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Hybrid ecologies unfold through complex interactions between actors and elements: human, non-human, biological, mineral, robotic, artificial, etc. There has always been some forms of interaction between humans and their immediate biological environment (through agriculture, bee keeping, fermentation techniques, etc.) but contemporary science is speeding up the synergies and frictions

The actors of hybrid ecologies are many. They are genetically engineered plants, cloned trees, animals used as sensors. Or they are robots, software and networks that encroach on the biological and sometimes manage to fuse with it. Some of this hybrid ecology is the direct result of human actions but increasingly, we see signs that biological and technological entities are escaping human control and are transforming the planet

Socially engaged artists need not be aligned (and may often be opposed) to the public sector and to institutionalized systems. In many countries, structures of democratic governance and public responsibility are shifting, eroding, and being remade in profound ways—driven by radical economic, political, and global forces. According to what terms and through what means can art engage with these changes?

Greiner’s works involve buying 40 litres of maggots and bringing them to the exhibition space until they turn into flies, composing music based on
 the luminous skin of a squid, convincing the Director of the Neue Nationalgalerie in Berlin to consider a fly as a living artwork, photographing portraits of algae, carefully orchestrating explosions around Berlin

“The Condition” might look like standard (media) art installation but don’t let its playful appearance fool you. The deeper you dig, the more you realize how many thought-provoking ideas and issues the work raises: new forms of ‘natural selection’ where it’s the prettiest -not the fittest- that survives, novel ecology in which salmons and tulips are grown à la carte, and intersection between the design of biological organisms and capitalistic values

What these works have in common is that their design and violence are ambiguous. They start with what looks like a laudable impulse, only in the most ruthless context possible: rice that feeds hungry populations but pollutes the environment with pesticides, a brutal weapon that causes pain but not so much pain that it will kill, animal welfare in slaughterhouses, and other oxymoron.

The work invites people on a tour of both metal music and metal materials in Helsinki. Participants get a metal detector that has been altered to play pre-recorded music from Helsinki metal bands. The group then wanders through the city historical sites, looks for the presence of iron, tin, steel, silver, copper and other metals in the ground and as soon as the device has spotted something, hard rock and metal will play through the headphones