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.