Daniel Iregui

Born in Bogotá, Colombia, Daniel Iregui currently lives and produces all his work from Montréal, Canada. Founder of Iregular, an interactive content creation practice in Montréal, he has worked in the field of interaction design for almost ten years.

Art director made programmer, Daniel creates artistic interactive experiences on devices and in public spaces where design is as important as technology. He is very intrigued by the infinite and random combinations that are produced when a system is opened to the public for them to transform it. “I create the system, the rules and the esthetic, but the result is always different. This is what makes me interested in adding interaction to my work.”

iregular.io


Biography

Daniel Iregui’s work, often signed as ‘Iregular’, has been presented at the Festival du Nouveau Cinema, Montréal Highlights Festival, Igloofest, MUTEK Montréal, MUTEK Mexico City, C2-MTL, Mapping Festival in Switzerland and Glow Festival in the Netherlands

Project

Human Futures marketplace November 2014 – Aarhus: Godsbanen

Exhibited work: ‘OUTSIDE’



“OUTSIDE is an interactive installation where one can control the space at the other side of a window frame. A window floating in a space shines and the participant influences the outside by touching the space beyond the window. Through their interactions, participants can physically cycle through channels of radio signals, their gestural movements seeming to shape the intangible waves of electromagnetic information. This installation imagines a living space, one where everything can be controlled and customised by its inhabitants.”

Projection Parcours October 2015 – Montreal: Quartier des Spectacles

Exhibited work: ‘END OF BROADCAST’
Places des Arts, Montréal




“We are constantly bombarded with images and information, surrounded by media and hyper-connected to the world. Everything we see and hear remains stored in our memory, affecting it in countless ways. End of Broadcast is an interactive installation representing a brief moment of disconnection, where the only way of staying connected is through memories. Move your hands in front of the screen to see video fragments that you can control with your movements. This need for interaction is a metaphor for our inability to disconnect.”
Human Futures Exposition November 2015 – Liverpool: FACT

Exhibited work: ‘BACKGROUND NOISE’
Media Facade




“We are always connected, even in our most intimate and private space. We don’t have to be looking at a screen or communicating with someone. The noise of cars, neighbors, ventilation, sirens are all part of our silence and it is almost impossible to pull the plug from the exterior world and disconnect.

BACKGROUND NOISE reflects on all the external sources of noise that remove us from our current moment. Evoking a TV that has been disconnected from its signal, a giant LED screen displays static noise. This noise reacts to the environment by changing its configuration based on the sound picked-up by microphones close to the screen. As people walk in front of the screen, their voices and steps will modify the visually represented noise.”

Resources

What aspect of your allotted Human Futures theme do you most engage with in relation to your own practice?

“My theme is Living Space. My artistic practice has a strong focus on experience and making the audience a participant and not an observer. A living space can shape the experience of ‘living’ according to its size, layout, location, material of the walls and proximity to neighbors, to name a few. When I create an experience I try to disrupt routines and suggest behaviors, and I do this by considering all of the same elements.”

How do you envisage collaboration and exchange being utilised within your proposed project?

“The collaboration and exchange with Tobias Ebsen has grown organically and is based on conversations and reflections we have on different topics or as we exchange opinions about projects we’ve seen. We are interested in similar things but we have different skills, so is very interesting to exchange points of view.”

What was your initial response to this project’s title, ‘Human Futures: Shared Memories and Visions’? What role can artists play in the exploration of ‘futures’?

“I like the way the theme highlights the ‘sharing’ aspect of the ‘future’. We now know that soon we will be using more online schools, online shopping, online medical care, online dating, etc so public spaces will be almost the only places where we will gather with strangers. This leaves artists that are intervening within public space with a big responsibility.

Interventions in public space should mediate the interactions that we have with the other people that share the public space with you. An intervention should amplify the notions of a shared space owned by all, provide a way to see and interact with the community and most importantly should make you aware of where you are and not create distractions or realities that disconnect you with the place itself.”