Well known in the international art scene for his mechanotronic performances and robotic installations. In his first works he combined such elements as Bodybots, body-controlled robots, Systematugy (interactive narration with computers) and dresskeleton (the exoskeleton body interface). The themes explored in his work include: the use of biological materials in robotics, as in Joan l’home de carn (1992); telematic control on the part of a spectator of an alien body in the performance EPIZOO (1994); the expansion of body movements with dresskeletons (exoskeletical interfaces) sed in the performances AFASIA (1998) and POL (2002); involuntary choreography with the bodybot REQUIEM (1999); and microbiological ansformations in the installations RINODIGESTIO (1987) and AGAR (1999). Since the eighties, Antúnez’s work has been based on a continuous observation of how human desires are expressed and in what specific situations they appear. He was also founding member of La Fura dels Baus, he worked in this company as art co-ordinator, musician and performer from 1979 to 1989, and presented the group’s macro-performances ACCIONS (1984), SUZ/O/SUZ (1985) and TIER MON (1988). Antúnez has received the following awards and distinctions: First Prize at the Festival Étrange, Paris 1994; Best New Media Noveaux Cinéma Noveaux Médias Montreal 1999; Max New Theatre award, Spain 2001; FAD Award Barcelona 2001, Honorary Mention at Prix Ars Electronica 2003 and Premi Ciutat Barcelona 2004, multumedia. On 2014, Marcel·lí has opened up the exhibition Systematurgy. Actions, Devices and Drawings, on Arts Santa Mònica in Barcelona. It is focused on his method of creation the Systematurgy, a neologism, which is literally, a Dramaturgy based on computational systems.