DIYsect is s documentary series 'about the DIY Biology & Biology-Art intersection' and it is rather good.
In Summer 2013, filmmaker Benjamin Welmond and artist-biologist Mary Maggic Tsang traveled across the U.S. and Canada to meet the biohackers, artists, synthetic biologists, writers and curators and talk with them about the possibilities, challenges and dilemmas brought forward by biotechnology. The result is a portrait of DIY biotech hack and biotech art by the very people who are directly involved in it.
The authors of the series write:
I only discovered the existence of the episodes a few days ago (thanks Adam Zaretsky!) The films are short and sharp. They are released as soon as they have been edited. For free. On vimeo. Let's go!
The first episode of the web-series, Learning in Public is of course the introductory one. The directors interview members of the DIY biology movement as well as artists such as Steve Kurtz from the Critical Art Ensemble, Claire Pentecost, and subRosa.
Episode 2: Bioterror & Bioerror gets political. It starts with the FBI bioterrorism case against Steve Kurtz and then goes on to reflect the FBI's change of tactics. Realizing its errors, the FBI is now reaching out to the DIY BIO community 'for mutual education.'
DIYSECT Episode 2: Bioterror & Bioerror
Things are gettng tricky with episode 3. Fear of the Unknown which should be out on vimeo today!
The episode delves into the discussions surrounding synthetic biology. On the one hand, a project like the Kickstarter-funded Glowing Plant is creating controversy by bringing synthetic biology to the consumer market in the form of a plant that glows in the dark. Its developers' rhetoric is fairly unconvincing (at least as far as i am concerned.) On the other hand, the technology watchdog group ETC. Its members fear the lack of regulation (the plant doesn't require any form of approval in the U.S. since it is not food) and the potentially damaging impact that the release of the plant might have on the environment. Somewhere in the middle is artist Adam Zaretsky who has long used his provocative performances to try and raise a broader debate about what is ethical or not in the field of synthetic biology. There's this great moment in the film when he explains that we don't really know what we are doing and that we need to stop and think before we 'fuck up our world' beyond human control.
On a side note, i believe we need to see more of Zaretsky's provocations and reflections here in Europe, so let's help him fund his next trip to the old continent.
Image on the homepage: Critical Art Ensemble in Halle/Saale, Germany performing "Radiation Burn: A Temporary Monument to Public Safety", October 15th 2010.
A bio art exhibition is a rare occurrence. A good bioart exhibition -one that makes you marvel at the art, question the science, ponders upon where all this means for society- is even more extraordinary. So if you're in, near or not ridiculously far away from Eindhoven, do go and visit Matter of Life. Growing new Bio Art & Design at MU. There's only a couple of weeks left to see the show but if i were you, i'd try and pop by on the 1st of March for the Matter of Life closing party. The subtitle of the event is Food Phreaking which sounds exciting enough.
MU and guest curator William Myers have selected nine projects 'at the intersection of life sciences, art and design.' Three of them are the winning projects of the Bio Art & Design Award 2014 (previously Designers & Artists 4 Genomics Award), a competition for young artists and designers hoping to collaborate with research institutes in order to develop works that use biotechnology in critical and compelling ways. A couple more projects in the show are authored by artists who have worked with the competition in the past. But what matters more to me is that there is a good balance of speculative scenarios and very down-to-earth experiments in this exhibition. One moment you're dipping carrot sticks into a barbecue sauce made from 'supermarket mutants'. Next, you're wondering about the impact that commercial interests might have on natural selection.
Here's a quick overview of the works i haven't written about over the past few weeks. Starting with a work that took me by surprise:
Jarvis first has to undertake a rectoscopy. The colon tissue collected will be grown in vitro and then submitted to a series of mutations that will make it cancerous.
The project is about being able to look at cancer as we would look at other parts of ourselves. I am interested in actually seeing cancer 'in the flesh' - in making tangible something that is usually discussed in metaphors and in doing this exploring (evaluating?) the function of these metaphors when faced with the actual material.
ET IN ARCADIA EGO also echoes one of Jarvis' previous works ERGO SUM in which she used stem cell technology to create a kind of 'back-up' self. While ERGO SUM explored how personalised medicine might enable us to extend our lives, the new work is using similar technology to explore the mechanisms of mortality.
The sample will also be used in professor Hans Clevers' scientific research to study how cancer occurs in the body. The cells are of particular interest to him as they are the first he will have access to coming from a healthy patient sample.
Heather Dewey-Hagborg, Invisible
Heather Dewey-Hagborg's most famous work, Stranger Visions, made her realize that genetic surveillance is a real threat. "It just struck me that we were having a national dialogue about electronic surveillance, but this form of biological surveillance isn't being discussed," she told The Verge.
Invisble, which she is showing as part of Matter of Life, claims to be the answer to any fear of DNA profiling we might have. Citizens eager to avoid DNA surveillance can either buy the Invisible sprays or follow the recipe and make their own. To become genetically untraceable, you need to first spray Erase to any surface where you might have left some DNA evidence. You then follow with Replace, a spray containing a blend of genes that will 'confuse' any remaining trace of DNA.
Špela Petrič worked with the Royal Netherlands Institute for Sea Research to build a windmill-like structure that serves as a habitat for sea life. Once released into the North Sea, the tetrahedron form would gently drift in unpredictable path, collecting sea plants, bivalves and other small creatures along the way. At some point though, the weight of the organisms accumulated will sink the whole colony.
The research, design and building of this work in the context of a research institute investigating aquaculture also challenges us with a question the artist poses "can the human fathom an investment into structures and processes that are non-utilitarian for the human?"
Naval Gazing was one of the winning projects of the BioArt & Design award. I think it was by far the strongest of the three. Unexpected, strangely alluring and challenging the audience to think differently about our relationship to nature.
The use of homing pigeons as messengers can be traced to thousands of years ago. Ancient Romans used them to spread news within their Empire. And the Greeks sent pigeons to communicate the results of the Olympic Games to other cities. Studio PSK, another winner of the Bio Art & Design Award, teamed up with the Centre for Ecological and Evolutionary Studies at the University of Groningen to explore how economic pressures might one day shape the species' genetics, replacing thus natural selection. In PSK scenario, the bird becomes a tamper-proof biological courier used by biotech companies to protect their intellectual property.
Increasing competition between the Biotech and Pharma giants has sparked the 'Cold War' of the drug industry, with Genetic theft and piracy costing the industry billions, pressurising companies to take ever more inventive steps to protect their intellectual property.
In order to protect the most sensitive data from falling into the hands of competitors, Genicom Lifesciences, one of the smaller enterprises based in Hyderabad's Genome Valley, is using pigeons as a kind of 'offline data transfer' in an attempt to securely deliver genetic data to its research partner Nayat Pharma.
As the title of their work suggests, Julia Kaisinger and Katharina Unger have explored how to grow food from toxic plastic waste. The process involves fungi. The result in the plate is even more discouraging than anything i might have imagined.
Also part of the exhibition: Cobalt 60 Sauce, a barbecue sauce made from 'supermarket mutants' and FATBERG: Building An Island of Fat and A Simple Line. A zebra finch ponders upon abstraction.
Matter of Life. Growing new Bio Art & Design is at MU in Eindhoven until 1 March 2015.
Experimental Eating, edited by Thomas Howells. With introductory essay by Zach Denfeld, Cathrine Kramer and Emma Conley from The Center for Genomic Gastronomy.
Black Dog Publishing writes: Experimental Eating is the first international survey of contemporary experimental and experiential food-based creative practices across art, design, catering, science and theatre. Deliciously detailed and good enough to eat, this book combines luscious images with text that questions the assumptions behind how we make, eat and perceive food.
Experimental Eating demonstrates how current creative collaborations are pushing the boundaries of how we understand, experience and relate to food and the rituals of dining. The book encompasses unusual and cutting-edge foods, radical dining events, "kitchen laboratory" experiments, food sculptures and other documentation of the transient moments that make up this field of experimentation.
Experimental Eating is a merry and fascinating survey of artworks that bring the political, the unusual or the technological into the ritual of food consumption. From the moment the ingredients are planted or bred to the moments they are combined into dishes, consumed or discarded.
The book comes at a good time. A time when cooking shows pullulate on tv screens while concerns are raised about the ethics (or rather lack thereof) of our food production.
The artists whose work is featured in the book remind us that a meal is far more than the insertion of edible material into our mouth. It is the result of farming practices, cultural standards, biological manipulations, technological innovations, international trade law and often also ethical choices. Some of the artists and designers working with food speculate on the impact that tissue engineering will have on our plates, others create a permanent fast food joint that offers cuisine from countries the United States is currently in conflict with, others uncover and denounce aspects of our food systems we might not be aware of, etc. What these practitioners have in common is that they use food as a vehicle to get our full attention and spark conversations over broader themes. Preferably outside of the contrived environment of museums and galleries.
Experimental Eating closes on a series of art&food related reprint. They are masterfully chosen. There's Romy Golan's Anti-Pasta which informed me someone once had the idea of founding PIPA, the International Association Against Pasta; there's an introduction to The Starving Artists' Cookbook; and there's The Culinary Triangle, Claude Lévi-Strauss essay on the semantic field of cooking meat.
There might be other publications on the topic but Experimental Eating is the first one that falls into my hands and it is an entertaining, thought-provoking and thrilling one.
Some of the many artworks i discovered in the book:
Following the discovery that European sugar costs far less when sold outside of Europe, Van Brummelen & De Haan embarked on an investigation of the European subsidised sugar trade. They bought European surplus sugar in Nigeria and then shipped it back home. To elude the European trade barrier for sugar imports they transformed the sugar into a monument. The import application was thus filled under the Uniform Commercial Code Law 9703, which applies to all monuments and original artworks regardless of the material in which they are produced. In the end, however, they had to contend with more tariff barriers then they succeeded in avoiding and the sugar proved more expensive than at home.
The sugar sculpture is accompanied by a film essay which charts the artists' research into the sugar trade.
Condiment Junkie experimented with modifying the perception of taste, making it bitter or sweeter, using sound only.
The Other Dinner investigated the meat culture of the past, present and future. One of the chapters of the event looked at the parts of the pig, cow, chicken or sheep that are usually disdained and used only for export or animal feed.
Collaborating with his Iraqi-Jewish mother, Michael Rakowitz compiles Baghdadi recipes and teaches them to different audiences. He also serves the food in a ice cream truck with the help American veterans of the Iraq War. Preparing and consuming the food gives the artist and the public a chance to approach the topic of Iraq in a more open, less CNN-report way.
Bompas & Parr collaborated with Professor Robert Wysocki , an artist who works with artificial volcanoes and streams of man-made lava, for artistic and scientific purposes. The artistic duo harnessed his expertise and bronze furnace to cook meat and fish.
The title says it all. This is also one of the most stomach-churning works i've ever read about.
According to a UN study one third of the world's food goes to waste (mostly in the industrialized nations of the global north) while 925 million people around the world are threatened by starvation. Klaus Pichler's series 'One Third' explores the connection between individual wastage of food and globalized food production. Over a period of nine months, the photographer used his apartment bathroom as a storage space for rotting food items. He then arranged the abominable result of the fermentation into elaborate still lifes and accompanied the images with texts that take an in depth look at the food production and distribution.
Related stories: Prison Gourmet, Data Cuisine, food as data expression, The Meat Licence Proposal, interview with John O'Shea, Super Meal, Cobalt 60 Sauce, a barbecue sauce made from 'supermarket mutants', Cook Me - Black Bile, Conflict Kitchen, Herbologies/Foraging Networks at Pixelache Helsinki, Interview with Kultivator, an experimental cooperation of organic farming and visual art practice, Temporary photoElectric Digestopians (Fusing Cooking and Solar Tech with Design), The Spice Trade Expedition - In pursuit of artificial flavoring, Book Review - Cooking Science: Condensed Matter, etc.
I'm sure you've heard about Jalila Essaidi's work before. She is an artist who uses biology as an artistic medium, the founder of the BioArt Laboratories Foundation and the author of one of my favourite books about bioart: Bulletproof Skin, Exploring Boundaries by Piercing Barriers. And yes, she is also the artist behind the famous Bulletproof Skin project.
Essaidi is currently participating to the exhibition Matter of Life | Growing Bio Art & Design at MU in Eindhoven with a less headline-grabbing but equally fascinating work called A Simple Line. The installation looks at how the thin line between reality and abstraction is taking shape inside our brain and more precisely at the level of the 'simple cells' that are responsible for the formation and perception of the abstract concept of a line.
With 'A simple line', Essaïdi attempts to merge the abstract idea of a line with its most tangible reality by having a zebra finch look at its own brain cells in the form of a line. The result of her experimentation joins the organic (a bird inside a cage), the abstract (colour block lines) and even the conceptual.
A few words with the artist:
Hi Jalila! Do you have a link to the research about specific cells (simple cells) that are responsible for the formation and perception of the abstract concept of a line?
Information processing and specifically the functioning of simple cells find its origin in the research of Hubel and Wiesel. These cells were discovered in the late 1950s. It would be hard to pin point a specific article that would be interesting for your readers but I think the videos of Hubel and Wiesel's cat experiments say more than a thousand words. There are several available online.
Serendipity & discovering simple cells:
Simple cells & complex cells, tests that show* how the cells are reacting to orientation specific lines:
*What you are hearing are the cells -connected by electrodes placed in the brain- firing when stimulated
How does the installation work? What is it made of? What do we see in the two tubes?
I have the feeling this question is technical/practical in nature so I am skipping the intent of the work, which of course is a vital part to the question "how".
What you see is the setup needed to merge the abstract idea of a line with its most tangible reality.
The installation is a work in progress; inside the tubes a line made of simple cells is visible. The cells are attached to a thin floating horizontal structure, which acts as a scaffold. The entire installation is designed to offer an optimal environment by controlling the temperature and composition of the atmosphere inside the inner tube, containing the line.
The next stage of the work would be an exploration into golden support structures, how to preserve the line outside of its current environment, and how to combine these preserved lines into their final form.
Is there a particular reason why you chose a zebra finch? rather than any other bird, or even a mouse or a bug?
Zebra Finches are, just like Zebra Fish, a model organism in scientific research. At the Bio-Imaging Lab of Antwerp University they research plasticity of the Zebra Finch brain using functional magnetic resonance imaging. These studies give us new insights in for example Alzheimer's disease. My intention was to visualize the capacity of simple cells to detect lines using fMRI and make that the foundation of the project. This turned out to be not possible with current fMRI technology (of which they have at Antwerp the state of the art).
But even with fMRI out of the picture, the Zebra Finches stayed. Their brain being mapped out in histological- (for example http://www.zebrafinchatlas.org/)and digital three dimensional atlases simplified the entire process and of course their traditional birdcages -made mostly out of lines- charmed me and they felt like a natural choice for the project.
How did you get the brain cells of the bird?
The cells aren't from the actual birds in the birdcage, but from zebra finches that passed away due to old age.
Any upcoming project, research, event you'd like to share with us?
There will be an event on February 7th 2015 at MU Artspace where there will be a reflection on the work from the arts, philosophy and neurosciences. The evening will be in the format of a talk show.
I'm working on /researching a new project again with spidersilk which I hope to present at the end of 2015.
A Simple Line is part of the exhibition Matter of Life | Growing Bio Art & Design at MU, Strijp S, in Eindhoven. The show remains open until 22nd February 2015.
Don't forget to send your proposals to the BIO ART & DESIGN AWARD. The three winning ideas will be awarded €25.000 to fully realize a new work of art or design that pushes the boundaries of research application and creative expression. They will be developed in collaboration with a Dutch research institution then exhibited to the public in MU Art Space in Eindhoven at the end of the year. The deadline for applications is 2 February 2015.
It flows throughout our bodies and yet some of us faint when they see a drop of it. It is a key features in stories of vampires and children fairytales. It is the fluid that is most closely associated to life but also to the Ebola virus, diseases transmitted by mosquitoes and other life-threatening conditions.
The 25 artworks that make the exhibition BLOOD (Not for the faint-hearted) aptly reflect the complex space that blood occupies in our cultures. From the vampire killing kit to the video of stem-cell extractions, from the luminol dripped down onto a sculpture made of blood and resin to Hermann Nitsch's cathartic Theatre of Orgies and Mysteries, all grounds seem to be covered: history, pure science, crime, medicine, literary fiction, ethics and taboo.
A couple of works in the show might be upsetting for some and indeed the gallery recommends it to the 15+. Strangely enough, i had no problem visiting the show but writing about it makes me far more uncomfortable. I could not even watch the video of Maria Phelan's work MYTYPE.
One of the works that opens the show is a documentation of Que le cheval vive en moi! (May the horse live in me!), a performance in which Marion Laval-Jeantet was injected with horse blood plasma. This bold self-experiment continues the artistic duo's exploration of trans-species relationships.
In the months preceding the performance, Marion Laval-Jeantet built up her tolerance to the foreign animal bodies by being injected with horse anibodies. The artists called the process "mithridatization", after Mithridates VI of Pontus who cultivated an immunity to poisons by regularly ingesting sub-lethal doses of the same. Once her body was ready, she was injected with horse blood plasma containing the entire spectrum of foreign antibodies, without falling into anaphylactic shock, an acute multi-system allergic reaction.
In this Science Gallery interview below, Benoit Mangin explains how Marion was able to hide the eyes of the horse. A horse would normally react very violently to having his eyes covered but somehow, the animal didn't perceive her as being an entirely different organism.
Nearby, lies the apparatus used by surgeon Robert McDonnell on a fourteen year old girl whose arm was torn and lacerated while she was working in a paper mill. Robert drew 350 millilitres of blood from his own arm and syringed it back into Mary Anne. The girl's condition improved for a short time, but she died the day after. It was the first human-to-human blood transfusion performed in Ireland.
John O'Shea is showing a video recipe of his renowned delicacy, the Black Market Pudding. Just like we get milk from cows and eggs from chicken without the need to kill them, we could also get fresh blood from pigs and make black pudding, a type of blood sausage commonly eaten in Britain and Ireland.
The blood is extracted from living pigs via a routine veterinary procedure and the whole business model ensures that the pig grows old peacefully. Kind of. And because vegetarian suet is used to emulsify the ingredients, the black market pudding is branded as being an ethical animal product.
Quinn is participating to the show with a wax model of his baby son. The sculpture is made of wax mixed with animal blood and protein his son is intolerant to. The work is thus both tender and savage. It evokes the love for a child and the cruelty of appropriating the blood of a non-human animal.
Professor Peter Arnds is showing a fascinating collection of German children's books in which children come to harm and blood is shed, posters that detail the Nazis' obsession with blood and its purity, and a short video on the Nazis' ideology of blood.
It turns out that children's literature and folktales are quite at ease with the depiction of murder, cannibalism and other violent scenes. In Germany and elsewhere. One example of this is Charles Perrault's version of Little Red Riding Hood from 1697or the Grimm Brothers' original fairytales.
There is a lot of humour in the gallery as well. STAINS™ is a fake company that challenges the hypocrisy of marketers trying to sell female menstrual products while showing blue liquids and pretty girls laughing in the sunshine.
Visitors to the exhibition are invited to take a selfie with one of the blood stain broaches made by STAINS™ and share the photo via the Twitter with the hashtag #periodpositive. You can also buy the blood stains as earrings or pendant.
More images from the show:
The exhibition was curated by curator and media studies scholar Jens Hauser, haematologist Prof Shaun McCann, Immunologist Prof Luke O'Neill, literary and cultural scholar Prof Clemens Ruthner and Science Gallery Dublin director Lynn Scarff. It remains open at the Science Gallery Dublin until tomorrow, Friday 23rd of January.
I finally made it to the PAV - Parco Arte Vivente (park of living art) in Turin and visited Vegetation as a Political Agent. The exhibition charts a history of the plant world, by looking beyond the biological and exploring the political and social implications of vegetation. And it is pretty much as exciting as i had hoped.
Plants are not as neutral and powerless as we might think. For example, they played a particularly important role in the 17th and 18th centuries, when navigators and 'explorers' sent to discover the world ended up annexing the land, colonizing populations and looking for ways to exploit the financial potential of new plant species (culminating in the spice trade.)
At the other end of the spectrum are individuals and communities which, from the 1970s on, have been using plants to resist, revolt and defy. The exhibition tells their story through documents that date back to the first ecological revolutions, specially commissioned projects and contemporary artworks.
The show opens with the mural Zapantera Negra in which Emory Douglas (Minister of Culture for the Black Panther Party from 1967 until the 1980s when the group disbanded) brings together the Black Panther movement and the Escuelita Zapatista supporting the rural working-classes in Chiapas. Douglas modified one of his famous posters Afro-American solidarity with the oppressed people of the world (1969) by turning a rifle into a corn plant, symbol of Mexican populations.
By placing plants in the context of territorial control in colonial and postcolonial periods, RozO's When vegetation is not decoration is perhaps the work that best encapsulates the exhbition. On a larger-scale, vegetation can become a tool to manage a territory or, conversely to support resistance against foreign control. The installation, made of archive material housed inside a temporary architecture of bamboo and palm leaves, illustrates contrasting uses of vegetation in history:
First, black and white photos taken by the French army in the mid-1950s show the French army harvesting wheat in Algeria. They are protected by elite soldiers and armored units.
These images clearly depict the exploitation of land for the benefit of the coloniser. Aside from the word "Algeria" written on the grain sacks, it seems that we are witnessing a French cereal farming region. Here vegetation is clearly used to assimilate and acculturate. Vegetation is employed by the attacker and coloniser of a country or region, to deterritorialize its inhabitants. Rendering the natives foreigners in their own land was a technique that frequently used by colonisers. In the 20th Century, following the invasion of Poland, Nazi Germany implemented a wide-reaching process of "Germanisation" of the territory, to render it German.
On the other side are stills from Chien thang Tay Bac (North West Victory), a documentary filmed in 1952 by the Viet Minh military forces during the war against French occupation. The images demonstrate how Vietnam fighters used topography and vegetation as a weapon. Instead of traveling through the road infrastructure, the soldiers used pathways that allow them to avoid detection by the French occupiers and instead of using the traditional bamboo rafts to cross rivers, they built bamboo bridges that were almost impossible to detect as they were positioned 10 centimetres under the surface of the water.
Roundup Ready Crops are genetically engineered crops that have had their DNA altered to allow them to withstand the active ingredient of Monsanto's herbicide Roundup. Farmers who plant these seeds must use Roundup to keep other weeds from growing in their fields.
Members of Critical Art Ensemble prepared an artificial plot of land with RR herbicide, and challenged people to try and grow something in the enriched soil. The result of their efforts is depressing, it illustrates better than any essay the reason why the herbicide's nickname is 'killer exterminator'.
The most fascinating work in the show for me was Adelita Husni-Bey's timeline of English 'green' movements between 1987 and 2004 as seen through the radical and underground zines they published. Before the widespread use of the internet, zines and magazines were the only way to spread counter-information, controversial ideas and research.
Dan Halter planted a colony of Mesembryanthemum, a flower originally from southern Africa which is considered an alien species in many other parts of the world. Once in full bloom, the plant forms the famous icon of the Space Invaders video game, suggesting thus a very literal take on the idea of invasion. Excepts that this time, the colonization is upside down: it's African invaders that are about to colonize Europe.
Fernando Garcia-Dory brings to our attention George Chan's models of Integrated Farming and Waste Management System. The IFWMS involves a closed sustainable cycle in which matter and energy flow within the productive unit, increasing yields to meet the demands in food and energy of local populations while at the same time guaranteeing the sustainability of the ecosystem.
This revolutionary model, called Dream Farms, is as yet largely unknown.
Claire Pentecost's series of postcards document the artist's research in Mexico where she discovered that transgenic maize is illegally cultivated. Working with grassroots organizations in Sierra Juarez di Oaxaca, she catalogs the OGM plants and portrays them on postcards that are then distributed to Mexican farmers in the hope that they will help stop the contamination.
More images from the exhibition:
Vegetation as a Political Agent was curated by Marco Scotini. It is on view at the PAV - Parco Arte Vivente in Turin until 11 January 2014.