Previously: The flying tree.
The exhibition Alter Nature: We Can, currently on view at Z33 in Hasselt, focuses on artists and designer's visions on the ways humankind has displaced, manipulated or designed nature and how this affects and modifies our concept of 'nature'. Some of the exhibited artworks embrace with enthusiasm this deracination and manipulation of what we call 'nature', others have a more critical take on it. Some rely on basic and quirky ploys, others call on the most scientifically advanced means.
A striking and simple introduction to the exhibition could be Driessens & Verstappen's Morphotheque. The dozens of artificial carrots of the most unusual shape are based on natural carrots that were rejected in distribution centres for not presenting the 'proper' size and shape of a carrot. The works reminds us that it was only a year and a half ago that European Commission abolished its ridiculous ban on 'imperfect' fruit and vegetables.
Morphotheque also refers to the fact that the now almost ubiquitous orange colour of carrots was a political choice. The Netherlands made it particularly popular in the 17th century as an emblem of the House of Orange and the struggle for Dutch independence. White, yellow, red, and purple carrots have long existed but they are now raised primarily as novelty crops.
The House of Orange was also at the heart of the Transgenic Orange Pheasant project. Adam Zaretsky wrote to His Royal Highness Prince Willem-Alexander to propose him the creation of a "Royal Dutch Transgenic Breeding Facility" were orange pheasants would be bred and offered for the royal hunt. The exhibition features images of transgenic pheasants, an impressive genegun, the letter to Prince Willem-Alexander and two videos detailing the project. The manipulation of the colour of carrots doesn't raise an eyebrow but the creation of a pheasant of the same hue triggers more doubts and questions: how far can one go in the creation of a 'royal aesthetic'?
More about Adam's work in Dangerous Liaisons and other stories of transgenic pheasant embryology.
In Common Flowers, Georg Tremmel and Shiho Fukuhara have reverse engineered a type of carnation that was already the result of genetic manipulation. Suntory Flowers genetically manipulated an originally white carnation into blue and sold it under the name Moondust. It was the first commercially available genetically engineered consumer product that was intended purely for aesthetic consumption.
BCL bought the blue flower and using do-it-yourself biotech, cloned it in their kitchen. They later released their cloned flowers into nature along with an how-to-clone manual on their website in order to raise questions of intellectual property and copyright in the realm of nature.
As i mentioned yesterday, the exhibition was rather cruel to trees.
Makoto Azuma' s Shiki 1 features a bonsai tree suspended from a metal frame. The tree represents of course nature. It has been manipulated for aesthetic reasons. The steel frame adds a second layer of artificiality, it represents the legal framework within which nature is manipulated, or to which manipulations must comply.
In 'Frozen Bonsai', a new work commissioned for the exhibition, Makoto sprays a bonsai pine tree with instant freeze and presents this in a transparent fridge. As the ice slowly drains the colour from the bonsai tree, the tree dies - but its beauty is preserved in optimal conditions.
Have a look at this video interview with Makoto Azuma about 'Shiki 1' and 'Frozen Bonsai':
Le Paradoxe de Robinson is a palm tree installed on a trailer. Once you're on the first floor of the exhibition space, you can see its branches swinging in the wind. A tropical tree lost in the Belgian grey Winter.
Tue Greenfort 's big "Wardian Case" protects 50 orchids. Wardian Cases were small greenhouses developed in the 19th century by Dr. Nathaniel Bagshaw Ward to protect his plants from London air which consisted heavily of coal smoke and sulphuric acid. Wardian Cases not only made it possible for city dwellers of the time to keep expensive orchids and ferns in their home, they also prompted the commercialization of exotic plants: vulnerable plants could now survive the boat journey because they were protected by Wardian Cases. The invention has even been credited for helping break geographic monopolies in the production of agricultural goods, they allowed tea plants to be smuggled out of Shanghai and seedlings of the rubber tree to be shipped from Brazil to new British territories. Wardian Case were a means to - literally - displace nature.
Also part of the exhibition: Acoustic Botany.
Last Saturday i finally dragged myself out of the armchair and visited the PAV, the Parco d'Arte Vivente (Park of Living Art - Experimental center of contemporary art) in Turin. Although i was appalled by the utter wrongness of the 'interactive' displays i saw in some of the rooms, I'll be forever grateful to the place for bringing to Turin exciting artists. Michel Blazy, Andrea Caretto and Raffaella Spagna and now Brandon Ballengee.
In Spring and Summer the artist, activist and ecological researcher was in town for a series of field trips on the river Po looking for tadpoles and frogs.
The amphibians studied by Ballengee are praeter naturam, beyond nature. Because of pollution, parasites or predators, the frogs have morphological anomalies such as extra, deformed or missing limbs.
According to Ballengee, amphibians are environmental canaries in the coal mine. The state of this sentinel group of animals is rather worrying, they are not only declining all across the globe, they are also presenting increasing levels of deformities.
Missing or deformed limbs are caused by dragonfly nymphs. The insect rarely eats the entire tadpoles. Instead, they grab it, chew at a hind limb -often removing it altogether- and then release their prey. If the tadpole survives it metamorphoses into a toad with missing or deformed hind limbs, depending on the developmental stage of the tadpole.
However, scientists don't completely rule out chemicals as the cause of some missing limbs.
Images of the field trip Ballengee, scientists and members of the public made on the river Po near Turin where, unfortunately, they found a few specimens of deformed amphibians:
At PAV Ballengée shows a variant of Styx, a table where glass dish display specimens of "cleared and stained" deformed frogs. The body of each tiny frog has been preserved and chemically altered so that bone is dyed red and cartilage blue with remaining tissues transparent.
In the same room is a series of Malamp Iris prints, large-scale portraits of deformed frog specimens.
Also on view at PAV, the Turin Po River Eco-displacement, a portion of the aquatic ecosystem, small paintings made from polluted pond water, coffee and ash and two videos documenting Ballengee's field trips in the UK and in Turin.
Praeter naturam opens until September 26th, 2010 at the PAV, inTurin.
Art + Science Now - How scientific research and technological innovation are becoming key to 21st-century aesthetics by Stephen Wilson, Professor, Conceptual Information Arts Program, Art Dept. at San Francisco State University (available on amazon Uk and USA.)
Publisher Thames & Hudson says: In the 21st century, some of the most dynamic works of art are being produced not in the studio but in the laboratory, where artists probe cultural, philosophical and social questions connected with cutting-edge scientific and technological research.
Their work ranges across disciplines - microbiology, the physical sciences, information technologies, human biology and living systems, kinetics and robotics - taking in everything from eugenics and climate change to virtual reality and artificial intelligence.
Art + Science Now, the first illustrated survey of its kind, provides a dazzling overview of this new strand of contemporary art, showcasing the best international work produced since 2000.
Featuring around 250 artists from around the world, it presents projects from body art to bioengineering, from music and computer-controlled video performances to large-scale visual and sound installations, all of which challenge our assumptions about our relations with science, technology and the world around us.
Stephen Wilson summarizes the latest scientific research for the lay reader, and supplements his text with a reading list and extensive online resources, highlighting the museums, festivals, research centres and educational programmes that support this new work.
Art + Science Now is very different from Wilson's 2002 book Information Arts: Intersections of Art, Science, and Technology. Its design is less austere. Its content, while solid and reliable, is less thorough but it is probably because Art + Science Now has a different publisher geared toward a broader audience. It is one of those rare book that manages to reach the elusive balance between information of the broad public and inspiration for the expert, whether the later belongs to the art world or the scientific arena.
The chapters correspond to 8 fields of investigation. The book bravely opens with Molecular Biology. Then come Living Systems, Human Biology, Physical Sciences, Kinetics & Robotics, Alternative Interfaces, Algorithms and the survey closes with Information.
Each and every introduction for the chapters is a real tour de force. The texts sum up in a clear language the latest advances in sciences and the complex issues that accompany them. The introductory text is followed by a presentation of dozens of artworks which engage with that particular area of science.
While the focus of the book is art, Wilson doesn't discriminate against works by designers and by artists who comment on science while using traditional media such as painting.
Art + Science Now is a great starting point for anyone wishing to expand their horizon, reflection, knowledge and critical view on the impact that current scientific developments are having on art and, more generally, on our culture. Highly recommended!
Just a few examples of works i've (re)discovered in Art + Science Now:
Since the catastrophe of Chernobyl in 1986, Cornelia Hesse-Honegger has been painting morphologically disturbed insects, which she first found in the fallout areas of Chernobyl. When she first published her watercolors in a Swiss magazine in 1988, scientists expressed their skepticism, insisting that the fallout in Western Europe from the Chernobyl accident was too small to cause morphological disturbances in insects.
She therefore did the same job around working nuclear power plants in Europe and found out that nuclear installations do cause deformities in insects, particularly Heteroptera leaf bugs, and are a terrible threat to nature. Hesse-Honegger discovered that risks of low-level exposure are insufficiently studied by scientists connected to government institutions and universities. She calls for truly independent studies -- from university scientists not dependent on government funding.
Mogens Jacobsen, Power of Mind 3
Mogens Jacobsen submerged a computer in vegetable oil while a galvanic battery powered by hundreds of potatoes drives a software system that suppresses most of the words in a text from a report about human rights in Denmark. As the potatoes begin to dry out or sprout the suppressed words and censored sentences will gradually reappear in the text.
This process is not visible in the gallery space, but can only be seen by accessing the system on the internet.
For her performance Wet Cup, Kira O'Reilly, placed warm glass sphere over cuts on her body. The cooling of the cup creates a partial vacuum and slowly extracts blood from the body.
Oliver Kunkel smashed a scientific looking glass box, containing HIV-infected mosquitoes at an art festival in Slovenia. The exhibition and surrounding area is evacuated, and the fear of infection among the local population is alarming. It is a work about fear, and human's lack of knowledge concerning one of the world largest and most widely recognized epidemic.
Inside the book:
Previously: Interview with Stephen Wilson.
Gilberto Esparza first appeared in the radar of bloggers a couple of years ago when he started colonizing Mexico City with Urban Parasites. Made of recycled consumer goods, the small robotic creatures explore the urban space in search of any source of energy they can feed on. Under its quirky, amusing side, the project also had the objective of providing a basis for a critical exploration of the role that technology plays in cities.
Gilberto Esparza is currently showing one of his latest projects, Nomadic Plants, at Laboral Art and Industrial Creation Centre in Gijón. Just like Urban Parasites, this new work is part of a series of experiments that aim to stimulate a critical discussion about the ambiguous forces wielded by technology.
Vegetation and microorganisms live in symbiosis inside the body of the Nomadic Plants robot. Whenever its bacteria require nourishment, the self-sufficient robot will move towards a contaminated river and 'drink' water from it. Through a process of microbial fuel cell, the elements contained in the water are decomposed and turned into energy that can feed the brain circuits of the robot. The surplus is then used to create life, enabling plants to complete their own life cycle. As Gilberto wrote in our email conversation, "The nomadic plant is a portray of our own species. It also deals with the alienated transformation of this new hybrid species that fights for its survival in a deteriorated environment."
I'll quote the artist again, this time from a text included in the press material for the exhibition:
The fact that a new species, the by-product of those alienating processes, appears -merely by coexisting- in those areas of ecological disaster represents a manifestation pointing to the serious social and environmental impacts on communities that once depended on rivers, now the source of their ailments. At this point, it is important to highlight the ambiguous potential of the transforming power of the human species, due to its ability to destroy but also to restore. For that reason, what is required is a new way of thinking, which would position us as antibodies on the planet, and a proper understanding of the importance of living in symbiosis with our planet and with all species.
Extracts from our online conversation:
When i first read about Plantas Nomadas, i immediately thought about Archigram's Walking City because of the nomadic and self-sufficient qualities of Plantas Nomadas. But what was your actual inspiration? Sci-fi novels and movies? Ongoing research in laboratories exploring the possibilities of microbial fuel cells in robotics?
I have been researching and building autonomous robots that can survive in urban space, stealing the energy that the city itself generates. Later on, i found online some publications about research projects using microbial fuel cell. I was immediately inspired to develop a project that would engage with the issue of pollution in rivers. I visited El Salto Jalísco, a community very affected by this problem. I was therefore interested in making it the location of the intervention.
Can you tell us which kind of plants and micro-organisms cohabit inside the body of your machine?
The microorganisms that live inside the robots are identical to the ones you can find in the river. I prefer to use the plants that used to be native to the river before it became so polluted.
How has the public reacted to your work so far? Both in Mexico and in Spain?
People liked it a lot because the project opens many doors on issues such as our relationship with nature, the thin line that separates the inert and the living and also the directions taken by scientific research which, very often, respond to the interests of the current economic system.
The installation at Laboral features the robot but also a video of the process of its creation, a documentary showing the robot in action in the river Santiago, El Salto, Jalisco (Mexico), a series of photos taken by the artist and computers showing the project's webpage.
Plantas Nomadas is on view at Laboral, Gijón (Spain) until June, 7, 2010.
You know how some charmless and dull cities on the continent pride themselves with the title of "Europe's best kept secret"? I bet Luxembourg wouldn't dare to pretend to the label. The place is as charmless as a man wearing Ugg boots. Don't even get me started on their food. Yet, i keep going again and again to Luxembourg because of its edgy and exciting art offer. My last visit was spurred by the second chapter of the exhibition sk-interfaces at Casino Luxembourg.
Yes, i had already seen sk-interfaces. Exploding Borders in Art, Technology and Society at FACT in Liverpool but the Luxembourg version, i was told by friends, is bigger, bolder and even better than the first one. They were right. Several pieces have been added to the show. The performances are extremely well documented and there is a corner to watch videos. The space itself is kinder to the artworks. There's even extra drama as the poor Victimless Leather (A prototype of Stitch-less Jacket grown in a Technoscientific 'Body') garments had caught some disease on their way to the Casino and were slowly eaten by decay.
It's as if the first exhibition in Liverpool had been a superb rehearsal of this one.
Curated by Jens Hauser, the exhibition sk-interfaces presents some 20 artists who question the ways in which today's techno-sciences alter our relation to the world: digital technologies, architecture, tissue cultures, transgenesis, self-experiments or telepresence - the artists appropriate these methods and explore the permeability between disciplines and between art and science. Their interfaces connect us with different species, destabilise our definition of being human today and reflect on the question of satellite bodies. Oscillating between the physical and the metaphorical, the political and the meditative, the utopias and the dystopias, the exhibition invite us to reflect on how we are perceiving the shifts brought about by technologies, some of which we might not be as familiar with as we ought to.
One of the best surprises for me was to discover that the Critical Art Ensemble was not only showing Immolation but also a video i was very curious about: Marching Plague (little did i know, until the press person at Casino told me so, that the video is also available for online viewing.)
Critical Art Ensemble's film puts into a highly skeptical perspective UK-US bioweapons research and the paranoia surrounding bioterrorism. In the video, the CAE and some volunteers follows the steps of Operation Cauldron, a series of biological warfare trials conducted by the UK governmentoff the Isle of Lewis in Scotland in 1952. These secret trials investigated whether germs could be used as a weapon for ship-to-ship combat. Their tests found that germs were as unreliable and unmanageable on the sea as they were on the land.
The film humorously demonstrates that the public's fear of "bioterrorism" is not only based on incomplete awareness of the facts but has also been exploited by governments to justify the creeping costs of biological warfare programmes. Money which could otherwise be dedicated to the fight against existing or emerging infectioius diseases.
inthewrongplaceness is an intimate performance that Kira O'Reilly developed on her return from a residency at SymbioticA in 2004. The impact of working with pig's tissue in a lab setting instigated her thoughts on the similarities between the pig's skin and her own. By inviting members of the audience to approach one by one and touch both her own and the skin of a dead, nonhuman animal, O'Reilly encourages visitors to engage with the complexities of the relationships between skin, touch and species. The artist also explained in an interview: It was also very much influenced by a book called Pig Tales by Marie Darrieussecq, about a woman who turns into a pig. She spends quite some time in the middle of the text oscillating through in between stages, neither entirely one nor the other.
I didn't see the performance but it seems that it took place in a room that is part of the exhibition. On the walls and on the floor are props such as flowers, taxidermied birds and corpses of small animals in formalin.
Plage d'hiver ("winter beach") grabs all our senses with a physiological reconstruction of a beach. A skyline of ultraviolet light along with the dark glasses visitors are recommended to wear upon entering the 'beach room' and a cloud of iodine project our body to another latitude, another a season. We breathe the effluvium of the marine aerosol and our skin reacts to the UV-a rays. Rahm has reproduced the angle of sight corresponding to the reflection of sunlight on water which reaches the retina from below as if in duplicate.
Plage d'hiver translates the ubiquity typical of modernity, where seasons are adrift all year long, to the point of overlap in a sort of perpetual spring; a modernity where night and day merge in a white luminous light, diurnal and nocturnal alike, and where distances are reduced until they, too, overlap with the immediacy of globalization.
Antal Lakner's Passive Dress - Double Gravity Suit is a suit ergonomically fitted with weights that make its wearer perceive 1.5-2 times the normal earthly gravitation weight. The mere attempt to keep a normal posture, to stabilize the body or make small gestures becomes a slow-motion meaningless fatigue. The suit challenges men to maintain one of its unique characteristics: we are indeed the only ones among the vertebrates in having a completely erect posture.
I'll end with a couple of images with my favourite artwork in the show: the Roadkill Coat that the members of Art Orienté Objet stitched using the fur of small animals they found dead by highways.
sk-interfaces. Exploding Borders in Art, Technology and Society is on view at Casino Luxembourg - Forum d'art contemporain until 10 January 2010. Photo on the homepage: Axel Heise.
One of the rules of this blog is never to make announcements of events. Every rule comes with its exceptions... The November programme of the VASTAL workshops and lectures is out!
The VivoArts School for Transgenic Aesthetics Ltd. is Adam Zaretsky and Waag Society's temporary research and education institute on Art and Life Sciences. It's free, open to the public and i hope you'll allow me to remind you how much we enjoy them:
Day 1 at the VivoArts School for Transgenic Aesthetics: Seed broadcasting workshop
Wednesday 11 November
Body Art Lecture with performance artists: Kira O'Reilly, WARBEAR, Jeanette Groenendaal and Boryana Rossa.
Thursday 12 November and Saturday 14 November
Body Art Lab which, i'm told, will involve blood and sex performances in the Glove Box. "Various performance artists will be ritually cleansed and enter the glove box one or two at a time. Various performance artists take turns in the box interacting with the public or other actors reaching into them with the gloves. This is experimental Body Art with a biological theme that references experiments, lab animals, the pure and the impure as well as the distance (or presumed distance) that objectivity implies. "
Tuesday 17 November
Animal Personality Art and Science Lecture and Lab with Dr. Kees van Oers or one of his colleagues and Koen Van Mechelen.
Dr. Kees van Oers studies the genetic background, physiology and fitness consequences of variation in avian personality. In 2005 he obtained a personal VENI-grant to study the evolutionary genetics of personality using a linkage study in a natural population. This work is currently extended in collaboration with the Animal Breeding and Genomics Center in an NGI-grant on songbird genomics.
Koen Vanmechelen is a Belgian conceptual artist whose work engages with issues of genetic manipulation, cloning, globalisation and multiculturalness. The artist is currently working on The Cosmopolitan Chicken project, an experiment to develop a super-hybrid chicken.
Koen Vanmechelen's The Cosmopolitan Chicken Project chickens will be installed from Nov 5 to Dec 6 at the Muziekgebouw aan het IJ in Amsterdam. Vanmechelen is also having his first solo exhibition in a U.S. gallery at Conner Contemporary Art in Washington.
Featuring live chickens, the exhibition also includes taxidermy and blown-glass sculptures, video, and photography, as well as drawings and paintings in tempera made from eggs laid by chickens bred by the artist.