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In February 2014, the Arts Santa Mònica Museum in Barcelona celebrated Marcel·lì Antúnez Roca’s artistic career with a large exhibition called Sistematurgia. The entire second floor of the museum was arranged to contain almost all the videos, sculptures, physical interfaces and interactive installations produced over more than twenty years of investigation into the field of interactive art. Should we wonder why a theatre artist and performer finds himself at ease in a gallery of contemporary art, rather than in a theatre? Do we have to regard him as a theatre director or as an installation artist? Is he a set designer? Needless to say, these questions do not apply to his activity.
It was in 1994 when, with the performance Epizoo, Marcel·lì reached a worldwide reputation as a sheer pioneer in the so-called techno performance. At that time, he was already a prominent figure in experimental theatre, as the former founder and member of the Catalan company, La Fura dels Baus. However, in the nineties, he daringly shifted his career toward the analysis of the relationship between the body and interactive media, and elected performance as the perfect test-bed. Never fully acknowledged by critics, this shift reveals the true complexity of Marcel·lì Antúnez Roca as artist. (Excerpt from the text written by Antonio Rizzo)
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