The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM is aired tonight.
My guest in the studio is artist and film maker Charlotte Jarvis.
Over the past few years, Charlotte has worked with scientists to bio-engineer a bacteria with the Universal Declaration of Human Rights encoded into its DNA sequence, she developed performances that showed the public what could happen if one day, synthetic biology was used to eradicate greed, lust and anger from a group of children.
But today, Charlotte is going to dispel a few myths about stem cells and discuss her award-winning project: Ergo Sum.
A couple of weeks ago, Charlotte donated parts of her body to stem cell research. Her tissue and blood samples are now in a lab where they will be transformed - medically metamorphosed - into induced pluripotent stem cells and from there into a range of completely different substances. A second self will be created, a self-portrait, a dopplegänger, made from a collage of in vitro body parts. Brain, heart and blood vessel all biologically 'Charlotte', yet distinctly alien to her.
The show will be aired today Thursday 7st February at 19:30. The repeat is next Tuesday at 6.30 am (yes, a.m!) If you don't live in London, you can catch the online stream or wait till we upload the episodes on soundcloud.
Photos by James Read and Arne Kuilman.
A new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present ResonanceFM, will be broadcast today Tuesday 13th November at 4:00 pm. There will be a repeat on Thursday 15th November 10:30 pm. You can catch it online if you don't live in London.
Pigs Bladder Football looks back at the time when football balls were made from inflated pigs bladder. But instead of using an existing organ, John O'Shea collaborated with a group of scientists at Liverpool University to bio-engineer footballs using animal cells harvested from abattoir waste, replicating the same techniques used to create artificial human organs.
The interview was recorded over the Summer, during AND (Abandon Normal Devices), a festival of new cinema, digital culture and art that takes place annually in Liverpool or Manchester.
It is the first time in the radio show that i manage to talk to both the artist and the scientist. I hope you will enjoy the conversation as much as i did.
P.S. If you happen to be in Eindhoven this month, BioArt Laboratories and MU have invited John O'Shea to give a lecture about his work on November 30.
My sincere apologies for this belated (but enthusiastic) report from the AND Festival, a festival of new cinema, digital culture and art that takes place annually in Liverpool or Manchester with an extended regional programme.
Finally! An art & tech festival that makes sense. A festival that resonates with the media art expert and the casual passerby alike. An event that values art above in-your-face tech prowess. It was my first visit to an AND festival. I found it witty, surprising, often thought-provoking and enlightening.
Exhibitions, performances, open air cinema and workshops were free and distributed all over the city. My first stop was for the CUBE which was showing two works dealing with biotechnology. Pigs Bladder Football by John O'Shea and Reproductive Futures by Zoe Papadopoulou.
Pigs Bladder Football looks back at the time when football balls were made from pig bladders but instead of using an existing organ, the project tissue engineered small balls from animal cells harvested from abattoir waste. The artist was showing a video, a DIY incubator case as well as prototype of bladder muscle cell growing on 3D-printed polymer scaffold.
Zoe's exhibition was charting the history of assisted reproductive technology, putting the spotlight on landmarks such as the first premature baby wards in the US which used to be part of freak shows, the first test-tube baby, the first orphan who had more than 2 genetic parents, artificial wombs and the possibility to be the 'ultimate solo parent' one day. Reproductive Futures particularly explores one of the many cultural implications of these breakthrough: how are we going to explain children how babies are made? And will the techniques themselves have the potential to fundamentally change the way we perceive parenthood and reproduction?
I'll talk about these two works in more details in the future. Zoe is going to have a show of the final project this Fall in London and an interview with John O'Shea and Professor John Hunt is coming up next month on my art&science radio series for Resonance FM.
The AND festival had also given caravans to artists (London Fieldworks, Hellicar & Lewis, The Center for Genomic Gastronomy, Bureau A, Julian Oliver and Designers Republic) for them to customize, turn into micro art spaces and form a Mobile Republic.
Julian Oliver is perhaps the artist that made the most congruous use of the caravan with a work of "dislocative media." Boarder Bumping highlights the fact that as we traverse borders our cellular devices hop from network to network across neighbouring territories, often before or after we ourselves have arrived. These moments, of our device operating in one territory whilst our body continues in another, can be seen to produce a new and contradictory terrain for action. A free custom-made app on your phone checks for discrepancies between location data and mobile phone towers, thus between where you actually are and where your network says you are. The Border Bumping server then redraws accordingly the map of the national borders you are crossing.
One of the most stunning works i saw at the festival was a duo of videos by Jan Peter Hammer: The Anarchist Banker and Monarchs and Men. They were part of What have I done to (de)serve this? at Blankspace. The show presented works that reflect on the current global financial crisis and explore alternative economic systems.
The protagonist of Pessoa's story was inspired by Artur Alves dos Reis, a fraudster who mounted a scam so big, it shook the credibility of the Portuguese currency, the Escudo. The repercussions on the economy and politics of the country were considerable: the escudo lost much of its credibility and so did the Portuguese government. The crisis enabled the military coup d'état of the 28th of May 1926 and eventually brought the dictatorship of Salazar who stayed in power until 1968.
In Hammer's film, the dialogue between Pessoa's protagonists has been adapted to reflect upon the financial practices of neo-liberalism and the current credit crunch. It is set as a tv talk show in which a banker with a ruthless logic is interviewed in the aftermath of the 2008 financial crisis.
The other film, Monarchs and Men, is a sequel of The Anarchist Banker. The same banker is back on screen with a similar panegyric of 'rational egoism' and individualism. This time the scenario is based on an imaginary conversation between Leon Tolstoy and John Davidson Rockefeller, published in 1913 by Maximilian Harden. Hammer sets the scene at the opening of an art exhibition at a gallery supported by the banker.
The films are brilliantly frustrating. The banker is the star of both. Anyone watching it will detest his brutal point of view and be irritated by the way he invariably defeats any argument opposed to his dogma. But it is also impossible not to admire his eloquence, firm beliefs and unflappable logic. Besides, the media usually show us capitalists attempting to defend their practice. There's no apology nor hypocrisy here, just merciless, unadulterated mindset.
The theme of the Blue Crystal Ball exhibition at the Holden Gallery should have repelled me. Well actually it did repel me but i tried not to let my prejudices stop me. The show presented film and video works that explore the ideals and values of the Olympic movement.
The videos were very different from each other and very good. Without any exception. But i've already exhausted my quota of video reviews that aren't accompanied by any extract online for the day so you'll just have to take my word for it alas!
And i'll close with men briefs. Because i couldn't find any reason not to end on this happy note.
The most unusual objects are lost on the London tube: breast implants, human skulls, false teeth and braces, a jar of bull sperm, stuffed puffer fish, etc. And every year, a surprisingly high number of artworks are left on the underground trains. Charlotte Jarvis recently lost an apple 'contaminated' with synthetic DNA encoding for the Universal Declaration of Human Rights. The artist contacted Transport for London but they never found it. If ever you've picked up and eaten it, there's no need to be worried, the fruit is neither harmful to your health nor illegal.
The apple was part of Blighted by Kenning, a bioart piece Jarvis developed in close collaboration with The Netherlands Proteomics Centre (NPC), a research center located in Utrecht that studies proteome, the 'set of proteins expressed by a genome, cell, tissue or organism'.
"We bio-engineered a bacteria so that its DNA encodes for the The Universal Declaration of Human Rights," Charlotte explains. "We then extracted the DNA and sprayed it onto the surface of the apples."
Some of the fruits were then sent to genomics laboratories around the world for participating scientists to sequence the DNA, find the message hidden within and send back a translation.
The apples are currently exhibited in a former dairy converted into an art space called The Big Shed in Suffolk. The gallery is now filled with a small orchard but only one of the apples hanging on the one of the trees has been 'contaminated'. The show also includes a billboard visualising The Declaration of Human Rights expressed as a protein, films of the NPC scientists talking about their work and eating the fruit, the documents that institutes have sent to the artist and the NPC after sequencing the apples but one of the most fascinating part is the wall covered with a wall of correspondence detailing the process of making the project.
Charlotte uploaded some of the letters online. The exchange might be of interest to artists, curators, reporters wanting to work with life sciences: the legal restrictions in developing or simply exhibiting 'bioart' works, the misunderstanding and challenges encountered from the very moment the project was first articulated, etc.
Video interview with some of the NPC researchers:
12m by 3m billboard showing visualisations of The Declaration of Human Rights expressed as a protein:
One the opening night, Charlotte Jarvis ate one of the 'forbidden fruits':
The exhibition Blighted by Kenning, curated by Clemency Cooke, runs until the 26th of August at The Big Shed in Stanny House Farm, High Street, Iken, Suffolk. The project will be exhibited at various locations in the Netherlands later this year.
As announced previously, i've started a programme about art and science for ResonanceFM. The third episode is broadcast today Monday 4 June at 16.30 (GMT.) There will be a repeat on Thursday at 22.30. You can catch it online if you don't live in London. And of course we will have podcasts (still waiting for them.)
Howard Boland is in the studio today. The artist and mathematician co-founded C-LAB, an interdisciplinary art platform that explores the meaning and idiosyncrasies of the organic and the synthetic life.
7 years ago, I interviewed them about cacti that grow human hair and interstellar plant species. The radio programme catches up with their current interests, mostly magnetic nanoparticles and bacteria that might or might not smell like bananas.
You might remember that over 8 months ago i spent 7 days in Pittsburgh for a A/S/T Book Sprint. Together with curator Andrea Grover, art and science writer and pop star Claire L. Evans and architect and designer Pablo Garcia, i spent a whole week locked inside the STUDIO for Creative Inquiry at Carnegie Mellon University discussing and writing about the intersection of art/science/technology with explorations into maker culture, hacking, artist research, distributed creativity, and technological and speculative design.
Andrea also had the bright idea to involve graphic designers Jessica Young, and Luke Bulman from Thumb in the whole production process. Each evening we would gather around their computer screens and watch how these two talented designers had given shape to our ideas and texts.
The book is finally out! It's called New Art/Science Affinities and you can either buy it on Lulu or download the PDF for free.
Don't expect to read the ultimate compendium of all things art and science (it was written in only 7 days by 4 people after all), it would be more appropriate to see it as a subjective snapshot of what the art&science community is up to right now (or rather 8 months ago). What i can say with certainty is that the book is the result of one of the most exciting moments of my blogger life. So thank you Andrea for inviting us to book sprint, to Golan Levin for hosting us at the STUDIO for Creative Inquiry, to Astria Suparak from the Miller Gallery for her continuous support. And a huge thank you to all the artists we've contacted at the very last moment with an urgent request to send us photos or to talk with us on skype.
Views inside the book: