Your browser does not support the video tag.
Your browser does not support the video tag.
Marco Cadioli - The Whirlpool
  • © ARSHAKE | ISSN 2283-3676
  • CONTACT
  • Login
Arshake
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
    • All
    • focus
    • From the Past
    • Interview
    Concrete by Nicola Di Giorgio

    Concrete by Nicola Di Giorgio

    Aesthetics of New AI at the Creative AI Lab

    Aesthetics of New AI at the Creative AI Lab

    The Belgian Pavilion at the 59th Venice Art Biennale

    The Belgian Pavilion at the 59th Venice Art Biennale

    «Il video rende felici». Giovanotti Mondani Meccanici in Rome

    «Il video rende felici». Giovanotti Mondani Meccanici in Rome

    La Sapienza fotografata: i luoghi, la storia, la quotidianità

    La Sapienza fotografata: i luoghi, la storia, la quotidianità

    Videocittà 2022 in Rome

    Videocittà 2022 in Rome

    Ars Electronica 2022

    Ars Electronica 2022

    Interview |  Delphine Valli

    Interview | Delphine Valli

    Club Zero. La Turbo Avedon

    Club Zero. La Turbo Avedon

  • FRAME
    FRAME > Novel Stimuli

    FRAME > Novel Stimuli

    FRAME > NEOM

    FRAME > NEOM

    FRAME > Archaeologies of Climate

    FRAME > Cosmic Cliffs

    FRAME > Cosmic Cliffs

    FRAME > SPECTRAL LANDSCAPES

    FRAME > SPECTRAL LANDSCAPES

    FRAME > Sunset in Delft

    FRAME > Sunset in Delft

    FRAME > Ophelia

    FRAME > Ophelia

    FRAME > Botto

    FRAME > Botto

    FRAME > CellF

    FRAME > CellF

  • VIDEO POST
    VIDEO POST > Odoshi Cloud Sequence

    VIDEO POST > Odoshi Cloud Sequence

    VIDEO POST > And Between Us, An Ocean

    VIDEO POST > And Between Us, An Ocean

    VIDEO POST >  Perpetual Phases

    VIDEO POST > Perpetual Phases

    VIDEO POST > Fog

    VIDEO POST > Fog

    VIDEO POST > Bi0film.net

    VIDEO POST > Bi0film.net

    VIDEO POST > Lasermice dyad

    VIDEO POST > Lasermice dyad

    VIDEO POST > Concerto para piano e pandemia

    VIDEO POST > Concerto para piano e pandemia

    VIDEO POST > Transient

    VIDEO POST > Transient

    VIDEO POST > Echo Chamber

    VIDEO POST > Echo Chamber

  • SPECIAL PROJECT
    • ARSHAKE’S BANNER
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
    • GAME OVER
      • GAME OVER • Loading
      • GAME OVER • CALL FOR IDEAS (5.0)
    • EXTERNAL PROJECTS
      • BACKSTAGE | ONSTAGE
      • PERCORSI • 6 years of the Terna Prize
      • TEMPO IMPERFETTO
  • RESOURCES
    • CALLS
    • ARCHIVE
    • ONLINE RESOUCES
  • en
    • it
No Result
View All Result
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
    • All
    • focus
    • From the Past
    • Interview
    Concrete by Nicola Di Giorgio

    Concrete by Nicola Di Giorgio

    Aesthetics of New AI at the Creative AI Lab

    Aesthetics of New AI at the Creative AI Lab

    The Belgian Pavilion at the 59th Venice Art Biennale

    The Belgian Pavilion at the 59th Venice Art Biennale

    «Il video rende felici». Giovanotti Mondani Meccanici in Rome

    «Il video rende felici». Giovanotti Mondani Meccanici in Rome

    La Sapienza fotografata: i luoghi, la storia, la quotidianità

    La Sapienza fotografata: i luoghi, la storia, la quotidianità

    Videocittà 2022 in Rome

    Videocittà 2022 in Rome

    Ars Electronica 2022

    Ars Electronica 2022

    Interview |  Delphine Valli

    Interview | Delphine Valli

    Club Zero. La Turbo Avedon

    Club Zero. La Turbo Avedon

  • FRAME
    FRAME > Novel Stimuli

    FRAME > Novel Stimuli

    FRAME > NEOM

    FRAME > NEOM

    FRAME > Archaeologies of Climate

    FRAME > Cosmic Cliffs

    FRAME > Cosmic Cliffs

    FRAME > SPECTRAL LANDSCAPES

    FRAME > SPECTRAL LANDSCAPES

    FRAME > Sunset in Delft

    FRAME > Sunset in Delft

    FRAME > Ophelia

    FRAME > Ophelia

    FRAME > Botto

    FRAME > Botto

    FRAME > CellF

    FRAME > CellF

  • VIDEO POST
    VIDEO POST > Odoshi Cloud Sequence

    VIDEO POST > Odoshi Cloud Sequence

    VIDEO POST > And Between Us, An Ocean

    VIDEO POST > And Between Us, An Ocean

    VIDEO POST >  Perpetual Phases

    VIDEO POST > Perpetual Phases

    VIDEO POST > Fog

    VIDEO POST > Fog

    VIDEO POST > Bi0film.net

    VIDEO POST > Bi0film.net

    VIDEO POST > Lasermice dyad

    VIDEO POST > Lasermice dyad

    VIDEO POST > Concerto para piano e pandemia

    VIDEO POST > Concerto para piano e pandemia

    VIDEO POST > Transient

    VIDEO POST > Transient

    VIDEO POST > Echo Chamber

    VIDEO POST > Echo Chamber

  • SPECIAL PROJECT
    • ARSHAKE’S BANNER
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
    • GAME OVER
      • GAME OVER • Loading
      • GAME OVER • CALL FOR IDEAS (5.0)
    • EXTERNAL PROJECTS
      • BACKSTAGE | ONSTAGE
      • PERCORSI • 6 years of the Terna Prize
      • TEMPO IMPERFETTO
  • RESOURCES
    • CALLS
    • ARCHIVE
    • ONLINE RESOUCES
  • en
    • it
No Result
View All Result
Arshake
No Result
View All Result
Home News focus

When Nature Becomes Art #4

Antonello Tolve by Antonello Tolve
29/02/2016
in focus

Marta_de_Menez_Nature? 1

Today, the fourth of eight appointments with the critic reflection by Antonello Tolve who retraces the complex relationship between art, technology and nature, by surveying a number of artworks connected to the relation man/environment, from Land Art to Transgenetic Art to Bio Activism.

..Surprisingly eclectic, Eduardo Kac’s trans-semiotic creations – where the artist employs different semiotic spaces and disciplines and aims at the creation of new images of life trough a procedure that he defines Transgenic Art[1] – represent – along with Joe Davis’ early experiments (his project Microvenus dates back to 1986), Marta de Menezes’ nature, the Critical Art Ensemble’s molecular invasions and semiotic shocks, the Australian collective Tissue Culture & Art Project (Oron Catts & Ionat Zurr)’sWet Art or the documentary photographs by Zachary Copfer, just to name a few – only those artists most committed to a medium that coincides with the object of their theoretical speculations. In the cue of Duchamp’s teachings, the artist’s work shifts from the representation to the presentation of a given object, to a world where, as suggested by artist-curator Dmitry Bulatov, “the reality of representation (the world of art creation) is replaced by the presentation of reality (creation of the world), thus reducing to nothing the difference between an originally artificial model and the actual world”.[2] Therefore the medium the artist employs becomes creation of a world in a reduced scale and her intent is to reinvent and reinterpret the original model in the light of a common element comprising art, science, philosophy, and social cultures. She does in order to give birth to an aesthetic sample that ­– thanks to the combination of genes, the production of transgenic living beings, and the culture of tissues ­– imitates life with the help of scientific accomplishments.

tissue_culture

Jens Hauser offered an appraisal of twenty years of these para-ecologic projects in 2003, when at Le Lieu Unique in Nantes, France, he organized an exhibition with the captivating name Art Biotech. There he collected the heterogeneous works of artists whose language tends to turn inside out the biotechnological achievements and introduce the biological matter in the field of art. Then again, in 2008,with Sk-interfaces at FACT in Liverpool, Hauser discussed “the ongoing evolution of the sciences of life” that “constantly shuffle the cards and erases the borders between human, vegetal, animal, natural and artificial, living and non-living, organic and inorganic”.[3]

… to be continued…


[1] For an in depth analysis of these aspects, see E. Kac, “TRANSGENIC ART.” Leonardo Electronic Almanac, 6, n. 11, Dec. 1998, n/p/n (mitpress.mit.edu/e-journals/LEA/); for an accurate overview of this artist’s career, see S. Comin, “La transgenic art di Eduardo Kac.” Parol. Quaderni d’arte e di epistemologia, 12, Feb. 2006 (accessible online at www.parol.it).

[2] D. Bulatov, “ARS CHIMAERA. Structural Aspects and the Problems.” BioMedia. Contemporary Society and Genomic Culture, edited by D. Bulatov. Kaliningrad: Yantarny Skaz, 2004, 378.

[3] Sk-interfaces, catalogue of the exhibition held at FACT – Foundation for Art and Creative Technology in Liverpool from Feb. 1 to Mar. 3, 2008 al 31/03/2008, edited by Jens Hauser. Liverpool: Liverpool University Press, 2008, 18. By the same author see also the exhibitions Transbiotics (Riga, 2010) and Synth-ethic (Vienna, 2011).


This is the fourth of eight appointments with the critic reflection by Antonello Tolve who retraces the complex relationship between art, technology and nature, by surveying a number of artworks connected to the relation man/environment, from Land Art to Transgenetic Art to Bio Activism. Previous parts:

When Nature Becomes Art #1

When Nature Becomes Art #2

When Nature Becomes Art #3


 Images
(cover 1) Marta De Menezes, «Nature?», 1999, courtesy of the Artist (2) Tissue Culture & Art Project (Oron Catts & Ionat Zurr), «Victimless Leather – A Prototype of Stitch-less Jacket in aTechnoscientific ‘Body’», courtesy of the Artists 
 
Share4TweetShareSend
Previous Post

FRAME > Painting With

Next Post

Call for submissions > Update_6/NTAA 2016

Next Post

Call for submissions > Update_6/NTAA 2016

CALLS

Terna.  Driving Energy Prize
Calls

Terna. Driving Energy Prize

13/06/2022
Call for submissions>  Research grant for Italian Art
Calls

Call for submissions> Research grant for Italian Art

07/04/2022
Call for submissions> ISPA (Italian Sustainability Photo Award)
Calls

Call for submissions> ISPA (Italian Sustainability Photo Award)

17/02/2022
Call for submissions > Residenze Digitali
Calls

Call for submissions > Residenze Digitali

01/02/2022

CRITICAL GROUNDS

Critical Gounds #13 – Massimo Maiorino, The Artist as Archaeologist.
Critical Grounds

Critical Gounds #13 – Massimo Maiorino, The Artist as Archaeologist.

08/07/2020
Critical Gounds #12 – Filiberto Menna «PROGETTARE» IL FUTURO
Critical Grounds

Critical Gounds #12 – Filiberto Menna «PROGETTARE» IL FUTURO

26/11/2019
Facebook Twitter Instagram

Arshake is a collaborative artistic project, blurring the borders between art, science and technology, information and production.

  • Focus
  • Video post
  • Frame
  • Special Project
  • Interview
  • Calls
  • Exhibitions

One more step - Check your email and click the confirmation link

© 2012-2022 – ARSHAKE

No Result
View All Result
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
  • FRAME
  • VIDEO POST
  • SPECIAL PROJECT
    • ARSHAKE’S BANNER
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
    • GAME OVER
      • GAME OVER • Loading
      • GAME OVER • CALL FOR IDEAS (5.0)
    • EXTERNAL PROJECTS
      • BACKSTAGE | ONSTAGE
      • PERCORSI • 6 years of the Terna Prize
      • TEMPO IMPERFETTO
  • RESOURCES
    • CALLS
    • ARCHIVE
    • ONLINE RESOUCES
  • en
    • it

© 2012-2022 – ARSHAKE

Welcome Back!

Login to your account below

Forgotten Password?

Retrieve your password

Please enter your username or email address to reset your password.

Log In
This website uses cookies. By continuing to use this website you are giving consent to cookies being used. Visit our Privacy and Cookie Policy.