The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM, is aired today at 4pm (London time.)
My guest at Resonance this afternoon is Kira O'Reilly, a performer whose work i've encountered a number of times in biotech art context. I've been particularly drawn to the works that address the ethics of human/animal interactions and more generally our complex relationships with animals. The most discussed of her work is probably inthewrongplaceness, an intimate performance that Kira developed on her return from a residency at the art science collaborative research lab SymbioticA in 2004. Realizing the similarities between the pig's skin and her own, Kira danced skin to skin with a dead pig and invited members of the audience to touch both her own and the skin of the nonhuman animal,
A few years later, Kira presented the performance, Falling Asleep With a Pig in which she cohabited with a live pig called Deliah in a specially constructed sty. Sometimes they shared the space for 36 hours and in other performances, the cohabitation lasted 72 hours.
Kira O'Reilly's work has been exhibited and discussed widely throughout the UK, Europe, Australia, China and Mexico.
Kira is currently busy working on a three year AHRC funded creative fellowship at Queen Mary University of London called Thresholds of Performance, between body, laboratory and text.
I just read in a press release that i was one of the 20.000 visitors of the sixth edition of STRP in Eindhoven. The yearly festival is now a biennial but the formula hasn't changed much: 10 days of science&tech-infused art and of electronic music.
The theme of this year's exhibition is City of Cyborgs. Not the city of androids, clunky clones and man/machines contraptions but the city we are already walking through, smartphones in our pockets, implants in our bodies for some and ready to get our hands on Google glasses. City of Cyborgs in STRP speak means animatronics, opera for prehistoric creatures, a forest of interactive lasers, tapas made from edible solar cells, absurd mega machines and lots of dance. The high tech, the low tech, the digital, the organic and everything in between and beyond.
This year, STRP provided me this with a good excuse to catch up with and reflect on today's cyborg scenery and with the opportunity to discover artists and works i had never encountered so far.
I might be late to the party but i've just added the name of Ief Spincemaille to my list of young artists t follow. Sadly, I didn't manage to get my hands on his Reverse Blinking goggles. All i can say is that people kept telling me "Have you tried it? Have you?! it's brilliant! Brilliant!' Since i've missed the fun, i'll just copy/paste the description:
Imagine being caught with your head inside a photo camera. It's completely dark. Only when the shutter opens for a very brief moment, you perceive a flash of the world. You see people as static figures, entire street scenes as moments frozen in time. Everything you lay your eyes on seems to acquire the characteristics of a photograph. The shutter moves so fast that it leaves no space for movement. The plates move up and down causing your eyes to make a reverse blinking movement: the plates are generally shut off, and only open and close quickly and briefly. The spectators can open and close the shutter themselves with a button, allowing them to determine the frequency, but not the speed (shutter time).
I did however, have a go at the other work that the artist was showing: the Chain driven 3D mirror which makes it possible to walk around your own head and view it as if it belonged to somebody else. The most remarkable aspect of the work is that it doesn't involves any digital technology but relies entirely on mechanical components: a chain, sprocket and motor.
I actually found it more interesting to watch visitors trying on the apparatus. They seemed to hover between the fascination to watch their own head under every possible angle and the self-conscious feeling that people around them are watching them. I wish i had a better photo of the installation but i stupidly deleted mine and the ones provided by the festival focus more on the near-orgasmic expressions of the visitors than on the artworks themselves.
Paul Granjon's modified Robotic Perception Kits were available for a test-run in the exhibition space but they were so much in demand that yet again, i didn't manage to get them on. The goggles and ear sets allow users to experience the world as is if you were a robot.
I'm going to hop right into the performances programme. Because you cannot curate a cyborg-themed festival without including Stelarc, one of the opening night performances saw him manipulating his now legendary Exoskeleton. The beastly machine has been touring festivals and exhibition for several years and it still has the power to knock out and turn us into a collectively gasping crowd. I for one was very impressed.
That same night saw a performance by Daito Manabe. The artist has gained fame over the past few years by sitting solemnly in front of a table while the muscles of his face are controlling the tones and rhythms of his musical performances.
Back to the exhibition and to contraptions i wouldn't be seen dead wearing: Guo Cheng's The Mouth Factory is made of drills and lathes designed to be operated with the user's jaw and mouth.
A couple more works you might or might not have heard about already:
Valerie, My Crystal Sister is a crystal chandelier that hides a moving story: the attempt by designer Lucas Maassen to create an object that would be, genetically speaking, the sister that he never had. The chandelier is not only a visualization of the basic code of life, it also asks whether it is possible to use the biological process that created Maassen as a design process to create an object. The designer first crystallized synthetic DNA fragments taken from his parents and then produced a magnified version of this crystal also out of crystal. Finally, Maassen assembled one thousand such pieces to form the chandelier exhibited at STRP.
Jordi Puig's A-ME is an 'emotional memory recall device.' The installation allows visitors to upload memories to an artificial brain. They can also navigate the brain and listen to the memories that other people have stored in A-ME.
Waterfall Swing. The name says it all.
More images on STRP's flickr set.
A couple of weeks ago, i attended the Performing Architecture evening at Tate Britain. The event attempted to answer the questions 'What does performance have to do with architecture?' and 'How can a building perform, and how can we perform a building?' Call me an ignorant but i had never heard about Performance Architecture so i'm gathering here a few notes i wrote down during the Late at Tate night. I hope to get a chance to explore performance architecture with more details in the near future.
The most enlightening introduction to the practice was probably the discussion that Tate Curator Marianne Mulvey had with performance architect Alex Schweder and Lamis Bayar , Associate Editor of Le Journal Spéciale'Z.
Performance architecture is an emerging term but it comes from a long history of performance art. Emblematic examples would be Yves Klein's Air Architecture and his iconic Leap into the Void in 1960. Performance architecture also builds upon the works of avant garde architecture studios such as Haus-Rucker-Co, Archigram and Superstudio.
While architecture is usually prescriptive, performance architecture has to do with permission. It gives more agency to the people who occupy or pass through a building, urging them to explore and open up a building.
For the Late at Tate event, Schweder and Bayar scattered instructions inviting visitors to 'perform' Tate's Duveen Galleries. The examples of performance architecture taken from Schweder's portfolio might explain the concept with more clarity:
For 5 days, Schweder and Ward Shelley lived in Counterweight Roommate, a twiglike building made for two occupants of the same weight. Movement in the house depends on using the body mass of one's roommate as a counter weight to aid ascent or slow descent. When one occupant wishes to go up to the kitchen at the top level, the other must go down to the bathroom at the bottom. Between these two rooms are two private sleep / work rooms on levels two and four, and a common room at level three where the ends of the rope meet.
The same pair spent a whole week living inside Stability, a wooden seesaw with two beds, a kitchen and a bathroom. The structure moved up and down whenever either of the occupants decided to move from one room to another. The work was about the negotiations and moments of cooperation that take place when several people share a living space as the position of one of the dweller immediately affects the comfort of the other occupant.
Other projects that the architect mentioned in his talk included giving instructions to people to 'paint this floor until it touches the ceiling' and asking people to breathe warm air as soon as they entered an adjacent room where the temperature is always lower (the room was used to store meat in the past.) Imperceptibly and over time, the breath of the visitors raised the temperature of the second room.
The rest of the evening included more talks, a couple of performances, a workshop, and a series of famous and less famous short films such as Gordon Matta-Clark's spiralling 'cut' that breathed light and air into two derelict 17th century buildings in Paris.
Two films that document Absalon living within his experimental Cellules, 1:1 architectural propositions for idealised living-pods scaled to, and designed to condition, the sculptor's body and mind.
A film by Thomas Lock that deconstructs northern France's abandoned WW2 bunkers and Atlantic Wall into a time-based collage of fractured imagery and sound.
As well as Sean Snyder's Dallas Southfork in Hermes Land that follows a Romanian oligarch's re-creation of the ranch from the TV show Dallas - one of the few American TV programmes broadcast under Ceausescu's Cold War rule.
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.
The last episode of 2012 of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present ResonanceFM, will be broadcast today Tuesday 18th December at 4:00 pm. There will be a repeat on Thursday 20th December at 10:30 pm. You can catch it online if you don't live in London.
This week i'm talking with Ollie Palmer is a designer, artist, a tutor at Bartlett but he is also the guy who's so interested in dancing insects that he's embarked on a 6 year project to choreograph and stage an Ant Ballet.
Developed with the support of scientists from University College London and the Institute of Zoology in London, the work uses a robotic arm which sprays synthesized pheromone in artificial trails that the ants will follow in preference to their own natural foraging behaviour. The project will grow over several phases and one of them involves the creation of intercontinental ant telecommunication devices.
During the interview, Ollie talks ants and more precisely Argentine ants, a particularly invasive species that the UK wants nowhere near its shores. We also learn about the best way to collect ants, to synthesize pheromones and end the show with a few words about the Godot Machine, a device built for the sole purpose of preventing a single ant to move around.
What a merry interview to end the year! The next episode of #A.I.L / artists in laboratories will be up at resonanceFM in mid-January.
Previously: An Ant Ballet at FutureEverything.
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 11th December at 4:00 pm. There will be a repeat on Thursday 13th December at 10:30 pm. You can catch it online if you don't live in London.
This week i'm talking to Bruce Gilchrist, who together with Jo Joelson is the founder of London Fieldworks, an art practice that dialogues with science and technology.
Their work, which is usually developed in collaboration with other artists and with scientists, has investigated subjects as different from each other as the caravan and nomadic culture, the animal habitat, the impact of natural phenomenon such as the weather and the light on human consciousness and the possibility to send human beings into hibernation.
The projects of London Fieldworks have led them to the Atlantic Rainforest, the Scottish Highlands, North East Greenland but right now London Fieldworks have a show at the WORK gallery near King's Cross.
The exhibition, Null Object: Gustav Metzger Thinks About Nothing, has received much coverage in the press. The first reason for it is that London Fieldworks collaborated with Gustav Metzger, an avant-garde artist who launched the auto-destructive art movement back in 1959. The idea of auto-destructive art is roughly speaking to demolish art, and reconfigure the act itself as an artwork. His work however is never empty nor gratuitous, most of his pieces deal with social and political issues: threats to the environment, nuclear weapons, nazi Germany, capitalism, etc.
So it seemed almost logical that London Fieldworks would ask the artist to sit on a chair for 20 minutes thinking of nothing. But the second reason for the vast media coverage is that while the artist was seated, readings were taken of the electrical activity taking place inside his brain. The resulting electroencephalograms were then analyzed and turned into instructions for a factory robot to drill a hole inside a bloc of stone. The result is a 50cm high cube of stone with a void that represents what happens inside the brain of Metzger when he is thinking about nothing.
In the show we'll talk about neuroscience, brainwaves, biofeedback technology and other technologies that are influencing the way we live today.
The exhibition Null Object: Gustav Metzger Thinks About Nothing is up at the Work Gallery until 9 February. The book accompanying the show is Null Object. Gustav Metzger Thinks About Nothing (available on amazon USA and UK.)
Finally, if you're in London on Friday, Jo Joelson and Bruce Gilchrist from London Fieldworks will talk about their work at the symposium Digital Reflexes: Craft and Code in Art and Design.