Archiwum | Marzec, 2011

ZOO: When Species Meet. O spojrzeniu na ‘poza-ludzkie’. Sztuka i teoria w Warszawskim Ogrodzie Zoologicznym

28 Mar

Amerykański socjolog i urbanista Mark Gottdiener powiedział, że zaczyna wizytę każdego nowego miasta od ZOO, jako odniesienia do modelu danego społeczeństwa, a także wizji jego urbanistycznej i kulturowej strategii. Ogrody zoologiczne są miejskimi oazami, heterotopicznym krajobrazem kontrastującym z resztą tkanki miejskiej, w którym natura jest taka, jaką ją sobie chcemy wyobrazić: spokojna, bezkonfliktowa, sielankowa, pasjonująca i niedostępna. Spacerując wśród dzikich zwierząt, przemierzamy strefy klimatyczne, odtworzone środowiska, kontynenty i czasy: lew sąsiaduje z antylopą, czarny łabędź z różowym flamingiem, australijski step z ptasim azylem. Taka pokojowa kohabitacja egzotycznych gatunków, utopijna jak arka Noego, w której nieomal wcielamy się w tę biblijną postać, stawia pytania o historię, sposób i znaczenie reprezentacji zwierząt. Ogrody zoologiczne powstały na skale masową w połowie XIX wieku, równolegle z pasażami handlowymi czy muzeami i wywodzą się ze zwierzyńców i kolekcji egzotycznych stworzeń przy dworach królewskich. Według dyrektywy rady wspólnoty europejskiej współczesne ogrody zoologiczne to „instytucje, gdzie zwierzęta dzikich gatunków przetrzymywane są w celach pokazywania ich publiczności przez siedem lub więcej dni w roku”.

Projekt na terenie ZOO w ramach festiwalu Warszawa w Budowie jest serią mikro-interwencji w scenerii warszawskiego ogrodu jako ruchomego obrazu kultury i samo-świadomości społeczeństwa nieustannie redefiniującego schemat ewolucyjny. Neoliberalny model kultury, którego cechą nadrzędną jest konsumpcja i rekreacja w pięknym, bezpiecznym i egzotycznym otoczeniu, jednocześnie uświadamia nam nasz ambiwalentny stosunek do zwierząt. Krytyczne spojrzenie na ogród zoologiczny jako wytwór człowieka stawia pytania o status ontologiczny i granice naszej odpowiedzialności, o potrzebę zakwestionowania dychotomicznego rozróżnienia na kulturę i naturę na rzecz analizy biokapitału i rozwoju ekologii politycznej. Funkcjonująca od kilkunastu lat dziedzina animal studies rozwija metodologię i teorię międzygatunkowego porozumienia, w której człowiek, obok zwierząt, maszyn i cyborgów jest jednym z równorzędnych elementów systemu. Seria komentarzy stworzonych przy współudziale artystów, naukowców i antropologów stawia pytania o charakter naszego spojrzenia na to co ‘poza-ludzkie’, o kulturowy, społeczny, naukowy czy performatywny klimat antropocentrycznego myślenia. Jacques Derrida napotykając wzrok własnej kotki, czy Witold Gombrowicz spotykając krowę odczuwali wyobcowanie w naturalnym środowisku, uświadamiając sobie bycie „zwierzęciem dziwnym, nawet niedozwolonym”.

Reklamy

RSA: Arts & Ecology oraz Gustav Metzger

21 Mar

Strona internetowa
Arts & ecology: the legacy
Following five successful years the RSA Arts & Ecology Centre, a partnership with Arts Council England, has come to a close in its current form. Drawing from what we have learnt in that time, the RSA is developing an arts programme specifically concerned with sustainability, place making and the contribution of the arts to public life.

A key part of the RSA’s forthcoming interdisciplinary project Citizen Power, our arts and social change programme will begin by encouraging the city of Peterborough to become a place of creative engagement. For the next two years, a programme of innovative events, participatory arts projects and artists’ residencies will weave into the fabric of the city to encourage people’s sense of identity, attachment and sustainability.

Trafiłam na tę stronę, kiedy szukałam informacji na temat Gustava Metzgera i jego radical art. RSA przeprowadziło z nim ciekawy wywiad na temat pojęcia zmiany społecznej na polu sztuki. Polecam!


“I thought one could fuse the political ideal of social change with art”

SymBIOtica biological arts

21 Mar

SymbioticA is the first research laboratory of its kind, enabling artists and researchers to engage in wet biology practices in a biological science department. It also hosts residents, workshops, exhibitions and symposiums.

With an emphasis on experiential practice, SymbioticA encourages better understanding and articulation of cultural ideas around scientific knowledge and informed critique of the ethical and cultural issues of life manipulation.

The Centre offers a new means of artistic inquiry where artists actively use the tools and technologies of science, not just to comment about them but also to explore their possibilities.

Właśnie odbywa się tam nowa wystawa Visceral: The Living Art Experiment

Exhibition overview

SymbioticA and Science Gallery, Dublin begin a new experiment in January 2011 when science and art collide in Visceral: The Living Art Experiment.

VISCERAL will confront audiences with the delicate processes of modern biology to explore our changing understandings and perceptions of life in the light of rapid developments in the life sciences and their applied technologies. A range of award-winning work from 17 different artists will challenge visitors to consider the tension between art and science and the cultural, economic and ethical implications of biosciences today.

The exhibition will explore and provoke questions about scientific truths, what constitutes living and the ethical and artistic implications of life manipulation. The exhibition also marks ten years of intensive and challenging work carried out at SymbioticA.

Curated by SymbioticA’s Director Oron Catts and SymbioticA’s leading researcher Dr Ionat Zurr, Viseral will bring together more than a decade of work developed through SymbioticA’s art-science residency program at The University of Western Australia.

Works in the exhibition will include ‘Midas’ by Paul Thomas, which examines the space where skin and gold meet; ‘Silent Barrage’ by Neurotica, an architectural scale arrangement of pole robots that stimulate neuronal activity of cells and provoke epilepsy in a culture dish in response to audience movements; ‘The Vision Splendid’ by Alicia King, an installation of cultured tissue within an artist-designed bioreactor and The Tissue Culture and Art Project’s ‘Semi-Living Worry Dolls’ offer absolution through whispering your troubles to bioengineered worry dolls. The exhibition will also include the unique ‘Lab Out of Context’, where artists and scientists will create new work and research in view of Science Gallery audiences.

VISCERAL will be accompanied by a rich program of events and talks involving artists and scientists connected with the exhibition. Events will include a one-night-only sleep architecture performance by Lisa Goldberg, a sleep technician and a volunteer sleeper on the night of the 28 January and the following day the VISCERAL SYMPOSIUM which will review the cultural strategies that engage and scrutinise the life sciences, with a particular emphasis on hands-on artistic research embedded within a biological laboratory. Alternatively known as ‘one month of Fridays’, in acknowledgement of the regular Friday seminars SymbioticA has run over the past seven years, the VISCERAL SYMPOSIUM is a celebration of the variety of researchers and the repercussions of the research undertaken at SymbioticA over the years.

Art and biology, from a philosophical, art historical, geographical, political and scientific perspectives will be discussed by two of SymbioticA’s co-founders (Prof. Miranda Grounds and Oron Catts) and some of the researchers who have been SymbioticA residents over the last decade (Kira O’Reilly, Adam Zaretsky, Meredith Walsh, Adele Senior, Deborah Dixon, Marta De Menezes, Tagny Duff, Jennifer Willet and Ionat Zurr).

SymbioticA will also facilitate a workshop on lab techniques used by artists, and a series of artists’ talks during the intensive first weekend starting on the 29th January 2011.

Artists

It will include 15 artworks from ten years of SymbioticA’s residency program, featuring the following artists:

Biokino (Tanya Visosevic and Guy Ben-Ary)
Andre Brodyk
Boo Chapple
Tagny Duff
Lisa Carrie Goldberg
Abhishek Hazra
Nigel Helyer
Kathy High
Alicia King
Svenja Kratz
Neurotica (Philip Gamblen, Guy Ben-Ary, Peter Gee, Dr. Nathan Scott, Brett Murray) in collaboration with the Steve Potter Lab, Georgia Tech.
Perdita Phillips
Paul Thomas & Kevin Raxworthy
Tissue Culture and Art Project (Oron Catts and Ionat Zurr)
Paul Vanouse

Ecology, Ideology, Politics

20 Mar

A roundtable discussion with Tim Morton and Kathy Rudy, moderated by the Polygraph Collective, April 17, 2009.

Zapis dyskusji

Przyjaciele…

20 Mar


Polecam 3 ciekawe blogi:

ecologywithoutnature

critical animal

larva subjects

HUMAN NATURE / Ars Electronica Festival 2009

16 Mar

Human Nature
Ars Electronica 2009
Linz, September 3rd – 8th
The Reinvention of Nature

Dokumentacja video z festiwalu

We are entering a new age here on Earth: the Anthropocene. An age definitively characterized by humankind’s massive and irreversible influences on our home planet. Population explosion, climate change, the poisoning of the environment and our venturing into outer space have been the most striking symbols of this development so far.

But to a much more enormous extent, the achievements of genetic engineering and biotechnology are the truly indicative markers of this transition to a new epoch. Now, we’re not only changing our environment; we’re revising the fundamentals of life itself—even our own human life.

Humankind has appropriated the mantle of Creator. Though we just barely understand how this functions, we’re already modifying entire genomes, constructing new organisms, cloning, creating and inventing new life.

We’re using innovative high-tech methods to observe the human brain while it thinks, so that we can now look behind the veil of our consciousness and see how our mechanisms of perception and decision-making capacities are reflected in our neurons. The long-established boundaries segregating nature and culture are breaking down, and we are once again confronted by the question of the essence of humanness and the nature of the human being.

Thirty years after its founding, this globally established festival’s mission remains the same—we are steadfastly dedicated to the pursuit of the curiosity that is so deeply rooted in humankind’s nature, and we continue to intrepidly peer far into the future. Our immediate objective: to once again foment a fruitful, fascinating dialog at the interface of art, technology and society.

The new Ars Electronica Center that debuted at the outset of this year plays a key role in this endeavor, in that its extraordinary exhibition concept is totally focused on the question of how scientific findings and methods are changing the way we see the world and our views of humankind.

Linz is Europe’s 2009 Capital of Culture. As a major contribution to our city’s big year, the festival’s first project is already being launched on June 17, the day the 80+1 Base Camp is being set up on Linz’s Main Square as the point of departure of a virtual ‘round-the-world journey that, following completion of its 81-day itinerary, returns to Linz just in time for the festival. There, 80+1 will culminate in a globally-networked symposium on cloud intelligence.

2009 also brings us to a joyous milestone: Ars Electronica’s 30th anniversary! As befitting this occasion, an intense retrospective look at the dynamic development of media art will be a key component of the festival program.

Led, curated and produced by artists and scientists—and inspired by their work—the festival’s jam-packed lineup of fascinating events constitutes, as ever, an expedition into hybrid reality and the future of our world.

So, just what is this going to be like, this new nature that human beings are going about engendering?

Bitwa gigantów na dwa sposoby

16 Mar

The Rhinoceros Beetle is the world’s strongest animal, able to lift more than thirty times its own weight. To Natalie Jeremijenko, this sounded like an invitation to wrestle. Via some clever technology (she is an engineer, after all), Jeremijenko is wresting the Rhinoceros Beetle, as well as issuing „formal challenges to swaggering museum directors and Hemingway-esq literary heroes.” She’s also told us about turning Manhattan into a wildlife park, as well as her model urban development (MUD) for birds, complete with ferris wheel, food court, and high-powered rifle.

Nagranie

wywyad z artystką 🙂