Join us on 19 October from 6.30pm to celebrate the opening of two new exhibitions, HyperPrometheus and Unspoken at PICA.
Featuring Australian and international artists, HyperPrometheus re-contextualises Frankenstein for the new millennium within the realms of contemporary and biological arts. It focuses on what Frankenstein means today in relation to the intersection of the living and the non-living, artifice and nature, reproductive and biomedical technologies and other scientific and technological practices of our age.
The selected artworks tackle the creation and assemblage of life and death, the reanimation of the non-living, future life, synthetic biology and the technological non-human.
HyperPrometheus is part of SymbioticA’s Unhallowed Arts event series.
Curated by Oron Catts, Laetitia Wilson and Eugenio Viola.
Presented in partnership with SymbioticA, The University of Western Australia (UWA)
Based at the University of Western Australia, SymbioticA hosted the research of The Tissue Culture and Art Project (Oron Catts and Ionat Zurr). The artists have been exploring the intersections of science and art since 1996.
Together, and with their expanded team of artists and scientists, they explore the creative and ethical implications of developments in the biological sciences. They investigate about what science is doing, what it is capable of, and how our conceptions of life might be altered in the process and how futures might be shaped accordingly. In doing so, they also open up important questions about how we categorise life forms that ask us to rethink what it is to be human.
This exhibition, Biomess, is timed to coincide with the celebration of the 200th year since the publication of Mary Shelley’s gothic horror novel Frankenstein. In response, it looks at existing “Frankensteins” of the natural world, beings that confound our usual ways of thinking about animal life with a creative presentation of specimens from the Western Australian Museum and examples of real life animal “oddities”. It will also include new organisms grown by the artists themselves at their labs in the University of Western Australia that open up new possibilities for temporary biological structures. Presented in the mode of a high-end retail fit-out, it will also look at the commodification of the natural world.
In their own words: “As life becomes a raw material for human desires, constructed life escapes science labs to become a medium for artistic and consumer products.”
Biomess proves that there is nothing natural in nature.