Art as We Don’t Know It showcases art and research that has grown and flourished within the wider network of both the Bioart Society and Biofilia during the previous decade. The book features a foreword by curator and art historian Mónica Bello, and a selection of peer-reviewed articles, personal accounts and interviews, artistic contributions and collaborative projects which illustrate the breadth and diversity of bioart.
As a botanist, Robin Wall Kimmerer has been trained to ask questions of nature with the tools of science. As a member of the Citizen Potawatomi Nation, she embraces the notion that plants and animals are our oldest teachers. In Braiding Sweetgrass, Kimmerer brings these two ways of knowledge together.
Documenting the eponymous six year project as well as the current research and thinking around the subject with contributions by prominent artists, academics, activists and chefs.
Part of the Library of Performing Rights ( P3041).
Reaffirms the central position of the body in various artistic practices through in-depth conversations with choreographers, composers, visual artists, hip hop artists, dramaturges, a light designer and a puppeteer.
Formulates a history and theory of biosemiotic and proto-biosemiotic thinking in order to open up new possibilities of contemporary social, philosophical, aesthetic and technological engagement.
Information on a new transdisciplinary project of plant / human / animal / machine hybridisation started in 2016.
Examines how the grammar of geology is foundational to establishing the extractive economies of subjective life and the earth under colonialism and slavery.
Focuses on how theatre, dance, and other forms of performance are helping to transform our ecological values.
Part of the Library of Performing Rights (P3041).
An exploration into the utopias and dystopias that could develop from present society.
The emergence of contemporary art, engaging widely with other disciplines, as a platform for exploring animal nature.
The “Artists' Book” of the post-war period: a unique collaborative work by four artists associated with various avant-garde art movements, including Fluxus and Nouveau Réalisme.
It is to the future that we look for redemption and progress; but it is also where we project our personal and apocalyptic anxieties. By questioning notions of certainty, truth, and totality, Augé finds ways to separate the future from our eternal, terrified present and liberates the mind to allow it to conceptualize our possible futures afresh.
A broad-ranging survey that explores and celebrates humankind’s ongoing fascination with animals. This carefully curated selection of images, chosen by an international panel of experts, delves into our shared past to tell the story of animal life.
This original and entertaining tour of life on Earth explores how many of the things once considered to be exclusively human are not: we are not the only species that communicates, makes tools, utilises fire, or has sex for reasons other than to make new versions of ourselves. Evolution has, however, allowed us to develop our culture to a level of complexity that outstrips any other observed in nature.
Examines five performance/artworks: The Artist is Present (2010) by Marina Abramović; The Deer Shelter Skyscape (2007) by James Turrell; CAT (1998) by Ansuman Biswas; Journey to the Lower World by Marcus Coates (2004); and the work with pollen by Wolfgang Laib.
Contemplates the interactions of humans with many kinds of critters, especially with those called domestic.
How much of what we understand of ourselves as “human” depends on our physical and mental abilities—how we move (or cannot move) in and interact with the world? And how much of our definition of “human” depends on its difference from “animal”?
Part of the Library of Performing Rights (P3041)
Exhibition catalogue. Locations and dates: Project Space Plus, Lincoln, UK (1 – 27 February 2018), Peltz Gallery, London, UK (10 May – 11 June 2018), Centre de Cultura Contemporània de Barcelona (CCCB), Spain
(4 – 28 October 2018), LABS Gallery Arte Contemporanea, Bologna, Italy (22 November – 15 December 2018)
Festival / exhibition catalogue. 6-18 October 2017.
In Croatian and English.
Poetic responses to artworks in the eponymous exhibition at King's College London and Copeland Gallery.
A performance for video, shot in one take; features the artist being cut out of a corset by her mother.
4mins/silent/single play or loop/4:3
Part of the Library of Performing Rights (LPR) (P3041).
Explores a wide spectrum of seemingly unconnected subjects, which, when brought together, offer a more inclusive, expansive history of bioart, namely: home economics; the feminist art of the 1970s; tissue culture methodologies; domestic computing; and contemporary artistic engagements with biotechnology.
Part courtroom drama and part social satire, the play presents an intelligent portrait of farming and scientific communities in conflict and at the same time penetrates the complex science of genetically modified crops.
Part of the Library of Performing Rights (LPR) (P3041).
Documentation, including email, relevant media coverage and expert articles, on the Global Commons Institute.
Part of the Library of Performing Rights (LPR) (P3041).
Celebrating curiosity and adventure, the book explores the obsessions, achievements and failures of lesser-known but utterly remarkable individuals who exemplify the human spirit through their stories of invention, trickery, subversion and survival.
In this wide-ranging collection of essays and articles, Lerman reflects on her life-long exploration of dance as a vehicle for human insight and understanding of the world around us.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
Catalogue of the eponymous programme of events; Barbican, 20-28 January 2017. Includes archival images from the Warburg Institute and other sources that have provided inspiration to the artists during the making process, an introduction to the work by Siobhan Davies, a conversation between the Warburg Institute and Siobhan Davies Dance, and texts by artists and curators involved.
This provocative event slips between testimony and reflection, emotion and medicine, flesh and technology to contemplate our abiding fascination with what lies under our skin.
2007; 25:23
Anatomy Live turns the modern notions of the dissecting table on its head – using anatomical theatre as a means of obtaining a fresh perspective on representations of the body, conceptions of subjectivity, and own knowledge about science and the stage.
Published to mark the 20th century of the Arts Catalyst, this article showcases some of the institution's landmark projects. In misc folder 5A.
This article considers a constellation of works the artist Kira O’Reilly has created in residencies in biology laboratories over the past several years.
Catalogue of a series of performances investigating the time concepts of 6 famous Danish scientists from the renaissance to the present.
The book encompasses unusual and cutting-edge foods, radical dining events, “kitchen laboratory” experiments, food sculptures and other documentation of the transient moments that make up this field of experimentation’, as well as a study of the connections between dining, theatre and ritual, and a survey of recent research in science and technology, and how this may impact on how we make, eat and perceive food.
Exhibition of selected objects from the Cuming Museum collection, including the Lovett Collection of Superstitions. Modern Witchcraft is an exhibition, curated by Juan Bolivar, at the ASC gallery (London) that could also be called ancient and modern.
In a context of collapsing certainties about Europe’s economic and political system, the resurgence of actions towards collective responsibility-making, the timing of this book is perfect. Czarnecki springs open trapdoors back into childhood imagination and causes us to look again at how we address issues of human responsibility to each other and to the world which we hold in common. This is art that responds to the often white-coated ‘cleanliness’ of scientific research.
Interview with the Los Angeles-based artist Suzanne Lacy.
A survey of The Arts Catalyst’s pioneering zero gravity projects carried out 2000 – 2004. Essays by Eduardo Kac, Marina Benjamin, Rob la Frenais, Kodwo Eshun. Introduction by Nicola Triscott.
Programme of the Wellcome Trust exhibition at the TwoTen Gallery and the Wellcome Building, London NW1, until 29 August 2003, celebrating the 50th anniversary of the discovery of the structure of DNA. Ten artists use visual, literary, and digital media to present fresh perspectives on the discovery and to show science as social history, science as passion.
A collection of artists’ writings, performance documentation and films reflecting the ways in which artists, who work with Live Art, are engaging with issues of disability.
The experimental art scene in post-Tiananmen China has featured an array of animal bodies, both living and dead, as well as interspecies encounters ranging from the playful to the sadistic, from the gently collaborative to the violently conflictual, which interrogate and destabilize contemporary constructions of the nature-culture binary.
15 April – 14 May 2011, Performance Space, Sydney.
Surveys the intersection between design, science and the senses.
Part of the ‘Documentation Bank’ Collection, an extensive range of artists’ ‘Talking Heads’, documentation of key works, and a selection of Agency projects: http://www.thisisliveart.co.uk/resources/collections/documentation-bank.
Louise Gray sniffs out the latest projects by Curious, Kira O Reilly and Third Angel.
Exhibition explores scientific truths, what constitutes living, and the ethical and artistic implications of life manipulation. Science Gallery in conjunction with Symbiotica. January 28th – February 25th 2011.
One thing that all Kontejner’s projects have in common, at least from an entirely subjective viewpoint, is precisely that very direct, unequivocal focus on that which is “human, all too human” or phenomena that coexist with the standards of humanity. In this sense, Kontejner’s work is a permanent cabaret with acts that deal with the transgression of social conventions, with passions and fears related to machines and cybernetic mechanisms, obsessions with sensual pleasures and obstacles that prevent us from indulging in them…- Maroje Mrduljas, architecture and design critic, Zagreb.
art and science collaboration