Santiago torres fernandez
Born in Paris on February 27, 1986, Santiago Torres is an interactive artist whose work lies at the intersection of digital and kinetic art. He explores the relationship between light, color, and geometric abstraction, often through interactive devices and works utilizing cutting-edge technologies. His work is characterized by a quest for dialogue between the viewer and the artwork, where active participation becomes an essential element of the aesthetic experience.
After spending part of his childhood in Venezuela, he permanently settled in Paris in 2005, where he was granted political refugee status. Early on, he engaged in artistic research on color, light, and interactivity. His arrival in France placed him at the heart of the kinetic and neo-constructivist art scene, where he met influential figures such as Julio Le Parc and Octavio Herrera, who had a decisive influence on his work.
Early Research and Immersion in Kinetic Art (2008-2009)
In 2008, Torres made his debut by exhibiting his first personal work in France,
Hommage à Malevitch
, at the Galerie Neri Marigno. This exhibition marked his entry into the world of contemporary French art. In the same year, he joined the Atelier Schöffer, where he deepened his knowledge of cybernetic and kinetic art, a field that would allow him to develop his own approach to interactivity and digital art. It was also at this time that restorer Éléonore Schöffer noticed his work, declaring that his creations "are not static but open to aesthetic and sensitive dialogue."
In 2009, he participated in Nuit Blanche Paris, where he presented an interactive installation. That same year, he was tasked with restoring a large portion of Julio Le Parc's light works, notably
Jeux Surprises
, which led him to develop a deeper understanding of the materials and technical processes used in kinetic and digital art.
Rise on the International Scene (2010-2014)
In 2010, he was represented by the Galerie Denise René, a leading figure in kinetic art, where he presented
Trame en temps réel
, a work exploring the unpredictability and fluidity of digital visual composition. That same year, he exhibited at Art Basel and FIAC, thus joining the world’s foremost contemporary art fairs.
In the following years, he continued exhibiting, such as
Noir et Blanc
(2011, Architektur der Stille, Das Kleine Museum) and
Trame en temps réel
at the Musée en Herbe (2012), while remaining regularly represented by Galerie Denise René. In 2013, he unveiled his
Lumières Aléatoires
series at the
Les Sud-Américains
exhibition at Galerie Denise René and participated in prestigious events such as
Cinétique Numérique
at Art-ON Istanbul and the
PINTA-London Latin American Art Fair
. That same year, he was invited to participate in
Hommage to Denise René
at the Espace Expression in Miami.
In 2014, Galerie Denise René dedicated a solo show to him,
Interactive
, affirming his role as a pioneer in integrating digital technologies into kinetic art. It was also in this year that he developed
Illuminar
, a series of interactive devices designed to be installed in hospitals in collaboration with the association
Art dans la Cité
, illustrating his commitment to integrating art into public and medical spaces.
Institutional Development and Technological Expansion (2015-2025)
Between 2015 and 2019, Torres continued to fuel his artistic research by participating in numerous exhibitions, including
Cinétique et Numérique 2
(Galerie Denise René, 2015),
Lumière et Mouvement
(Galerie Denise René, 2016), and
Variation
at the Cité Internationale des Arts (Paris, 2016). In 2018, he inaugurated EP7, a Parisian cultural space with a 133 m² digital facade, where he presented a solo exhibition entitled
Interactive
. He also continued to exhibit at significant events such as
Ballet Mécanique
in Souillac and
Espace Oblique
(Galerie Denise René).
In 2019, he began an artistic residency at the Villa Dufraine – Académie des Beaux-Arts, where he explored interactions between algorithms, sculpture, and artificial intelligence. This exploration continued in 2020, when he exhibited
Colorful
at Galerie Denise René and developed a series of laser engravings created by generative algorithms.
In 2021, he exhibited his first algorithmic works, which were also laser engravings, in a new minimalist and generative approach. That same year, he completed his residency at the Cité Internationale des Arts and participated in the exhibition
Structures du silence
at Galerie Denise René. In 2022, he launched
Rotations Colors
, a collection of NFTs, and presented
Real-Time
at the
Calculer la beauté
exhibition, curated by Dominique Moulon.
In 2023, he initiated the
In Material
project with Janine Sarbu, a project bringing together 27 artists under the curatorship of Dominique Moulon, Janine Sarbu, and himself. In April 2024, he was celebrated in a solo show at METAHAUS,
VITRIOL
, curated by Janine Sarbu, with the participation of the Minister of Culture, Rachida Dati. In October 2024, he launched the
UnReal
project, once again bringing together 27 artists, under the curatorship of Moulon, Sarbu, and Torres.
In 2025, he continues to push the boundaries of his art by exploring new digital and technological horizons, notably participating in the
DIEU EST ALGORITHME
exhibition at Galerie Plateforme Paris and
Fluctuations
at METAHAUS.
Santiago Torres is an artist committed to a constant search between art, technology, and interaction, aiming to renew the contemporary aesthetic experience through his interactive, digital, and algorithmic works.
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