Ian Margo  (b. 2000, Spain)  is an artist, researcher, graphic designer and curator. He focuses his production on the intersection between art production and research on philosophy of language and digital media. Ian works with a wide range of media, (video, software, interface, essay, generative AI, 3D, blockchain, datamoshing, performance, interactive installation, performance, among others). He is co-founder of 邊界_RG & Gaara, he has published in DIFFRACTIONS collective and the Institute of Network Cultures.
Dealing with the relationship between technology and language, performativity and cognition, and working through contemporary ecologies and digital culture, Ian’s works and research focuses in language and its relation with material and/or political processes, value production, tokenization processes and objectification, immersed in a context of visual break and intrinsic hyperconnectivity.
He has been part of various releases on-chain, the latest being its genesis release on ETH with fakewhale with his d/wb project. He has been interviewed by Fakewhale, Diffractions collective and Rendah Magazine.

He has also participated in various international festivals & screenings, such as LAGRIMA pres. 邊界_RG + Oxhy, Replika Teatro, Madrid, Spain, 2025, OpenSecret New York 2025, Internet Core, Hyper Congress, in Hangar.org with the Institute of Network Cultures, Barcelona, Spain, 2025, PrimeIntellect Decentralized AI Day San Francisco 2025,
Reptiliens Management Quebec 2025, OpenSecret, Valencia 2024, Technocene Digital Metallisches Fest Tempelhof Berlin 2024, Re-Fest 2024, Documentamadrid Madrid 2024, Intersección Festival Coruña 2024.
He has also taken part in recent international exhibitions, such as Interact Symposium, during Grey Area festival, San Francisco, California, 2025, ADAF Athens, Greece 2025, RARE Accompart’s Gallery on Objkt 2025, ‘Minoritarians’ Accompart’s Exhibition on Objkt 2025, "Mom, Postinternet is Not a Phase ;(" at OkaySpace Athens, Greece 2025, the 2nd International Congress "Art and Design Agitated by AI" in UCM 2024, 7780__x at ChaizStudio Madrid 2024. He was also a finalist in Hyperhouse 2025.
get the full CV /contact and socials / instagram  x
The d/wb (desert/wet box) project


, developed over a year across Madrid, London, San Francisco,
 constitutes a sustained inquiry into the entangled domains of

 artificial intelligence, cybernetics, semiotics, and technological  mediation
 Composed of three interrelated works — the wet box, third extension, and fieldware
 — ,it functions as an experimental probe into the processes by which signs are produced, abstracted, and
ultimately activated as vectors of value. Abstraction here is not treated as a secondary  gesture of simplification, but as an active operative force that sustains both technocultural imaginaries and contemporary economies. The theoretical apparatus underpinning  the project  draws on a dense constellation of philosophical and critical sources: Yuk Hui on  technodiversity   and  cosmotechnics; Simondon on  individuation  and  technical objects; Deleuze and Guattari on machinic assemblages, deterritorialization, and faciality; Katherine Hayles on the posthuman condition;  Giorgi Vachnadze on semiotics and value; Heidegger on technology as a mode of revealing;  Harun Farocki on operative images; and Wittgenstein on the limits of linguistic representation. Through this framework, d/wb also positions itself within debates on Web3, tokenization, and the infrastructural dynamics of semiotic
 capitalism.
The project resists reduction to a singular category: it is simultaneously digital-based artwork, philosophical speculation, and experimental semiotics. Each work deploys  3D modeling,  generative AI, and  intricate sound  design to construct unstable environments where signification unfolds recursively. Across its trajectory, d/wb maps how mediation transforms both the materialsubstrates of the sign and the  epistemic frameworks through which meaning is constituted: beginning with  wetness, extending into  recursive networks, and culminating in  systems as  fields. What emerges is a reflection on  abstraction  as  both  aesthetic   strategy and structural principle of  contemporary   technoculture.
the wet boxSingle-channel digital video, 10:10 min, 4K, color, sound, 16:9,
Sound collaboration: Marcos Parajua Madrid, Spain. 2025


the wet box is recursion that fails: the object — solid, geometric — cannot be defined, and the body conforms to exteriorities, wrapped, faces wrapped. It is a cyberspace cut like a spiral, an incomplete turn, a fracture of language that opens onto possibility. As the initiating articulation of the cycle, the work stages technology as part of feedback systems that constitute cognition — the mapping of environment, the shape of value, the shape of morality.
It reconstructs the pointing finger, the speaking gesture, the hole that looks. The piece grapples with the virtuality of the body that abstracts itself, the sign incapable of defining itself, the language that is performed, the fragments of an abstract machine.As a recursive linguistic exploration of objects in the digital context, the wet box operates as a practical essay on the cybernetic performativity of artificial intelligence and its capacity to constitute  ecologies   and  economies — corporealities, territories, value, and morality — by acting on cognition and space. In this sense, language and its models emerge as technologies that escape the object. Built from noise and low quality, the work leans toward cybernetic abstraction and  non-representationality, leveraging AI to manipulate image, text, and sound, appealing to the viewer while remaining firmly in the realm of abstraction

full video
third extension
Single-channel  

digital video (expandable to three-channel installation),
08:42 min,
4K, color, sound, 16:9
London, UK.
2025
third extension emerges as an aesthetic exercise in abstraction and the artificialization of the face through recursive dynamics of encoding and recoding the  sign. The work stages, through a composite of images and text boxes, a multidimensional relational environment where processes of resignification and the production of faciality unfold. Environments are presented not as  pre-given   but as accumulative constructions, sites where oppositional dynamics are constantly being reconfigured. Abstraction arises at the intersection of these oppositions, functioning simultaneously as sign production and knowledge production, and acting as a mediating third that opens new relational pathways. Within the frameworks of AI and cybernetics, the piece enacts language as an operative technology across multiple environments, activating its dual capacity for artificialization and abstraction in the production of objectivity. In this light, medium and technology are configured as a recursive axis of vanishing that destabilizes and recodes the potential limits of each opposition.  Language itself operates here as an abstract machine: producing signs, recoding value, and reconfiguring both moral and  representational
orders.
Presented within Ian Margo’s lectures for the Institute of Network Cultures at Hangar.org, Barcelona (Spring 2025)

full video  
Full text about third extension here
fieldwareSingle-channel digital video (With capacity for 15 auxiliary channels across variable aspect ratios [1:1 to 16:9]), 11:00 min, 4K, color, sound, 16:9, Sound collaboration: Alexandre Montserrat (artist and researcher)
San Francisco, USA. 2025


fieldware is conceived as a linguistic exploration of the object and its potential constitution through sign and mediation. Addressing both openness and the complex-hole, the work develops experimental pathways around abstraction as the production of meaning. Through the logic of “what comes off,” fieldware  emerges as redundancy,  a broken  rhythmic play, a collapse of vanishing lines. It stages field and ware, ground and ground, operating on the sign as a gesture extended across a flat line until this continuity is abruptly interrupted by the brutal immediacy of form. As the culminating work of the cycle, it expands into a distributed topology of image and sound, with up to sixteen screens across multiple aspect ratios.
The sonic dimension, developed with

 Alexandre Montserrat, intensifies its dispersive qualities, situating the viewer in an immersive environment of fracture and resonance.
In this way, fieldware stages the field not as metaphor but as operative condition: a topology where signs circulate, dissipate, and sediment into provisional objectivities, foregrounding meaning as an unstable and recursive event of mediation    




Linguistic Visualization Test ProgramBased on Relational Meaning and Etymological Coordinates
Software  based  generative  artwork
/Each  token  , beyond being temporarily connected through the linearity of the text, breaks down into  etymological   and  semantic groups that relate to one another.
Word types and syntactic groups accumulate, forming networks and pathways that connect the entire text/




                Despite the number of words being limited to a training of a series of letters and fragments from A Thousand Plateaus, the program has access to a database through which it generates relationships of type, etymology, and meaning via groups of synonyms. It is language understanding itself immediately
 /

language cartographer using love letters and fragments of  Thousand Plateaus

                                                       
full report
GATE-1
GATE-1 explores the relationship between bodies and their eroticization through concepts such as entropy, the "little death," and the  New Flesh. It constructs bodies and endows them with gesturality (the gesture as operative flesh).  These bodies interact within specific contexts: the body and the space / the space appearing as a field of death.

GATE-1  is the video-archive of the gestural performativity of the potential organism (Figure 1). It is originally composed of three organs capable of rotating, expanding, retracting, and moving through spaces. Figure 1 serves as a tool for the production and experimentation of performative (gestural) languages. F1 has been constructed as an eroticized organism: flesh in terribilità with an ultimate purpose. We observe it exhibiting itself, static, as if it were an object, during the first technical intervention. F1 mutates, seeks to advance, a fourth organ is added, and it crawls. Here, entropy comes into play.GATE-1 begins on a crystallized hill shortly before dawn / about desire: it maps desire onto impossible geometries: "a circle under tension". The circle is broken under the sensible, as a phenomenon, it is brought to an Inside through performativity to cognitive constitution: intensifying the circle turns it into a spiral. Desire operates as force, the delimiting axes of the  circle construct a spiral   that is traversed. In GATE 1, the spiral appears as geological configuration of desire; the field of continuum, accretion until the collapse of organisms, the journey leads to an end   (ultimate  end  / erotic  end).

The sign establishes coordinates on a map (statues and ice stone); position and production of desire. Object is that which is static in time and the cold and the linear temporalities that mark  low entropy, that is, objectify, mapping
multiplicities in a sort of homogeneous order.



full video
GATE-1 (2024)
digital video,
color, sound
multichannel, 4:3
05:58min
my beloved mew face
Addressing  issues  such as  faciality or family construction, my beloved new face  explores the  relationship  between  body and home, person and mask, mask and language. The family nucleus is invaded and presented as a destabilizing and destabilized border territory. With references to Reza Negarestani and his idea of oil as a demonic entity, as well as the Deleuzian abstract machine, my beloved new face examines the territorial condition of identity and the performativity of intelligence.my beloved new face (2024) digital video, color, sound single channel, 1080p 16:9 06:00min




my beloved new face / burning_church ushers in a demonic scenario;
the face arrives, a synthetic technology, a network-hole that possesses agency.
The face of the father, the face of the son / a body that mutates after the invasion of the
home-territory, recodes the economy //οἰκονομία//.



my beloved new face /
burning_church is a failed invasion, vastly spread over a viscous surface, corrupted by the narrative of history and its maps and its signs. It burns over the desert, the enlightened models crumble, the light comes now from [digital fire] in low quality. It turns back on itself, on a  still-frame that documents a moment of collapse. The face is an artifact, an inanimate demon, a  technical  system of infiltration and performativity. The  flesh that rots as it detaches;
the face is a parasitic demon, our most prized technology

.

In this project, artificial intelligence has been partially used throughout the entire production process, including text, sound, and 3D modeling, as well as digital fragments manually created from image files retrieved from the internet. The house in the video was modeled based on images of the destruction in Nait Hanun (North Gaza) on April 17, 2024.
Fragmented Body of an Abstract Cathedral
software based interactive artwork

 


full piece
minted on
objkt.com collected by DagieDee
As part of the ‘desert/wet box’ project series, the Fragmented Body of an Abstract Cathedral emerges as a technological-linguistic exploration of the digital object understood as a becoming-face or abstract machine. The minority  machine  appears here in the  wrapped body as the output of a deterritorialising process, capable of opening and rotating, constantly redefining itself in a cybernetic system. The ‘cathedral’, made up of linguistic encodings and decodings, escapes in 10 structures of utterances that orbit abstraction and make up the map that falls from the body: language / is a face / an  abstract machine. This work is constructed as an interface that allows malleability and navigation through the space that tries to define it; the navigation, thought for a web visualization on PC, is done using the mouse and in sum the arrow keys. The user can dissect the abstract body using the ‘wrapped’ button and activate its cyclical movement using the ‘accident’ button (the wrap allows for a closing and opening, the accident or crash opens the body to leaks of abstraction). As the user changes its point of navigation, a map will be formed that corresponds to the sum of various linguistic structures that emerge from the part of the body that is being explored at that moment. Each body part  corresponds to a series of   encrypted codes unique to this piece, which will be decrypted in a text box   at the bottom of the navigation screen. Each encryption generates a sound, which can be heard on the side button of the navigation interface next to the generated code. This interface features a brief legend and description of the project, as well as a visualisation of the abstract cathedral body map. The conceptualisation process of this work is based on readings of Deleuze & Guattari (A Thousand Plateaus, Anti Oedipus, Rhizome, What is Philosophy), as well as texts by Yuk Hui (Art and Cosmotechnics, Recursivity and Contingency and other texts and publications), and fragmented readings of Bergson, Heidegger, Bataille, Ballard and Giorgi Vachnadze. As artistic references, the work of Harum Farocki, Orphan Drift and Francis Bacon has been taken into account. The programming process for this piece was carried out in collaboration with Levi Yitzhak
[Desert] Agentsoftware based interactive artwork

 


full piece
minted on
objkt.com  collected by New OrcAs part of the series of the ‘desert/wet box’ project, [Desert] Agent  emerges  as a techno-linguistic exploration of the digital object understood as a becoming-face or abstract machine. [Desert] Agent is a cartography that simulates computational processes to define the body through the idea of the mask (which always appears, not as faciality, but as a cult of the body). The mask extends as a border / as an agent activating a two-dimensionality in the production of the  flesh / which is the  logic of the sensible / which is incapable of  tracing. Understood in this way, the mask appears as the limit of the sensible, filtering and reconfiguring the environment into language and the tongue into environment. Just as flesh can be understood from computation for its organic production, the mask is understood here as the production of embodied agents that produce subjectivity and encode identity by interacting with an environment and being interacted with. This work is constructed as an interface that allows malleability and navigation through the space that attempts to define it; navigation, designed for web viewing on a PC, is done using the mouse and arrow keys. The user will be able to extract the masks from the disk using the mouse wheel or the ‘accident’ button. As the user changes his or her navigation point, a map will be formed that corresponds to the sum of several linguistic structures that are derived from the part of the body that is being explored at that moment. Each agent (mask) corresponds to a series of encrypted codes exclusive to this piece, which will be decrypted in a text box at the bottom of the navigation screen. Each decryption generates a sound, which can be heard on the side button of the navigation interface next to the generated code. This interface has a brief legend and description of the project. The programming process for this piece was carried out in collaboration with Levi Yitzhakcargo.site on this website:We feel a  beautiful Hegelian geist-iness with Ian Margo’s work and   ideas — the continuance of the spirit of art finding new forms/media — self reflected recalling as well as  astonishing transformations. He seems a wildly committed artist (a kind of true researcher).