{ "$schema": "https://kienesoyo.com/works.json", "generated": "2026-09-07", "license": "All works © Javier Guijarro Fayard (KIENESOYO). Text and data may be quoted and summarised with attribution: KIENESOYO (Javier Guijarro Fayard), Madrid.", "artist": { "name": "Javier Guijarro Fayard", "alias": "KIENESOYO", "role": "Artist and architect", "city": "Madrid", "country": "Spain", "website": "https://kienesoyo.com", "about": "https://kienesoyo.com/about/", "instagram": "https://www.instagram.com/kienesoyo/", "fields": [ "digital art", "new media art", "generative art", "interactive installation", "drawing", "collectible card systems", "NFT" ], "recurring_themes": [ "identity", "surveillance", "exposure", "judgement", "data", "the Anthropocene", "simulation", "the performed self" ] }, "works": [ { "id": "paradise", "title": "PARADISE", "year": 2026, "artist": "Javier Guijarro Fayard", "alias": "KIENESOYO", "url": "https://kienesoyo.com/paradise/", "medium": "KIENESOYO, PARADISE, 2026. Real-time generative installation: live and historical wildfire data, European macroeconomic indicators, digital Persian carpets and online application.", "themes": [ "burning Eden", "wildfire data", "Anthropocene", "Europe", "Persian garden", "climate collapse" ], "statement": [ "PARADISE is a real-time generative installation about the progressive destruction of the Western idea of paradise. The work takes Europe as the contemporary projection of the Garden of Eden: a territory imagined from the outside as a place of safety, abundance, freedom and material well-being.", "That image is reinforced by advertising, tourism and the visual narratives of the West. For those who migrate towards Europe, the continent appears as a promised land. Yet this paradise grows ever more precarious: climate change, recurring wildfires, the loss of purchasing power and the weakening of the middle class reveal a landscape whose stability is beginning to burn.", "The application connects real-time wildfire data from several European countries, the United States and Canada; historical fire records; and macroeconomic indicators tracing the evolution of the European middle class since the 1980s. These parameters modify the digital carpets, translating environmental and economic deterioration into a visible process of combustion.", "The Persian carpet acts as the central symbolic structure. Its geometry traditionally represents an enclosed garden: an ordered, peaceful and fertile image of paradise. In the installation, this garden is progressively consumed by fire — trees, flowers, paths and ornamental figures disappear, blacken or mutate as the data rises.", "PARADISE binds ecological collapse and social decline into a single visual system. The work does not illustrate isolated catastrophes; it shows how the conditions that sustained the European promise erode together. The paradise we sell to others — and the one we inhabit — is no longer a stable place, but a fragile image whose destruction is happening in real time." ], "media": { "poster": "https://kienesoyo.com/assets/cards/paradise.jpg", "video": "https://kienesoyo.com/assets/cards/paradise.mp4", "og_image": "https://kienesoyo.com/assets/og/og-paradise.jpg", "hero_image": "https://kienesoyo.com/paradise/paradise-kienesoyo.jpg", "hero_video": "https://kienesoyo.com/paradise/paradise-kienesoyo.mp4", "hero_video_seconds": 28 }, "hardware": "1 horizontal 43-inch 4K monitor; GMKtec NucBox M5 Ultra — AMD Ryzen 7 7730U, 32 GB RAM, integrated Radeon graphics, 1 TB SSD; Windows 11 Pro; permanent internet connection." }, { "id": "informational-organism", "title": "THE INFORMATIONAL ORGANISM", "year": 2026, "artist": "Javier Guijarro Fayard", "alias": "KIENESOYO", "url": "https://kienesoyo.com/informational-organism/", "medium": "KIENESOYO, 2026. Generative installation: local AI brain, 20 personality states, photomontage bouquet after the Dutch Golden Age.", "themes": [ "possible selves", "living data organism", "local AI", "personality", "Dutch still life" ], "statement": [ "Before us stands a bouquet that recalls the great Dutch flower still lifes of the seventeenth century: a meticulous, improbable composition held within chiaroscuro light. Yet this bouquet is not still. It breathes, ages, becomes green again and responds. Each flower represents a personality trait — curiosity, fear, empathy, shame, desire, confidence or the need for approval — and each trait can intensify, weaken, wither or temporarily disappear. The bouquet does not symbolize a completed personality; it is a personality in operation.", "The title names an organism whose form depends on the information it receives. The situations it encounters, the memories it retains and the visitor's words act as stimuli capable of reorganizing its internal state. Information does not simply describe the organism from the outside; it enters it, affects it and alters what it may become. Identity therefore appears as a continuous exchange between a relatively stable structure and a world that never ceases to intervene.", "David Hume rejected the idea of the self as a fixed and permanent substance: when we attempt to locate it, we find only a bundle of experiences without an immutable centre. The bouquet gives visual form to this intuition. Personality does not reside in a privileged flower or in a hidden core inside the vase; it emerges from the momentary balance between what blooms and what withdraws. We continue to recognize the whole even though none of its parts remains exactly the same.", "An artificial brain runs the work from within: it invents everyday situations — an encounter, a loss, a small humiliation, an unexpected kindness — and every scenario ripples through a matrix of twenty interdependent psychological states. No trait evolves in isolation; each change modifies the balance of the whole, and the bouquet behaves as an economy of forces in which every local transformation reverberates through the entire system.", "Golden Age painters assembled impossible bouquets from flowers belonging to different seasons — montages of incompatible times and, at the same time, vanitas. The Informational Organism inherits this tradition but turns symbol into behaviour: here the flower does not simply represent fragility, it actually ages within the time of the artwork. In a present dominated by profiles, avatars and images designed not to age, this digital organism accepts the possibility of withering. Its vulnerability is not a system failure, but the condition that allows it to appear alive." ], "media": { "poster": "https://kienesoyo.com/assets/cards/organism.jpg", "video": "https://kienesoyo.com/assets/cards/organism.mp4", "og_image": "https://kienesoyo.com/assets/og/og-organism.jpg" }, "hardware": "1 vertical 45-inch screen + local PC running the AI brain (local LLM via Ollama, personality matrix and generative photomontage engine in real time), speakers, no internet required." }, { "id": "null-machines-art-cards", "title": "NULL MACHINES ART CARDS", "year": 2025, "artist": "Javier Guijarro Fayard", "alias": "KIENESOYO", "url": "https://kienesoyo.com/art-cards/", "medium": "KIENESOYO, 2025. Collectible card system, online app, NFTs, physical cards, emotional data and art-history references.", "themes": [ "algorithmic identity", "collectible system", "art history", "emotional data", "NFT" ], "statement": [ "NULL MACHINES ART CARDS is a machine for cataloguing human postures. The work transforms images from art history, cinema, visual culture and the digital imaginary into physical collectible cards and NFTs, close to the logic of baseball cards but redirected towards a critical system of emotions, gestures and behaviours.", "The installation is presented as an online application displayed on a 45-inch screen, connected to the narrative universe of Inanis: a hollow being, the last survivor of a civilisation that lost the ability to feel. Through this fiction, the cards appear as remains, symptoms or proofs that humanity still holds an inner life: clumsy, contradictory, excessive, but still active.", "Each card records more than an image. It records a posture, an emotion and a way of being in the world. The collection functions as an affective archive in which the body becomes visual data, emotional score and cultural sign.", "The project introduces a logic of play, collection and classification, but submits it to an uncomfortable question: what happens when we begin to organise human experience as if it were a system of exchangeable objects. In NULL MACHINES ART CARDS, art history intersects with platform aesthetics, digital collecting and the contemporary need to be read, tagged and compared." ], "media": { "poster": "https://kienesoyo.com/assets/cards/artcards.jpg", "video": "https://kienesoyo.com/assets/cards/artcards.mp4", "og_image": "https://kienesoyo.com/assets/og/og-artcards.jpg" }, "hardware": "1 vertical 32-inch touch screen + 1 GMKtec NucBox M5 Ultra Mini PC (AMD Ryzen 7 7730U, 32 GB RAM, integrated AMD Radeon, 1 TB SSD, Windows 11 Pro) with internet connection." }, { "id": "eye-pills", "title": "EYE PILLS", "year": 2025, "artist": "Javier Guijarro Fayard", "alias": "KIENESOYO", "url": "https://kienesoyo.com/eye-pills/", "medium": "KIENESOYO, 2025. Installation on data, gaze and real-time information; two 45-inch screens and two computers.", "themes": [ "digital surveillance", "data art", "news", "collective emotion", "real-time data" ], "statement": [ "EYE PILLS is an installation with two 45-inch screens and two computers. The programme performs a real-time scratching of the internet, extracting emotional signals from 255 international news and information feeds. The result is a data map of isobars where eyeballs appear, disappear, move, redden and grow tired.", "The work addresses informational overexposure and the perceptual schizophrenia of the present. The gaze is no longer understood as a neutral operation: looking modifies what is seen. Each time the eyes appear on the map, the piece suggests that our perception of the objective is altered by the algorithms that select what we see, by the history of our searches and by systems that anticipate what we desire to receive.", "EYE PILLS does not simply represent eyes. It constructs a visual architecture in which observing and being observed become the same operation. Pupils, trajectories, words and circulation lines function as remains of a mind subjected to permanent stimuli, external judgements and loops of exposure.", "Through Félix Guattari, the work can be understood as an image machine: a device in which the image no longer acts as a passive window onto the world, but as an active force that produces perception, desire, memory, behaviour and modes of existence.", "The gaze appears here as a pill: a repeated dose of surveillance, comparison and dependency. Each eye is a control point; each line, a trajectory of capture; each word, a form of internalised social pressure." ], "media": { "poster": "https://kienesoyo.com/assets/cards/eyepills.jpg", "video": "https://kienesoyo.com/assets/cards/eyepills.mp4", "og_image": "https://kienesoyo.com/assets/og/og-eyepills.jpg" }, "hardware": "1 vertical 32-inch touch screen + 1 GMKtec NucBox M5 Ultra Mini PC (AMD Ryzen 7 7730U, 32 GB RAM, integrated AMD Radeon, 1 TB SSD, Windows 11 Pro) with internet connection for real-time data extraction." }, { "id": "exposed", "title": "EXPOSED", "year": 2025, "artist": "Javier Guijarro Fayard", "alias": "KIENESOYO", "url": "https://kienesoyo.com/exposed/", "medium": "KIENESOYO, 2025. Interactive installation on visibility, shame, judgement, language and surveillance; one 45-inch screen, computer and camera.", "themes": [ "social judgement", "exposure", "shame", "visibility", "camera" ], "statement": [ "EXPOSED is an installation composed of one 45-inch screen, a computer and a camera. The programme extracts or generates phrases of judgement and humiliation connected to the logic of social media. The eyes that appear in the piece look at the viewer and introduce them into an uncomfortable scene: feeling observed, read and judged.", "The work addresses one of the central psychological conditions of digital culture: the impossibility of ceasing to be seen. It begins from a contemporary form of shame, not as an intimate or moral emotion, but as a permanent state of exposure. The subject no longer confronts only the gaze of another person, but an invisible crowd made of profiles, algorithms, cameras, metrics, screenshots, comments and archival systems.", "EXPOSED works on the moment in which the individual begins to see themselves from the outside. This is the deep structure of shame: not simply feeling guilt for something done, but becoming an object before others. The body is no longer only a body; it is a public surface, a visual document, interpretable data.", "The piece can be read through Foucault and internalised surveillance. On social media, a watchtower is no longer necessary: a front camera, a notification, a tag, a viewed story, a public metric or the possibility that an image may be shared out of context is enough.", "The work also approaches the social theatricality described by Goffman. Identity operates as a performance: we choose gestures, images, phrases, poses and silences to sustain an acceptable version of ourselves. But in the digital environment that performance never ends. There is no stable backstage. Everything can become a stage. Everything can be judged.", "EXPOSED is ultimately a work about shame as a social technology: an image of the contemporary body turned into a surface of reading, of identity transformed into data, and of the gaze of others installed within us as a second skin." ], "media": { "poster": "https://kienesoyo.com/assets/cards/exposed.jpg", "video": "https://kienesoyo.com/assets/cards/exposed.mp4", "og_image": "https://kienesoyo.com/assets/og/og-exposed.jpg" }, "hardware": "1 vertical 32-inch touch screen + 1 GMKtec NucBox M5 Ultra Mini PC (AMD Ryzen 7 7730U, 32 GB RAM, integrated AMD Radeon, 1 TB SSD, Windows 11 Pro), a camera and internet connection." }, { "id": "cumulus", "title": "CUMULUS", "year": 2025, "artist": "Javier Guijarro Fayard", "alias": "KIENESOYO", "url": "https://kienesoyo.com/cumulus/", "medium": "KIENESOYO, CUMULUS, 2025. Real-time 3D installation, two 45-inch screens, two computers, sound and real-time lighting.", "themes": [ "real-time 3D", "fragmented identity", "cosmonaut", "weightlessness" ], "statement": [ "CUMULUS is an installation with two 45-inch screens and two computers. The piece unfolds as a real-time 3D environment: the figure moves, colours oscillate randomly, and sound and light are activated as part of a sensitive atmosphere.", "The work takes as its point of departure the suspended, thoughtful posture of Duerer’s Melencolia I, not as a literal citation but as a resonance: an archetypal image of the human being confronted with its own complexity. From this iconographic root emerges a cosmonaut, strange and familiar at once: a figure that does not represent a specific individual, but a shared condition.", "The body appears assembled from ceramic fragments, broken surfaces and golden joints. Each piece embodies an episode, a trace, an alteration. Some refer to wounds, losses or zones of pain; others to moments of fullness, affection or expansion. What emerges is not a coherent identity, but a composite, contradictory subjectivity made of layers that never fully fit together.", "Colour operates as an affective system. Blues indicate painful experiences, zones of density and events that have left a severe mark. Greens point to fertile memories, moments of light, calm or growth. These registers do not remain still: they activate through latencies, as if memory were breathing inside the character.", "Around the cosmonaut gravitates a cloud of particles, a galaxy of floating matter that evokes both cosmic dust and the residues of experience. As in the formation of a planet or a star, identity appears here as a process of condensation: a form born from dispersion." ], "media": { "poster": "https://kienesoyo.com/assets/cards/cumulus.jpg", "video": "https://kienesoyo.com/assets/cards/cumulus.mp4", "og_image": "https://kienesoyo.com/assets/og/og-cumulus.jpg" }, "hardware": "2 vertical 43-inch non-touch screens + 2 Lenovo Yoga computers, one per monitor (Intel Core i7-7700HQ @ 2.80 GHz, 24 GB RAM each, NVIDIA GeForce GTX 1050, 4 GB VRAM, SSD) with internet / Wi-Fi connection." }, { "id": "onstage", "title": "ONSTAGE", "year": 2023, "artist": "Javier Guijarro Fayard", "alias": "KIENESOYO", "url": "https://kienesoyo.com/onstage/", "medium": "KIENESOYO, ONSTAGE, 2023. Series of drawings and animations. Giclée on paper, 60.6 × 43.5 × 6 cm each. NFTs.", "themes": [ "mechanical self", "performed identity", "drawing", "animation", "NFT" ], "statement": [ "ONSTAGE examines the contemporary subject as an actor placed inside a system of scenes, roles and exposed mechanisms. In a hyperconnected culture, identity no longer appears as a stable interior truth, but as a construction dispersed across platforms, gestures, images and social expectations.", "The series presents the self as a fragmented body-machine: a contemporary Frankenstein made from micro-identities, theatrical devices, memories, automatisms and behavioural patterns. Figures, stages, clouds, structures and suspended elements are assembled into unstable visual architectures where the body is never fully whole and the scene is never fully closed.", "ONSTAGE turns the idea of performance into a psychological condition. The individual does not simply act before others; the individual learns to understand the self through the possibility of being observed. The stage becomes a diagram of pressure: a place where private memory, public exposure and social judgement begin to occupy the same space.", "The work also operates as a machine of multiple readings. The viewer is invited to reconstruct the scene, connect its fragments and confront their own stage fright before life. What appears at first as a theatrical image becomes a system of gears, traces and emotional mechanisms: a map of how identity is performed, assembled and repeatedly exposed." ], "media": { "poster": "https://kienesoyo.com/assets/cards/onstage.jpg", "video": "https://kienesoyo.com/assets/cards/onstage.mp4", "og_image": "https://kienesoyo.com/assets/og/og-onstage.jpg" }, "hardware": "13-inch iPad Pro displays, plus building-façade projection with a projector." }, { "id": "ramble-on", "title": "RAMBLE ON", "year": 2020, "artist": "Javier Guijarro Fayard", "alias": "KIENESOYO", "url": "https://kienesoyo.com/ramble-on/", "medium": "KIENESOYO, RAMBLE ON, 2020. Series of AutoCAD-based architectural drawings on the imitation of reality, virtual space, interface and non-linear thought; twelve PDF plans presented in methacrylate boxes, 96 × 72 × 6 cm each.", "themes": [ "domestic simulation", "dislocation", "architecture", "interface", "AutoCAD" ], "statement": [ "RAMBLE ON is a series of twelve AutoCAD-based works presented as PDF architectural plans, each contained inside a methacrylate box measuring 96 × 72 × 6 cm. The works operate like real plans, but also like screens: flat surfaces where architecture, interface and virtual reality collapse into the same visual system.", "The title refers to the act of rambling: to wander, to speak excessively, to continue without a fixed direction. In the work, this idea is transferred from language to space. The pieces behave like a thought process without a single centre, a visual discourse that moves through fragments, scales, rooms, objects, memories and systems of representation.", "RAMBLE ON addresses the imitation of reality inside virtual space. It does not present architecture as a stable physical environment, but as something translated into lines, layers, blocks, scales, folders and digital commands. Reality appears as a technical construction: something that can be copied, pasted, moved, resized, archived, deleted or reorganised.", "The use of AutoCAD is essential. These are not expressive drawings in a traditional sense, but architectural files transformed into visual systems. Walls, furniture, objects and domestic fragments are treated as editable data. Everything appears ordered, measured and classified, yet the overall structure remains unstable. The precision of the architectural plan becomes a form of fiction.", "The methacrylate boxes give the works a physical body. Each drawing is contained, protected and displayed like an object, but also like an interface. The box becomes a screen, a capsule, a display device and a frame. It turns the technical plan into something suspended between document, object and digital image.", "In this sense, RAMBLE ON works on the border between architecture and interface. The plans seem to describe real spaces, but they also imitate the logic of the screen: layers, windows, folders, fragments and simultaneous information. The viewer does not simply look at a drawing; they look at a reality that has already passed through software.", "The work speaks about the contemporary condition of experiencing the world through interfaces. Reality is no longer only inhabited directly; it is mediated through screens, files, PDFs, windows, menus, databases and digital representations. Architecture becomes a visual system. Space becomes something to be read, navigated and reorganised.", "RAMBLE ON can also be understood as a portrait of the contemporary mind. Like the internet, it accumulates fragments, references, scales and images without fully resolving them. The work does not seek a final composition, but a state of permanent reorganisation. It produces a space where everything can be classified, but nothing is completely fixed.", "The series transforms the architectural plan into an imitation of a screen, and the screen into an imitation of a plan. What appears to be a document is also an interface. What appears to be order is also digression. What appears to be architecture is also a system of virtual thought.", "RAMBLE ON is ultimately a work about reality after the interface: a set of physical plans that behave like digital spaces, contained inside methacrylate boxes as if each drawing were a screen holding a fragment of an imitated world." ], "media": { "poster": "https://kienesoyo.com/assets/cards/rambleon.jpg", "og_image": "https://kienesoyo.com/assets/og/og-rambleon.jpg" } } ], "exhibitions": [ { "year": 2026, "title": "I WAS BUILT FROM OTHERS", "venue": "LACAJA, Madrid", "type": "solo", "start": "2026-06-04", "end": "2026-07-04", "city": "Madrid", "country": "Spain", "artist": "Javier Guijarro Fayard", "alias": "KIENESOYO" }, { "year": 2024, "title": "Synchronicities", "venue": "LACAJA, Madrid", "type": "solo", "city": "Madrid", "country": "Spain", "artist": "Javier Guijarro Fayard", "alias": "KIENESOYO" }, { "year": 2024, "title": "Synchronicities", "venue": "Madrid Design Festival, Madrid", "type": "solo", "city": "Madrid", "country": "Spain", "artist": "Javier Guijarro Fayard", "alias": "KIENESOYO" }, { "year": 2023, "title": "Synchronicities", "venue": "ArUready, Madrid", "type": "solo", "city": "Madrid", "country": "Spain", "artist": "Javier Guijarro Fayard", "alias": "KIENESOYO" }, { "year": 2008, "title": "Electric Dreams", "venue": "Fundación Pons, Madrid", "type": "solo", "city": "Madrid", "country": "Spain", "artist": "Javier Guijarro Fayard", "alias": "KIENESOYO" }, { "year": 2005, "title": "poStbosq", "venue": "La Casa Encendida, Madrid", "type": "group", "city": "Madrid", "country": "Spain", "artist": "Javier Guijarro Fayard", "alias": "KIENESOYO" }, { "year": 2004, "title": "Cajas de Luz", "venue": "Espacio Valdeverde, Madrid", "type": "solo", "city": "Madrid", "country": "Spain", "artist": "Javier Guijarro Fayard", "alias": "KIENESOYO" } ], "resources": { "llms_txt": "https://kienesoyo.com/llms.txt", "sitemap": "https://kienesoyo.com/sitemap.xml", "image_sitemap": "https://kienesoyo.com/image-sitemap.xml", "video_sitemap": "https://kienesoyo.com/video-sitemap.xml", "exhibitions_page": "https://kienesoyo.com/exhibitions/", "video_index": "https://kienesoyo.com/media/", "card_viewer": "https://kienesoyo.com/art-cards/card-show/demo.html", "card_gallery": "https://kienesoyo.com/art-cards/gallery/" } }