ART TERRITORY DATA (ATD). 2025
Artistic research projects with hybrid processes and online results.
Marc Anglès

Art Territory Data generates a framework for reflection and research about the idea of alternateterritories, in reference to places, media, and the positioning of artistic practice. 
This framework answers the need to promote the understanding of visual culture, and the exchange of knowledge from plural spaces of action and delocalised or transperipheral spaces, which help expand the action and dissemination of cultural content beyond traditional circuits. It also responds to the variety of ways of attending and understanding the nuances of place, territory, or territorial context; placing the care of the people involved in the centre of cultural processes, and observing the need for multiple options of scale, identity, space, and time.

The 2024 edition of ART TERRITORY DATA developed two selected research projects, carried out by Natalia Domínguez, Cómo se condensa el vapor de agua (access to the website projectaccess to the website project), and rubiasyrisueñas (Iris Verge & Sandra López Parra), S3x3territori (access to the website project). This edition continued to examine the concept of transperiphery, delving further into the idea of transversal connections, with the aim of expanding circuits committed to the visibility of processes and projects and the circulation of cultural content. In 2023, the first ATD project was carried out, conceived as a virtual residency, with María Alcaide’s project Me he ido tantas veces que no se si avanzo o retrocedo (access to the website project).

This edition of 2025, the framework for reflection includes the debate within the cultural and creative sector regarding the evolution of projects within the virtual realm in response to new dissemination formats, delocalised circuits, and alternate-territories; investigating possibilities for the exchange of resources and knowledge, the variety of connectivity and production formats, the means for mobility in the cultural and creative sector, and the dissemination of cultural content through various strategies, especially hybrid methods which combine face-to-face with virtuality, and from which models of location structures may emerge.

For this programme, continuing with the reflections which we share with the Laboratorio de Convocatorias Cuidadas (2021), it has been decided to use an alternative to the open call in order to select a resident project. Thus, for this occasion we have invited Marc Anglès who was a shortlisted in the call for REART ⇆ RESIDÈNCIES D'INVESTIGACIÓ ARTÍSTICA al 2022-2023.

A l'edició 2024 d’ART TERRITORI DATA es van desenvolupar dos projectes de recerca seleccionats, realitzats per Natalia Domínguez, Cómo se condensa el vapor de agua (accés al projecte web), y rubiasyrisueñas (Iris Verge y Sandra López Parra), S3x3territori (accés al projecte web). En aquesta edició hi va haver  la voluntat de continuar treballant sobre el concepte de Transperiferia, aprofundint en el tema vers la idea de connexions transversals, i amb l’objectiu d'ampliar circuits compromesos en la visibilitat de processos i projectes i la circulació de continguts culturals. El 2023 es va pprtar terme el primer treball d'ATD, concebut com una residència virtual, amb el projecte de María Alcaide Me he ido tantas veces que no se si avanzo o retrocedo (acceso al proyecto web).
Enguany, en 2025, aquest marc de reflexió, s'inscriu en els debats dins del sector cultural i creatiu per desenvolupar projectes que es situen en allò virtual, i que evoluciona atenent a nous formats de difusió, circuits deslocalitzats, territoris-altres;  investigant les possibilitats per a l'intercanvi de recursos i coneixements, la varietat de formats de connectivitat i producció, les mobilitats en el sector cultural i creatiu, i la difusió de contingut cultural a través de diferents métodes, especialment híbrids que combinen la presencialitat amb la virtualitat, i des dels que poden sorgir models d'estructures d'emplaçament.

Per aquest programa, continuant amb la línea de reflexions que compartim amb el Laboratorio de Convocatorias Cuidadas (2021), s'ha tornat a optar per una alternativa a la convocatòria oberta a l'hora d'escollir el projecte. Així, per aquesta ocasió hem convidat a Marc Anglès  que va quedar finalista a la convocatòria de REART ⇆ RESIDÈNCIES D'INVESTIGACIÓ ARTÍSTICA al 2022-2023.

Marc Anglès / Gol fantasma (Phantom goal)

Football, as Borges said of literature, is order and adventure (Mr. César Menotti).

I'm not a "footballer", nor is this a project about football. Marc Anglès uses football as an excuse to address debates which go far beyond the limits of the playing field. With this project, he attempts to enter the unattainable, intangible, and speculative territory of bar conversations, sports gatherings, and intermissions, in which the game’s narrative and its protagonists become a social phenomenon which exceeds its ninety minutes duration. Thus, based on the controversies arising from phantom goals (plays in which there is uncertainty as to whether the ball has completely crossed the goal line), he proposes to analyse the television and sports press images which document these actions using advanced analytics and artificial intelligence.
The Phantom Goal project, far from obtaining a response - is it a goal or not?- seeks to generate an absurd body of data, so absurd that the (supposedly objective) machine cannot pass judgment and ends up making a sporting chronicle of its own failure, extending once again beyond the playing field.

Caption
Photo of Geoff Hurst's phantom goal which decided the 1966 World Cup final between England and Germany. Today it is still debated whether the ball entered the goal completely. Currently, the original crossbar from which the phantom goal ricochet is displayed in the new Wembley stadium, as a symbol of the only World Cup won by England.

Biography
Marc Anglès is an artist, investigator, and teacher. He is also a disbeliever who seeks to be a believer. His artistic practice leads him to "feel" the insides of electronic devices with the objective of understanding the technique of a contemporary religion: technology. These acts, considered as being impure, open a lateral wound capable of answering questions, but also of articulating new ones which permanently boost their projects and their faith.
Recently, his artistic practice was awarded second place in the 2024 Antoni M. Badia i Margarit Prizes for the best thesis written in Catalan in the field of humanities and social sciences, the "Ayudas Injuve para la Creación Joven 2023/2024", and the grant for research in the visual arts of the Generalitat de Catalunya. He was also a notable presence at the 2024 Eufònic festival, the 2020 Sala d’Art Jove, 2019 Guasch Coranty grants, 2018 Felícia Fuster grants, as well as his participation in the 2019-2021 Jeune Création Européene Biennial.