Raquel Meyers, Cartagena (Spain), 1977
raquel [at] raquelmeyers dot com

She works with obsolescence using technologies like Commodore 64, Teletext, typewriters or fax mixed with photography, animation and embroidery, among other techniques. She defines her practice as KYBDslöjd [mecanografía expandida] whose significance can be defined roughly as <manual skill with a keyboard>. It is based on and refers to the typewriter, Concrete Poetry, Demoscene and Brutalism. The typewriter contributes to the execution, while poetry contributes to a system, a brutal language a hidden message. We live in a digital era and no one is free from paradoxes. Since 2004 his work has been shown in art centers, galleries and festivals such as Ars Electronica, Transmediale, Xpo Gallery, La Casa encendida, Liste Art Fair Basel, La Gaîté lyrique, Tokyo Blip Festival, Square Sounds Melbourne, Tabakalera, LABoral, Supernova Digital Animation Festival, iMAL, SeMa Nanji, VISION’R, Mapping, Piksel, Shibuya Pixel Art, LEV, MFRU, HeK, ETOPIA, Eufònic Urbà …

Artistic CV > > >
Chronology List > > >

Photo by Arkaitz Saiz

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Meyers, R. (2022). 불필요한 콘크리트 [Concrete Redundancy]
SeMA Nanji Residency. 48 pages, B&W, Limited Edition 100 copies.

Arkameyers (2022). Biblioteca recíproca [Interdependence Library]. WIKIRIKI Residency [Wikitoki].

Crespo, B. & Meyers, R. (2022). ELIGE TU PROPIA NORMALIDAD – AUKERATU ZEURE NORMALTASUNA – CHOOSE YOUR OWN NORMALITY. Babestu, Contemporary Creation Support Programme Azkuna Zentroa [Limited Edition]

Cocker E., Damianisch A., Séraphin L., Daus C. (2020), ‘LANGUAGE-BASED ARTISTIC RESEARCH (SPECIAL INTEREST GROUP)‘, Research Catalogue.

Meyers, R. (2020). Escombro de antropoceno y ruidos de fondo, Sección crítica: “Entre silencios”, Fundación BilbaoArte Fundazioa.

Meyers, R. (2020). Reliquias y escombros del futuro [Relics and Rubble of the Future], AusArt Journal for Research in Art. 8 (1) – 2020, pp. 283-293. UPV/EHU.

Gurafikkusha. (2019). Pikuseru hyakkei : Gendai pikuseru ato no sekai. Tokyo: Gurafikkusha.

Meyers, R. (2018). Narcisismo tecnológico electrocutado / Electroshocked techno-narcissism, AusArt Journal for Research in Art. 6 (2) – 2018, pp. 233-243. UPV/EHU.

Meyers, R. (2018). I’m here [for now]. Jag är här [nu iallafall]. [De momento] estoy aquí.
Production & Studio Grant 2018, Fundación BilbaoArte Fundazioa.

Crespo, B. & Meyers, R. (2018). Flan con Napalm. Libros de Autoengaño.

Benjaminsson, K. (2017). The masters of pixel art: Vol. 2. Göteborg: Nicepixel Publications.

Meyers, R. (2017). Keys of Fury – Type in Beyond the Scrolling Horizon, WiderScreen 1–2/2017: Tekstitaide – Text Art, Finland.

Meyers, R. (2016). Is It Just Text?. In H. Moe & H. Van den Bulck (Eds.), Teletext in Europe: From the Analogue to the Digital Era (pp. 31-49). Göteborg: Nordicom.

Meyers, R. (2015). Fingers of Doom. Chicago: Perfectly Acceptable Press.

Essvik, O., Nordqvist, J., & Nordqvist, V. (2015). Den här datorn: Svensk datorkonst 1983-2015 : samtal, verk och dokument. Göteborg: Rojal.

Jansson, M. (2015). Hajar, selfies och keyboardslöjd: essäer om samtidskonst. pp. 08-13.

Holo 1: Emerging trajectories in art, science and technology. (2014).

Paul, J,. L. (2013). Text-Mode And The Live Petscii Animations Of Raquel Meyers: Finding New Meaning Through Live Interaction. In Aceti, Lanfranco, Steve Gibson, Stefan Müller Arisona, and Özden Sahin. Live visuals. San Francisco : Leonardo/ISAST.

Meyers, R., & Lightrhythm Visuals (Firm). (2010). Raquel Meyers: Useless, yet crucial. San Francisco: Lightrhythm Visuals.


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