Adam Brown is a conceptual artist working with scientists to create art pieces that use robotics, molecular chemistry, living systems and emerging technologies. He recently demonstrated how bacteria can, over a period of one week, digest the toxins of gold chloride and spit out nuggets of 24-karat gold
An interview with Haseeb Ahmed, one of the winners bio-art contest DA4GA, about his project to erect a hybrid building made of the bones of fish altered after exposition to toxins. Can mutation be generative of new forms instead of considered to be simply dangerous?
During the show we will be talking about how she managed to get her hands on a fresh human brain but Helen will also discuss some of her broader projects such as The Body Is A Big Place, a large-scale installation that explores organ transplantation and the thresholds between life and death
In-Potentia exposes, in the most limpid and absurd way, how science is blurring what we are used to regard as clear-cut categories, such as where life begins and ends or what constitutes a person. Or in Guy Ben-Ary’s words:
What is the potential for artists employing bio-technologies to address, and modify, boundaries surrounding understandings of life, death and person-hood? And what exactly does it mean culturally, artistically, ontologically, philosophically, politically and ethically to make a living biological brain from human foreskin cells?
Designers and biohackers Raphael Kim and Funk are in the studio with us today to talk about the London Hackspace, the largest hackerspace in the UK. Being part of this community obviously involves much coding but also laser cutting, soldering, drilling, woodworking, sewing, 3d printing, learning, tinkering, repairing and pizza eating. The space even welcomes a small bio-hacking lab
In this episode of #A.I.L., Adam Zarestky will be talking about what you can do with a preserved turd of William S. Burroughs but also eyeballs in armpits, ethics, biotechnological materials and ”Full Breadth Genetic Alterity
Kira is 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 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
Curator and creative producer Ulla Taipale will be talking about ‘Biofilia – Base for Biological Arts’, a new a biological art unit interweaving artistic and bio-scientific explorations. The learning and research environment opened at Aalto University, Finland in January of this year and i’ve been looking forward to hearing more about Biofilia ever since
My guests at Resonance today are creative technologists Asa Calow and Rachael Turner, Hello Rachael and Asa!
Asa and Rachael are the founders of the MadLab. Madlab is the short name for Manchester Digital Laboratory, a remarkably active community space for science, technology and art located in Manchester Northern Quarters. Luckily for me, Rachael and Asa are currently in London, where they are heading a series of workshops and events as part of their residency at The Arts Catalyst
Michail Vanis’s project suggests that our romantic ideas and ideals regarding nature – a nature that has to be preserved exactly as it is- are holding us back from finding new ways to interact with the world surrounding us. Vanis’ Neo-nature project invites us to reconsider our relationship to nature and adopt a more rational approach to ecological thinking and to conservation
Charlotte has donated parts of her body to stem cell research. Her tissue and blood samples are now in a lab where they will be transformed into induced pluripotent stem cells and from there into a range of completely different substances. A second self of Charlotte will be created, made from a collage of in vitro body parts.
The project is called Ergo Sum and it recently received the Designers and Artist’s for Genomics Award. It will be exhibited this Summer in The Netherlands. But until then, Charlotte is in the studio to tell us more about this work.
This week we are talking about Pigs Bladder Football with artist John O’Shea and Professor John Hunt.
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 balls using animal cells harvested from abattoir waste, replicating the same techniques used to create artificial human organs
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
Blighted by Kenning is a bioart work that Charlotte 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’.
Together they bio-engineered a bacteria so that its DNA encodes for the The Universal Declaration of Human Rights
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
“New Art/Science Affinities” was written and designed in one week by four authors (Andrea Grover, Régine Debatty, Claire Evans, and Pablo Garcia) and two designers (Thumb), using a rapid collaborative authoring process known as a “book sprint.” The topic of “New Art/Science Affinities” is contemporary artists working at the intersection of art, science, and technology, with explorations into maker culture, hacking, artist research, distributed creativity, and technological and speculative design
Jurema Action Plant is a machine which interfaces a sensitive plant (Mimosa Pudica). Its aim is to empower plants by enabling them to use similar technologies as humans use. It is also explores new ways of communication and co-relation between humans, living organism and a machine. Plants don’t have nerves, wires or cables but much like humans, animals and machines, they have an electrical signal traveling inside their cells
Thirty years ago, a peg-legged motorcycle mechanic walked into the Center for Advanced Visual Studies at MIT. They had not returned his calls. The police were summoned. Forty-five minutes later he walked out with an academic appointment. Since then Joe Davis has sent vaginal contractions into space to communicate with aliens, encoded poetry into DNA, and designed a sculpture to save the world
A few weeks ago, i was in The Netherlands to see the result of the first competition. You might remember that i had interviewed the 3 winning artists/designers just as they were about to start developing their projects (The Miscroscopic Opera, 2.6g 329m/s, aka the ‘bulletproof skin’ and System Synthetics) so i was curious to see whether the final pieces lived up to their (and my!) expectations
In a bold self-experiment aimed at blurring the boundaries between species, Marion Laval-Jeantet was injected with horse blood plasma. Over the course of several months, the artist prepared her body by gradually introducing into her bloodstream horse immunoglobulins, the glycoproteins that circulate in the blood serum, and which, for example, can function as antibodies in immune response. The artist called the process “mithridatization”, after Mithridates VI of Pontus who cultivated an immunity to poisons by regularly ingesting sub-lethal doses of the same
If you want to see a penguin, you go to the zoo. If you’re curious about dinosaurs, any natural history museum will enlighten you. But what if you want to learn about spider silk-producing goats, anti-malarial mosquitoes, fluorescent zebrafish or the terminator gene? Right now, we can only rely on good old internet. But in June, the Center for PostNatural History will finally open its doors to anyone interested in genetically engineered life forms. This public outreach organization is dedicated to collecting, documenting and exhibiting life forms that have been intentionally altered by people through processes such as selective breeding or genetic engineering
Biomedia artist Paul Vanouse’s latest work, the Suspect Inversion Center, comments on the way genetic evidence is brandished as the ultimate evidence in courtrooms. He set up an operational laboratory at the Ernst Schering Foundation in Berlin where he creates identical “genetic fingerprints” of criminals and celebrities using his own DNA
The exhibition looks at the sub-aspect of fauna and flora in nature. Through the works of some twenty international artists we explore how humankind manipulates nature and how the concept of ‘nature’ constantly changes as a result of this
Another winning project from the Designers & Artists 4 Genomics Award, 2.6g 329m/s is a project aimed at building a bullet proof skin by providing transgenic human skin with cast-iron spiders’ web. The work expressly asks the question if this technological innovation is socially desirable.
The winning projects of the first Designers & Artists 4 Genomics Award were revealed last month: a bullet proof skin, an ecological bioreactor and an opera performed by mutated worms. I’m going to dedicate several posts on the winning projects as well as on the award itself in the coming day. And i’m opening the series with the Microscopic Opera! Matthijs Munnik is going to collaborate with Netherlands Consortium for Systems Biology on an audiovisual installation in which tiny, transparent mutated lab worms are producing sounds and images
Is science the new art? Starting from this provocative question, art historian Ingeborg Reichle examines in her book responses of contemporary artists when faced with recent scientific and technological advances
A global overview of the ways in which contemporary artists are drawing on kinetics, biology, robotics and information technologies to explore new forms of creative expression
In light of the latest developments in biotechnology, cybernetics and neuroscience, the mixture of medical exhibits and works of art introduces visitors to developments in bioscience and issues they entail. Can our definition of life remain unchallenged? Is the human commitment to reproduce going to remain the same? How much can medical and scientific developments impact the way we love and live?
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. A couple of pieces have been added to the show. The performances are well documented and there is a corner to watch videos. The space itself is kinder to the artworks. There’s extra drama as the poor Victimless Leather garments had caught some disease and were slowly eaten by decay
The VivoArts School for Transgenic Aesthetics Ltd., Adam Zaretsky and Waag Society’s temporary research and education institute on Art and Life Sciences, will be focusing this month on body art
Could chemical reactions in fruits be also used to create on-off switches, the basic building blocks of computer logic and memory? Would it be possible to create a computer with fruits? The Fruit Computer Laboratory project proposes to create a temporary laboratory, open to the general public, that will raise questions and reflections about the construction of a future computer based on fruits
The Transgenic Pheasant Embryology Art and Science Laboratory taught by Adam Zaretsky at the University of Leiden was a hands-on perfomance art wet-lab aimed at stimulating a debate about the use of new biological methods for permanent alteration of genetic inheritance
Call for the presentation of projects where science, technology and art converge into prototypes and installations that use software, hardware and biology
All the videos of the VIDA competition winning artworks that were produced with or commented on artificial life technologies
The videos of the conference which took place at FACT in Liverpool on February 8 & 9 have been made available online
Caitlin Berrigan, Adam Zaretsky, Brandon Ballengee, Kathy High and I will be in New York for a panel on biotech art
Featuring Critical Art Ensemble’s video Immolation and The Office of Experiments investigation into truth serums
Second part of the report from Ecomedia. The projects presented in the exhibition are founded on progressive ecological models and conceive utopian horizons in the process.
At the Artissima art fair last month in Turin, i discovered a new player on the local art […]
I’ve spent half of the day dancing the sirtaki in my kitchen to the sweet sound of Demis’voice […]