Ricardo Trigob. 1980
Throughout my career, my work has gradually focused on exploring the relationship between the computational paradigm and art. As well as, to derive the artistic research as a practice based on the production of free energy.

I trained as a self-taught painter from 1995 to 2001, then I graduated in Fine Arts from the University of Barcelona, where I also presented my doctoral thesis: “Informacionalismo. Formas de colonización del progreso técnico sobre prácticas artísticas. 2010 – 2016” (2017). The abstract of the thesis: "This is a document with texts and images which produces a kind of variable electric impulse for some readers. It is written down by an artist in the Phd context of a Fine Arts University. The text deals about the work that others have already written and made, in a distort and clumsy way. A packet of filtered data which has been condensed, guided and introduced by a certain degree of freedom through the eight-artist works. This is also a way of projecting and performing my own artistic praxis. A chain of quotes and ideas which have been impulsed by the need for explaining and giving shape to the intuition that the technical progress and the scientific knowledge (at the beginning of the 21st century) have been colonized by the own artistic language; drawing its action area and subjugating it to a discursive material power which involves everything, including the meeting moment between you and the particles which maintain stable shapes of the different supports where these written words are pronounced".

About my work
My task is focused on collecting samples and connecting data about how Western techno-cognitive magma becomes naturalised within artistic knowledge. In this sense, the process of colonisation of human knowledge through science and technology has not only ingested the way art materializes, but also its discursive, disciplinary, economic and ideological genesis. In this way, on the one hand, my work is based on articulating evidence to make clear that process of subordination between progress and art, and on the other hand, I concentrate on making smimages fissures and relocations in that correspondence. In order to confront forces such as human animality, emotions or impulsivity on this normative system that is executed under the sign of progress. In short, my goal is to propose another type of non-binary reciprocity between technology and nature, between idea and form, between software and hardware, modifying their densities and changing its measures of value.

¿Es posible considerar la labor artística como una forma de producción de energía libre? 2019 (pdf)
The Spark in the Flame 2018 (jpg) 
Informational Performance 2018 Posted on tzvetnik.online
Informacionalismo. Formas de colonización del progreso técnico sobre prácticas artísticas 2010-2016 2017 (Phd) (Conclusión) (pdf) 
Ricardo Trigo por Ramón Salas 2016 (Catalogue text) (pdf) 

A Conversation between Ricardo Trigo and David Armengol 2016 (pdf)
El paper de l’artista és el de descodificar la realitat des d’angles el menys normatius possible (Per La Capella, 2016) (pdf)
Entrevista a Ricardo Trigo (Por Mit Borras, 2016) (Neo2) (pdf)

Press Releases
Background Immunity (2016) by David Armengol (es) (pdf)
Destreza y torpeza común 2016 (pdf)
Destreza y torpeza común (Spam to spam) 2016 (pdf)

3D Lighting Screws 2018 [zip folder] 
3D Screws 2018 [zip folder] 
3D Screws 2016 [zip folder]

Untitled 2018  [ttc file]
Drunk Arial 2016 [otf files] [zip folder] 
Drunk Oswald 2016 [ttc file]

Dating Creativity
• Euphoria and disappointment (2018-...) [csv or pdf] (Last update: January 21, 2019)

vimeo (2010-2016)
HAMACA (video distribution)

Full cv (pdf)
Last update: May 1, 2019