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Posts tagged ‘biotechnology’

Do Not Lick: MadLab’s DIY biology residency at Arts Catalyst

Shoestring Lab workshop, MadLab's Lab Easy, 2013

Shoestring Biotech: build your own lab, MadLab’s Lab Easy, 2013

DIY Biology is a growing global network of individuals that aims to promote citizen science and access to biotechnology. Participants may call themselves biohackers, biotweakers, bioartists (or simply artists), citizen scientists or amateur/independent biologists, depending on their approach and background. Interests of DIY (do-it-yourself) biologists include building their own low cost lab equipment and running experiments that would typically be done in an academic or commercial environment.

Bioluminescence workshop, MadLab's Lab Easy, 2013

Bioluminescence workshop, MadLab’s Lab Easy, 2013

Manchester’s MadLab (Asa Calow and Rachael Turner) was invited to be The Arts Catalyst’s first “institution in residence”. They took up their residency with us for two hectic weeks of Lab Easy in March. The residency offered both a professional development opportunity for MadLab, and the chance to run a series of workshops to engage a wider London public in the methodologies and ideas of DIY biotechnology. Ambitiously, Lab Easy held almost daily public workshops: from culturing bioluminescent bacteria to DNA extraction, cellular gastronomy to genetic modification. There was also a family day, an evening DIYBio salon and a peripatetic market foodlab in Deptford Market.

Cocktails and canapes, MadLab's Lab Easy, 2013

Cocktails and canapes, MadLab’s Lab Easy, 2013

Gjino Sutic's live mechatronic heart

Gjino Sutic’s live mechatronic heart

The residency attracted an extraordinary international gathering of artists, biohackers, designers and scientists, many of whom helped to devise and run the workshops. Not a day went by when someone from another DIYBio space across the globe turned up with a rucksack and unpacked various experiments. They included Dr Mark Dusseiller of Hackteria and Biotehna, Gjino Šutić from Zagreb, Ellen Jorgensen from GenSpace New York, Cathal Garvey from Cork, Thomas Landrain from La Paillasse Paris, Brian Degger from of Maker Space Newcastle, Kristijan Tkalec from Biotehna Llubljana, and Martin Malthe Borch from Copenhagen. MadLab and collaborators filled the Arts Catalyst space with wonderful conversation and strange experiments – as well as piles of petri dishes, boxes of pipettes, biotech kits, bits of electronics, soldering irons, trays of soil, jars of pond water, live fish, dead squid, bits of lego, a live biomechatronic heart, and in one corner a plastic cupboard area marked ‘Do Not Lick’, containing the outputs – I believe – from the self-cloning bacteria workshop (AKA genetic modification for beginners).

Bioluminescence, MadLab's Lab Easy, 2013

Bioluminescence, MadLab’s Lab Easy, 2013

Deptford Market Food Lab, MadLab's Lab Easy, 2013

Deptford Market Food Lab, MadLab’s Lab Easy, 2013

The Arts Catalyst’s involvement with amateur biology largely stems from its collaborations with Critical Art Ensemble, SymbioticA, and other artists and art groups since the early 2000s. Critical Art Ensemble (CAE) is a US art collective of tactical media practitioners who appropriated scientific knowledge and practices with the aim of bringing biotech into the public domain for critical examination, a tactic they called “contestational biology”. Arts Catalyst presented CAE’s GenTerra in London and Oldham, and collaborated on Marching Plague, projects which contributed to CAE member Steve Kurtz’s 4-year hounding by the FBI on unfounded suspicions of bioterrorism – http://en.wikipedia.org/wiki/Steve_Kurtz. In partnership with SymbioticA, a biological arts centre from Western Australia, we have run a number of ‘biotech art’ workshops, introducing artists and creative practitioners to hands-on experiences and critical and ethical discussion around biotechnology practices, including the BioArt Workshop in 2005  and Synthesis workshop in 2011. We have also worked extensively with the ecological artist Brandon Ballengee, whose practice incorporates primary biological research, largely into amphibians, and whose interests include the effective role that public volunteers (citizen scientists) can play in amphibian conservation efforts. We are interested in both the critical interrogation that artists can bring to advanced biology, as well as their playful, experimental and participatory approaches to art and research into living systems.

DIY Microscopy & Water Bear Hunting, MadLab's Lab Easy, 2013

DIY Microscopy & Water Bear Hunting, MadLab’s Lab Easy, 2013

Coincidentally Claire Pentecost, an artist and a long-term collaborator with Critical Art Ensemble, who was centrally involved in campaigning against the FBI’s case against Steve Kurtz, was London during the residency researching a new project on soil science, and called in to visit. It was a fascinating meeting of two generations of practitioners involved in DIY Bio and a moment of realisation of how the Kurtz case altered the amateur biology landscape at least in the US. Whereas, in 2004, FBI agents invaded Kurtz’s house in hazmat suits, arrested him and saddled him with mail fraud charges that took him four years to clear, in 2012 the FBI invited and flew 60 or so of the most prominent members of the DIYBio movement – from across the US, Europe and Asia – to a 3-day FBI organized conference in California. How times change.

Cellular Gastronomy, MadLab's Lab Easy, 2013

Cellular Gastronomy,
MadLab’s Lab Easy, 2013

At the DIYBio Salon, Claire asked about the politics and critical stance of the new generation of DIYBio practitioners as represented at Lab Easy. Ellen Jorgensen from Genspace felt that DIY Bio was a movement of individuals with some unifying principles – freedom of expression, freedom of speech – but a spectrum of politics: some saw a DIY biology lab as a political statement, while others just want to do some science; some wanted to push boundaries, while others wished to operate within the regulations of established science. Cathal Garvey (a trained geneticist with a Class 1 licensed lab in his spare bedroom) spoke out passionately against patenting: “Most of you are not aware that you do not own your own DNA”; and Marc Dusseiller (nanoscientist and co-founder of Hackteria) spoke of a gradual movement towards a world without patents, as more people and companies, particularly in the developing world, are becoming involved. He felt that DIY Biology plays a role in a cultural shift towards openness: part of a pattern of movements including open democracy, open access to publications, open data, and open science.

More pics below …

PS. Interesting blog post (in Danish) about LabEasy from one of the collaborators, Martin Malthe Borch.

 

Deptford Market Food Lab, MadLab's Lab Easy, 2013

Deptford Market Food Lab, MadLab’s Lab Easy, 2013

Deptford Market Food Lab, MadLab's Lab Easy, 2013

Deptford Market Food Lab, MadLab’s Lab Easy, 2013

Cocktails and Canapes: the genetics of taste, MadLab's Lab Easy, 2013

Cocktails and Canapes: the genetics of taste, MadLab’s Lab Easy, 2013

Bioeletronics, MadLab's Lab Easy, 2013

Bioelectronics, MadLab’s Lab Easy, 2013

Cellular Gastronomy, MadLab's Lab Easy, 2013

Cellular Gastronomy, MadLab’s Lab Easy, 2013

Deptford Market Food Lab, MadLab's Lab Easy, 2013

Deptford Market Food Lab,
MadLab’s Lab Easy, 2013

Transformism: new works by Melanie Jackson and Revital Cohen

Urpflanze Part 2 (detail), Melanie Jackson, 2013

In ‘Transformism’, the Arts Catalyst’s latest exhibition which has just opened at the John Hansard Gallery, Southampton, Melanie Jackson and Revital Cohen reflect on our compulsion to alter and shape the materials, objects and living entities around us. They wonder at our ingenuity, and contemplate our relationships with biology and matter as they are radically transformed by human agency, whether the impulse is artistic or scientific.

Today, in our attempts to rework our living and material world to fit our beliefs of how it should be, we have powerful new tools. Molecular biology, nanoscience and engineering are converging, provoking scientists to dream up all kinds of transformed matter: vaccine-producing bananas, fluorescent cats, bacteria that excrete diesel, trees that clean up pollutants, nanorobots that can enter human cells. Science proclaims a new revolutionary age, in which we can make almost anything, if we only understand and imagine it. Yet the urge to create new forms and objects, whether driven by need, desire or simply fantastical dreams of what might be possible, is ages old. To understand where we’re headed, we should have some perspective on where we’ve come from.

Urpflanze Part 2 (detail), Melanie Jackson

Melanie Jackson’s investigations into mutability and novel forms are rooted in her awareness of the visual, sensual, historical, political and scientific aspects of materials and plants, and her interest in the intertwined role of myths and fantasy with aesthetics and technology. She is intrigued by scale, conscious that many new types of matter, such as liquid crystals, microscopic biological entities and smart materials, are rendered invisible because of scale or concealed within a hermetically sealed interface, yet they impact dramatically on our macroscopic visual and tactile environment and our dreams of magical abundance.

The Urpflanze (Part 2) is the second part of Jackson’s ongoing investigation into plant form, aesthetics and transformation that takes its lead from Goethe’s concept of an archetypal plant, the Urpflanze, from which all plant forms could be generated. Contemporary science similarly imagines the potential to grow or print any form we can imagine, by recasting physical, chemical and biological function as a substrate that can be programmed into being. Jackson’s work begins in the botanical garden and looks to the laboratory, from clay pits to the factory floor, from analogue to digital clay, from its own animated pixels to the interior of the screen in a series of moving image works and ceramic sculptures.

Kingyo Kingdom (detail), Revital Cohen, 2013

Revital Cohen’s work explores themes relating to nature, technology, and human behaviour. In particular, living creatures that are produced and used as artefacts fascinate her. Her interest in these designed animals – whether pets, farm animals, or living drug factories – is driven by what motivates and influences the breeders and scientists, and what this commodification means for our relationship with these fabricated living beings.

In Kingyo Kingdom, Cohen explores the genus of fish that have been designed for aesthetic purposes, questioning the definitions used to indicate living creatures. Does one denominate a manipulated organism as an object, product, animal or pet? What are the design criteria involved in creating living creatures? Cohen’s interest in the cultural perceptions and aesthetics of animal-as-product took her to Japan where exotic goldfish have been developed over centuries of meticulous cultivation; breeding out dorsal fins and sculpting kimono-like Ranchu fish tails. Kingyo Kingdom explores the unique culture of breeders, collectors and connoisseurs with footage from the Japanese national goldfish competition, questioning the design and commodification of this species.

Kingyo Kingdon (film still), Revital Cohen, 2013

‘Transformism’ is the latest manifestation of the Arts Catalyst’s extensive investigations into how arts practice, culture and contemporary science interpenetrate and influence one another.

The philosopher Bernard Stiegler has asserted that the divorce between the rhythms of cultural and technical evolution is symptomatic of the fact that today technics evolves more quickly than culture (1), but perhaps there is more interplay than we realise. The works in ‘Transformism’ meditate on the vibrations and circulations of our changing material world and explores our complex relationships with the things we create, in the process softening the boundaries between culture and technology.

Transformism is at the John Hansard Gallery, University of Southampton, SO17 1BJ, from 22 January to 9 March 2013

The Transformism exhibition guide, with an essay by Isobel Harbison, is available from the John Hansard Gallery or can be downloaded in a variety of e-formats from The Arts Catalyst website.

Notes
1. Bernard Stiegler, Technics and Time, 1: The Fault of Epimetheus

 

Proposal: an arts/science* ethics advisory panel initiative

Man with an ear growing on one forearmTransparent lab jar with unidentifiable piece of meat-like substance in it

* arts/science, in this context only, implies art that needs or would value science ethics expertise

Following from the artist-initiated events, Gina Czarnecki’s Wasted Debates round table, and Anna Dumitriu’s Trust Me, I’m an Artist with Neal White, I want to suggest a possible structure for an independent arts ethics advisory panel, since a number of artists have said that they would benefit from expert ethics advice on their proposed projects, both to reassure funders, venues, collaborators and media, and to advise the project itself.

This might apply to artworks that use human remains, art that involves people ingesting certain substances, art that involves animals, or art that involves genetically-modified or bioengineered substances or living things, as examples.

I propose that an advisory panel system is set up. The term “ethics committee” may be more useful as a reassurance to some bodies, but a panel implies a more advisory function rather than providing ‘rulings’ or issuing ‘approval’ – which I feel is more appropriate to an art context – and perhaps a less static membership.

The requirements for such a panel are, I believe:

- appropriate balance of expertise

- independence from the proposed project under review

- accessible for artists

- flexible and unbureaucratic

I suggest we need a database of advisors, drawn from science, the arts and ethics, who may either nominate themselves or come via some sort of nomination process (what do people think?). We also need a public list of panel conveners. The conveners play a key role.

How it would work

An artist could approach one of the conveners to ask them to put together an independent panel to consider the artist’s proposed project (or a project underway). The advisory panel would have appropriate expertise, including – I suggest – at least one artist, relevant scientific and ethics expertise, and a curator or exhibitions organiser.

The panel would discuss the proposal and provide the artist with written comments and advice (rather than a ‘ruling’), and would include attached to the document the names and qualifications/expertise of the advisory panel members.

This written statement could then be presented by the artist to venues, funders and collaborators to support a project proposal, and provide information, advice and reassurance on key ethical, legal and safety issues.

Of course, the statement can and may be disregarded by the artist, at their own judgement and risk.

Provisos

My provisos to this proposal are that, to be sustainable, particularly assuming that demand will grow, it would be better if the process could be systemised to reduce workload (perhaps a panel meets once a quarter to review several proposals), and the conveners and panel members recompensed, unless their occupation covers their time on such a panel.

A funding or research body might support this, in which case the initiative might have to be constituted to raise funds. Alternatively, funds to convene a panel could be built into fundraising applications and sponsorship proposals for the art project (so a standardised list of fees would be needed).

Thoughts please!

These are just some thoughts, based on discussions and experience of cross-disciplinary panels. I welcome your comments and further suggestions or alternative proposals.

Images (L-R): Stelarc, Third Ear, Tissue Culture & Art Project, Victimless Leather, 

Wasted debates: using human remains in art

Illuminated translucent sculpture

Gina Czarnecki, Palace (2011). Photo: Sam Meech

Recently, I took part in a round table discussion on the use of human remains in art. The discussion participants included ethics experts, scientists, artists and curators. It was impressive in its breadth and depth of expertise. The round table was part of a series of events connected with Gina Czarnecki’s exhibition at Bluecoats, Liverpool, which includes a series of works from her Wasted series, which use donated human tissue (from living donors).

The topic relates to some of my interests in ethics in art and the display of human remains, and the discussion has sparked a lot of further thought. I would like to explain a little of the specific context in which this event took place, and give a brief summary of the discussion (you can also watch the full discussion online). In a later post, I want to suggest a possible way forward in terms of ethical reviews of artists’ projects.

I’ve known Gina Czarnecki for several years and had the privilege to work with her in 2002, when Arts Catalyst commissioned her work Silvers Alter for our exhibition CleanRooms. Most of her works in the exhibition at Bluecoats are film and interactive installations. Czarnecki has a striking and distinctive aesthetic working with image of the human body. However, one room displays her new body of work, which represents a new departure, shifting from moving image to the sculptural form and a preoccupation with the material. These works all incorporate ‘discarded’ body parts such as children’s milk teeth, and bones and fat from living, consenting donors, and explore the significance of these parts in relation to to history, mythology and science, as well as raising issues of consent and donation.

Image of a human being prone against a dark background

Gina Czarnecki, Infected (2009)

At the opening of the round table, Gina Czarnecki explained that her father was a concentration camp survivor, and this family history influences her work. She also explained her long-term exploration of biotechnology and its impact on the human image. I felt that this context was important in understanding her work.

People specifically donated their body fat and bones to her Wasted projects via a surgeon. (Children directly donate their milk teeth). But the surgeon was later advised that his involvement in the project might compromise his license to practice, not because of any ethical transgression, but because of “bad press”. Czarnecki voluntarily returned the bones.

Czarnecki, and her collaborating scientists, Sara Rankin and Rod Dillon, had a series of similarly disheartening experiences: approaching institutional collaborators to collaborate, who would at first be interested and then balk because of the lack of “ethical approval” (Rod Dillon outlines some of this process in his blog post).

In fact, there is no legal need for an artist to have ethical approval for the display of human tissues from living people, if they have given their consent. Nonetheless the institutions were nervous. But even were there a need for ethical approval for some procedure as part of an artist’s project, no body exists to give such approval. So there is a Catch 22, which is causing problems for increasing numbers of artists. Also, as Gina pointed out, quite apart from just allaying collaborators’ and funders’ concerns, many artists would like to have ethical approval for what they are doing, as well as sound advice on biosafety. A number of experts on the committee thought it was very strange that no one was prepared to say that this work was “ethical”.

At one point, the conversation became – as it often does in cross-disciplinary dialogues – bogged down in whether or not some of the participants liked or understood Czarnecki’s work. But to me the point, in terms of a discussion on ethics, is not whether someone likes Czarnecki’s Palace artistically or not, or whether it conveys clear ideas (about the science it engages with, for example). As Bronac Ferran noted at the meeting, art’s function isn’t necessarily to be aesthetically pleasing or to increase understanding, but often it is precisely to disrupt, confuse, and provoke. The point rather, in terms of ethics, is whether, at an early enough stage in the works’ development, the artist has informed herself and considered the ethical (and legal) implications of the work in detail, has an understanding of the possible implications, and can discuss how these might be addressed in the process and presentation of her work and any long-term consequences.

There is, of course, the thorny issue of “benefit”. Scientific ethics committees work by considering whether the potential benefits of a piece of research outweigh the risks (assuming that there are risks). I assume that it is not always straightforward to see the potential benefits of a piece of scientific research, let alone a work of art. I suppose there are both practical benefits to society – in art, perhaps this is the showing of the work publicly – and less tangible ones, in contributing to the “body of knowledge” of art (in the same way that science can contribute to knowledge as well as to technology or medical applications). In which case, perhaps the only way to assess the likely “benefit” of an artwork, if this is necessary in the context of risk, is to look at the track record of the artist, rather than relying on a subjective response to a specific proposal.

In a forthcoming blog post, I’ll try to outline a proposal for how we might practically approach this “grey area” in dealing with ethics between artists’ practice and the institution.

Two people (seen from the back) watch a video installation on which are naked people

Gina Czarnecki, Silvers Alter (2002)

Let’s experiment with ourselves

An artist in a respiratory air mask sits in a plastic tent. Test tubes and bottles on a table in front of him.

Neal White, The Void. Image: Office of Experiments

Self-Experimentation and the Ethics Committee of 1

A report on the event ‘Trust Me, I’m an Artist: Towards an Ethics of Art and Science Collaboration

Artist: Neal White
Ethics committee: Professor Bobbie Farsides (Chair), Professor Michael Parker, Professor Bob Brecher, Dr Julian Sheather, Professor Richard Faragher, Helen Sloan 

Last week, Arts Catalyst hosted ‘Trust Me, I’m An Artist’ one of a series of events taking place around Europe, created by Anna Dumitriu, investigating ethical issues arising in some art and science collaboration and considering the roles and responsibilities of artists, scientists and institutions. At each event, an internationally known artist proposes an artwork to a specially convened ethics committee, in front of an audience. The committee, following the rules of ethics committees they serve on, discusses the proposal and reach a decision. The panel then informs the artist of the decision and, with the audience, discusses the result with the committee.

Artist Neal White gave a fascinating, provocative presentation about his project: The Void, in which he recreated Yves Klein‘s “blue urine” experiment. In May 1959, on the opening of Yves Klein’s exhibition Le Vide (The Void) in Paris, Klein served special blue cocktail, containing Methylene blue. As Klein intended, the cocktails caused the urine of drinkers to turn blue for about a week. Since this event took place in 1959, Methylene blue as a stain has been established as toxic. However, it is also a component in several medications, is used to reduce symptoms of cystitis, and in other forms for treating methemoglobinemia.

Blue liquid falling in a stream

Neal White, The Void. Image: Office of Experiments

In 2004, White proposed a research experiment whilst artist in residence at the National Institute for Medical Research (NIMR). He proposed to re-stage Klein’s event as an experiment to establish what were the safest, or least toxic, dosage of Methylene blue in an alcoholic cocktail required to turn urine blue. Visitors would be faced with a choice: either to consume an artwork that contained the ingredients of Methylene blue, with only the clinical information provided, or to keep the artwork they were given (the pill and information) as an intact form, signed by the artist.

The artist intended the experiment to be both a cultural experiment which utilized a clinical trial under closely monitored conditions, and a challenge to the limits of artistic practice in its engagement with science, and specifically in its engagement with the politics of consent and belief, and the institutions themselves (White’s practice incorporates a strong current of institutional critique). His aim, he explained to the committee, was also to question the physical site of an artwork and our willingness to participate, beyond a visual experience, in an embodied experience of art, and join the ranks of the “self-experimenters”.

White’s presentation was impressive, and raised interesting issues not only around the nature of an artwork, and the fascinating ethics raised by medical self-experimentation (which has a long history), but also how we perceive authority and expertise, the limits of autonomous decision-making, and the nature of the ethics committee itself. White explained that the NIMR ethics committee had turned down his original proposal, but that he had performed the art experiment in an art gallery setting instead. However, he did not explain to the panel the reasons for that committee’s decision.

The structure of the event was that the artist then left the space for half an hour while the ethics committee discussed his proposal.

Because of their brief – that they follow the rules and procedures typical of the host country – the ethics committee (a highly-qualified and experienced group of experts) struggled for half an hour to find a way to engage coherently with the proposal. Bob Brecher asked whether the proposal was for an artwork or art research, because ethics committees only deal with research. This uncertainty about how to categorise the proposal was rather a shame, as it meant the conversation continued to return to this basic issue and thus to stall, which reduced the opportunity to explore some of the interesting ethics. The audience didn’t get to see the artist’s completed ethics form, which had clearly confused members of the committee. Richard Faragher, who throughout seemed most opposed to the proposed, noted: “To stand before an ethics committee you are making a claim that the benefits (of your research) outweigh the risks”. Faragher could not see the ‘benefits’ of the ‘research’ at all. Helen Sloan, the arts curator on the committee, challenged the concept of ‘benefit’ in respect of art. Professor Michael Parker commented with characteristic common sense: “My view is this is an interesting artwork, relatively low risk. The problem is the (nature of an) ethics committee”. Julian Sheather wondered whether the artist was playing a joke on the committee. “If so” he mused, “it’s rather a good one.” The audience was clearly desperate to jump in to the debate, but that wasn’t to be allowed until after the decision was given to the artist.

Glasses and dishes on a table, rubber gloves, a sheet of paper with 'Menu for the Void'

Neal White, The Void. Image: Office of Experiments

When Neal White returned to the room, Bobbie Farsides gave the overall verdict of the committee: “A low risk artwork, but possibly not within the remit of an ethics committee to decide on”. Faragher disagreed strongly and said that he would not give his permission to the experiment to go ahead.

In the lively discussion that followed with the artist and audience, the audience joined in enthusiastically. Some were disappointed that the committee had not engaged with the breadth and subtlety of Neal’s presentation. But perhaps that was in the nature of the brief that they were given. White explained that when the NIMR had turned down the proposal, they had done so not on the basis of the harm it might do the participants, but because they did not want any potential “bad” publicity at the time.

The discussion continued about the “benefit” of his work, Sheather complaining that artists seem to set out to shock and so it was difficult sometimes to see the benefits. It always saddens me to hear this, first because it only applies to some artists, and – if you press the person who says this – it’s almost always the same names cited (Chapmans, Emin, Hirst, and the Sensation exhibition). And, frankly, I’ve been far more profoundly shocked by things that have taken place under the umbrella of science than any art I’ve encountered, but I wouldn’t make judgements on all scientists based on that.

Neal White had the last word when he quoted the late artist John Latham on the ‘benefits’ of art: “The contribution of art to society is art”.

A series of newspapers, each titled 'The Self-Experimenter'

Neal White, The Self-Experimenter. Image: Office of Experiments

2012: autonomous infrastructures, uneasy energies, and the machine wilderness …

Yahoo. 2012! What’s coming up this year in the art/science world? Here’s a highly subjective list of things I’m looking forward to.

Melanie Jackson, still from new work (in progress), 2012

Arts Catalyst’s Republic of the Moon exhibition is currently running at FACT, Liverpool, to 26 February, and there’ll also be a Kosmica event at FACT at the end of the month. In March, Agnes Meyer-Brandis’ Moon Goose Analogue tours to the Great North Museum, Newcastle, as part of AV Festival.

Later this month, we’ll announce a call for an exciting artist’s fellowship at a major science facility in Europe (details to come). We’ll also be launching a new series of workshops and commissions in our Autonomous Artists’ Infrastructures strand, following on from the Planetary Breakdown event at BALTIC, including new work by Hehe.

We’ll be busy all year round in our Clerkenwell space in London with a new series of Kosmicas and other events, exhibitions and workshops, beginning with ‘Trust Me, I’m an Artist’, exploring the ethics of art/science collaborations. Later this Spring, I’m greatly looking forward to showing our new commission from Melanie Jackson, a new essay film that takes us from the botanical garden to the synthetic biology laboratory in the artist’s ongoing investigation into the impulse for form, informed by her participation in our Synthesis workshop last year.

Throughout the year, we’ll unveil a number of other artists’ projects currently in development at different venues across the UK. I’m also planning to trail Alec Finlay when I can around the northernmost parts of Scotland for his investigations into small-scale wind power. And we’ll continue our involvement in the Arctic Perspective Initiative.

Illustration from E. W. Golding's The Generation of Electricity by Wind Power (1955). From Alec Finlay’s http://skying-blog.blogspot.com/

Beyond Arts Catalyst, Berlin’s wintry transmediale is always a good get-together for people inhabiting the art-tech-politics end of the art and science spectrum. This year, the festival takes the theme of ‘in/compatible’. Its exhibition ‘Dark Drives – Uneasy Energies in technological times’ promises “works of art and artefacts of everyday culture that direct our attention to the dark side of our technologised lives”, including a series of photographs by environmental scientists Vibek Raj Maurya and Jack Caravanos of the overwhelming amounts of electronic waste deposited in developing world.

Vibek Raj Maurya, e-waste series, Accra, Ghana

In June, back to Germany as documenta finally rolls around again. Will there be much engagement with science in this 5-yearly massive survey of contemporary art?  How could there not be, if it plans at all to consider art in relationship to contemporary existence, given the currency of environmental issues and 2011′s scientific excitements, which have included glimpses of the Higg’s boson, Einstein-defying neutrinos, and the discovery of Earth’s “twin”? We know, at least, that Amy Balkin’s ongoing Public Smog project will be part of documenta (13), relocating her park in the atmosphere and intelligent discourse over governance of the skies to Kassel.

Amy Balkin, Public Smog (2004 ongoing). Part of documenta (13)

Of the UK’s Cultural Olympiad offerings this year, I’m keen to see Owl Project’s FLOW, an environmentally sustainable watermill on the River Tyne, come to fruition after all their hard work, and I’d like to hop onto Alex Hartley’s Arctic nowhereisland, navigating the South-West of England coast. Meanwhile, Film and Video Umbrella is commissioning a series of moving image artworks that reflect that transient period when an athlete attains a heightened state of performance, generated by four artist-scientist partnerships: Dryden Goodwin and Elsa Bradley; Cornford and Cross and Dr Richard Ramsey; Susan Pui San, Tali Sharot and Nicky Clayton; and Roderick Buchanan and Dr David Shearer. All four new works will be shown at De la Warr Pavilion, Bexhill-on-Sea, in summer 2012.

Come Autumn/Fall, I’m already very excited about ISEA 2012, taking place this year in Albuquerque, New Mexico, USA, and glorying in the title ‘Machine Wilderness’. The themes are very much up our street: The Cosmos, Wildlife, Transportation, Power. New Mexico: it’s got deserts, it’s got mountains, it’s got art, and it’s even got a dropzone. What’s not to love?

Ivan Puig and Andrés Padilla Domene, SEFT-1, Sonda de Exploración Ferroviaria Tripulada, Manned Railway Exploration Probe. Showing at ISEA 2012.

Back from ISEA in September, I may pay a visit to the small market town of Grantham in Lincolnshire, birthplace of Isaac Newton, where they’re planning a “major art and science festival”. (It’s also the birthplace of Maggie Thatcher, but let’s not go there)

What have I left out? Let me know your art and science highlights for 2012, particularly in other parts of the globe.

A tale of singing worms

Matthijs Munnik, Microscopic Opera (2011). Photo: Jan Sprij

I’m just back from Leiden in the Netherlands, where the Waag Society had invited me to give a presentation at the award ceremony for the Designers & Artists 4 Genomics Award, a collaboration with the Netherlands Genomics Initiative and the Centre for Society and Genomics. This was the second year of the award, which can be won by artists and designers who graduated no longer than five years ago.

The jury handed out four awards of €25000 to designers and artists to work with partner scientists with whom they were matched at an earlier stage in the competition process.

The winners were Lionel Billiet (BE) who proposes to develop lichen graffiti on buildings, Susana Cámera Leret (ES) and Mike Thompson (UK) who want to explore the metabolomics of urine and develop metabolic paintings, Tiddo Bakker (NL) who will give plants a voice through measuring their activity with a tension meter, and Zack Denfeld (US), Catherine Kramer (AU) and Yashas Shetty (IN), who plan a series of recipes that imagine near and far future diets of ageing Netherlanders.

The final works of the winners of last year’s awards were exhibited upstairs at the Naturalis, Leiden’s Natural History Museum (on until 8th January ). I liked Matthijs Munnik’s ‘Microscopic Opera’, an audiovisual installation in which tiny nematodes perform an abstract opera under microscopes. Munnik developed a system to translate the movements of the c.elegans worm – a model organism often used in research labs – into sounds in real time. I found the “music” of the worms’ opera rather appealing and I enjoyed the simplicity of the concept and the effectiveness of its execution.

Reunions and resistance – Critical Art Ensemble

Great to meet up with Steve Kurtz at AND festival, Liverpool, last week, recovered from his four-year ordeal of FBI intimidation.

Photo of Steve Kurtz in panel discussion smiling in black jumper and blue jeans

Photo of Steve Kurtz by Steve Reynolds

Kurtz’s story is well-known and much written about. But for those on another planet at the time: in 2004, Kurtz, of art collective Critical Art Ensemble (CAE), together with his scientific collaborator Dr. Robert Ferrell, Professor of Genetics at the University of Pittsburgh, were slapped with charges of bioterrorism by the US Dept of Justice. These were triggered by CAE’s art projects critiquing commercial biotechnology and US biowarfare research, and Kurtz’s biological lab equipment and supplies, discovered because he had called 911 to report that his wife had died of heart failure.

Men in white hazard suits enter a house marked of by yellow warning tape

The FBI searching Kurtz's house


When the bioterrorism charges could not be substantiated – after several months and a pile of public money – the DOJ downgraded the crime to “mail and wire fraud”. These charges involved a minor contractual technicality over Ferrell’s sale of some harmless bacteria to Kurtz for his project “Marching Plague” (commissioned by Arts Catalyst). Under the US Patriot Act the maximum sentence for these charges was five to twenty years. The FBI continued for four years to try to find ways to reinstate the bioterrorism charges.

Critical Art Ensemble, Marching Plague, action on Isle of Lewis (2006), commissioned by The Arts Catalyst)

Ferrell eventually pleaded guilty to these smaller charges to avoid a federal trial, leaving Kurtz to forge on alone for both Team Art and Team Science. Ferrell wasn’t so much scared of the DOJ as just extremely ill. He has had non-Hodgkins lymphoma for the past 30 years, and three strokes since the charges were brought against him.

In 2008, after a long expensive legal battle, a judge finally dismissed all charges against Kurtz.

But has Kurtz really recovered, as he says? He talked at his keynote lecture at AND festival / Rewire conference about the Lacunian “big other”, and the policeman and the lawyer who now sit in his head. Critical Art Ensemble will be at Documenta next year, enfolded into the bosom of the mainstream arts world, presenting critical work that is powerful but covers subject matter that other artists do. Is CAE going to play it safe now? Has the FBI won, in some sense, by quieting their critique and dulling their actions?

What inspired me so much about CAE was their tactical invasion of specialist knowledge economies, such as biotechnology, that are controlled and commodified.

But talking to Steve, I am reassured and immensely cheered. He is a remarkable man, battered but resilient, and absolutely unbroken. Expect more mischief-making and provocations in new and unexpected knowledge domains. I will report.

Three smiling people in a dark bar

Absolutely sober Arts Catalyst / Steve Kurtz reunion at AND festival. Photo:: someone in a bar


Biorama 2: troglodites to thrombolites

Peak Cavern, setting for Biorama 2

Having thoroughly decompressed from our Eye of the Storm conference at Tate in my own way, I proceeded to Huddersfield, and thence by swinging careering coach drive across the Pennines to Castleton for the marvelous Biorama 2, a media art event in a cavern, organised by the University of Huddersfield (Derek Hales) and artist Andy Gracie.

Biorama 2 took place in the vast Peak Cavern, the entrance to a 30 km cave system. The event explored the biology of the underground through the notion of ‘umwelt’ through a series of talks, discussions, workshops and expeditions into the cave system. I couldn’t make the workshops which took place in Huddersfield on the Wednesday and Friday, but I joined the group for the outing to Peak Cavern and a terrific day of presentations, performance and cave exploration.

The meeting took place inside the cave,  an AV system set up in this most unlikely setting. The speakers were artists Oron Catts, Agnes Meyer-Brandis,Antony Hall and Andy Gracie, curator Ulla Taipale, and microbiologist Paul Humphreys who started the day with a fascinating talk on extremophile bacteria.

Andy Gracie gave the rundown on some historical theories about the structure of the Earth, as well as Admiral Byrd’s speculated 1947 discovery of the entrance at the north poles into the hollow earth. He also explained Jakob von Uexkull‘s theory of ‘umwelt’, an organism’s perception of its environment, and its influence on the development of biosemiotics by Thomas Sebeok.

Agnes Meyer Brandis introduced some of her recent work. Agnes inhabits a world of enchantment, weaving tales of magic and myth from her journeys and explorations. In her Moon Goose Experiment (2008), Agnes traveled to Siberia for a total solar eclipse to recreate Francis Goodwin’s story of a man who flies to the moon attached to a flock of moon geese. She also spoke about her glacier studies in Argentina and recent meteorite watching event in Russia.

After a short trip from the chilly cave down into the village for coffee and cake and to warm our bones, Oron Catts gave a talk about SymbioticA’s latest project ‘Adaptation’, a developing programme of artist residencies and events opening up discussion around the competing interests surrounding Lake Clifton, home to the largest lake-bound thrombolite reef in the southern hemisphere. Thrombolites, or ‘living rocks’, are built by micro-organisms.

The day finished with a great sound installation by Joe Gilmore in a deep cavern, echoing frequencies bouncing off the cave walls. Left to our own devices by the people who usually police the cavern most contientiously to ensure the safety of visitors, we scrambled up the cavern sides and down tunnels, in unsuitable shoes, trying to avoid the sheer drops.

From biohacking to biotech porn

Andy Gracie, Small Work for Robot and Insects, 2002-3

Last week, I was at the Waag Society in Amsterdam for its EcoArt lecture event, with Andy GracieBrandon Ballengee and Boo Chapple. The lectures were held in a historic anatomy theatre, where autopsies used to take place in front of a public audience, in the extraordinary building the Waag Society occupies, a former weighing station in the heart of Amsterdam.

The delightful Boo Chapple modeled her wearable carbon-offsetting outfit and discussed other personal waste recycling schemes for the environmentally anxious. Andy Gracie explained some of the ideas behind his fascinating ecology-robot systems, including biohacking (which perhaps more aptly describes parasitic activity than the current biopunk usage), artificial ecologies and biosemiotics. He described how his installations – digital artworks that invite technological sytems to dialogue with natural living systems or phenomena – provoke interlinked emergent behaviours in both robots and organisms. Brandon Ballengee, whose book and exhibition of his recent work in the UK will be launched at the Royal Institution in the spring, discussed theories on declining and deformed amphibians, his work as an artist studying these and the alternative theory that he and his scientific collaborator have come up with (a joint scientific paper is being published).

The EcoArts event was organised as part of a residency at Waag by the astonishingly inventive Adam Zaretsky, an artist who can stretch the boundaries of taste in a profession characterized by transgressors (rendering a recent media arts panel almost speechless by starting his presentation with a biotech porn video), whose ability to produce a staggering and apparently endless flow of ideas is second to none. Adam will be speaking at our Eye of the Storm conference at Tate Britain this month.

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