Arcangelo Constantini is an artistic inventor, technological hacker, and cultural producer whose practice develops through a constant existential speculation on the nature of reality. His work is characterized by the development of experimental hypotheses that connect art, science, technology, and mystical thought through transdisciplinary processes.

A passionate reader of science fiction and an avid dreamer, he began exploring the possibilities of digital media in the late 1980s as tools for correlating the structure of reality with technological systems. In 1997, he began an intensive practice on the internet, founding unosunosyunosceros.com, a semantic repository of aesthetic-conceptual experiments exploring the perceptual relationship between dreamlike, concrete, and digital spaces. He later created bakteria.org, a neuroaesthetic investigation into automatic generative drawing and writing that alludes to the hologenome and the microbiota of the human ecosystem.

For more than three decades, his artistic and curatorial practice has developed in dialogue with philosophical currents such as object-oriented ontology and panpsychism, while simultaneously questioning the paradigms of scientific and mystical methodologies. His work oscillates between the re-signification of abandoned functional objects—hacked to engage in philosophical dialogues—and the construction of experimental artifacts intended to explore gravitational, electromagnetic, and energetic phenomena.

Sound occupies a central place in his work because of its symbolic and meaning-generating capacity, manifesting itself through sound artifacts, mantra machines, interactive installations, and performative activations. A significant part of his recent research focuses on anomalies in the water molecule, approached through physical computing, electromagnetic experimentation, and processes that connect science, art, and cosmological speculation.

His explorations have led him to develop interactive devices, installations, and experimental systems to investigate physical and perceptual processes. He has conducted experiments on gravity at the microgravity laboratory of the Russian space agency Roscosmos as part of the project The Gravity of Matters, and was an artist-in-residence at the Fluid Mechanics Laboratory of the Institute for Materials Research at UNAM.

His work has been presented at museums and institutions including Laboratorio Arte Alameda, Museo Tamayo, Museo de Arte Carrillo Gil, Museo de Arte Moderno, Ex Teresa Arte Actual, Museo Universitario del Chopo, and MUAC, among other venues in Mexico and abroad, including the Lyon Biennale and the Havana Biennial.

Curatorial Practice and Cultural Management

Constantini has developed significant curatorial and cultural management activities at the intersection of art and technology. He was curator of the Cyberlounge at Museo Tamayo, where he programmed more than twenty net-art exhibitions as well as the Inmerso / Foro Sonoro sound intervention program (2004–2006).

Between 2000 and 2010, he organized numerous visual and sound events at inte[r]perie, the terrace of his home-studio, which later evolved into the independent space ¼ un-cuarto, dedicated to artistic experimentation with technology.

He was part of the curatorial team of the Transitio MX Electronic Art Biennial (2005 and 2009) and served on the board of Dorkbot Mexico City, where he organized more than twenty gatherings devoted to the intersection of art, science, and technology. He also participated as a curator in the inaugural event of the Fonoteca Nacional (2008) and was co-curator, with Iván Abreu, of the inaugural event of the Centro de Diseño, Cine y Televisión.

He currently directs the FACTO Festival and co-organizes, with Marcela Armas, the Meditatio Sonus series, sessions combining meditation and sound art. He also develops educational initiatives such as Entorchados.net and Entorno.org, focused on technological and artistic experimentation.

Awards and Grants

Throughout his career, he has received various awards, grants, and forms of support, including:

S+T+Arts4Water

FONCA Young Creators Grant (2000)

Rockefeller–MacArthur Fellowship (2002)

First Prize, Vidarte Festival (1999)

First Prize, Interférences Festival, France (2000)

Third Prize, Art in the Net, Machida City Museum, Tokyo (1998)

VIDA 11 Grant, Fundación Telefónica (2009)

Fundación Bancomer Grant

Production Grant, Centro Nacional de las Artes (2009)

Mente QUO Award (2013)

PAC 2020

Member of the National System of Art Creators (SNCA–FONCA)