface that combines them digitally to create a new sky. In this new 100% digital space, we realise that the celestial vault does not understand earthly borders and that we are all in the same environment and habitat.

As for the theme related to the Anthropocene, the work proposes this multiple capture of skies that are centralised in an artistic interface that brings together these values, which shows us how everything ends up hyperconnected and in the same place, in which the user is a spectator and witness. I am talking about diversity, about alienation. If pollution becomes generalised, we will only have one sky, grey, without shades or colours, and CELESTE will lose much of its appeal.

Finally, I also reflect on the concept of natural property. Whose real sky is it? Because of its immensity and absolute intangibility, it is difficult to appropriate it. It should be the same in every element of the real world. Owning earthly values makes very little sense if we look at it from a non-economic - human perspective. But it is true that every digital creation can belong to us completely because we are its creators, not its manipulators. That is why finally the work CELESTE materialises as a digital archive (which already in 2017 was a downloadable token or a proto-NFT) and now is already a pure NFT that bears witness to that moment of digital heaven. Please check the special collection we have in collaboration with Artpool platform.

The work has recently been presented at the MAAT in Lisbon and next year it will travel to Venezuela, the NFT Biennal and hopefully Ukraine and we are looking for more partners to install the piece in an immersive way.

- What are the projects that you are planning to present in 2023?
- I am currently working very deeply on further implementing the capabilities of the OLEA project and the launch of Introns, a project in which I propose a new type of avatar to represent humans based on so-called DNA profiling, which would be like a biotechnological "camera obscura" for the representation of human entities in the metaverse. A project recently presented at Ars Electronica in Linz in collaboration with Espronceda Institute of Art & Culture.

As for the Harddiskmuseum, we hope to find our financial travel partner to launch the Metadiskmuseum and we will launch the 721 space where the Museum's artists will have their cryptographic space to certify and offer their works for sale in a professional way.

We are also just launching the VI7A project with the Sens Research Foundation, in which we are creating a collection of real-time NFTs that take their data from cell lifespans in petri dishes. These cells are treated with drugs that prevent diseases linked to cellular ageing such as Alzheimer's, cancer, osteoarthritis, dementia and many others. Ninety-five percent of the proceeds from the collection go directly to the laboratory to implement these treatments worldwide. VI7A.SENS.ORG

The project is already open to participate.

In terms of newly created works, I am researching body anatomies and their relationship with the plant ecosystem and the blockchain.

I can't go much further but I am analysing the bodily changes derived from the use of new technologies and I am relating them to plants such as Bamboo, which talk about the exponentiality of processes.

Bamboo, like technology, grows exponentially once it is ready and I feel that we are right at that moment. We have been planting that plant for years and now we are seeing how in a very short time its rings (blockchain system) are growing at a dizzying speed.

These relationships between the living-natural, its DNA and essence and the connections with the human and the digital are still currently my weak point and one that I could spend a lifetime researching.

Phone: +1 123 4567890
Email: projects@solimanlopez.com
Loft Pineapple, 22 Pink Street, New York