Adam Zaretsky Around the World

Adam Zaretsky Around the World

Date posted: 2008-10-29 12:26:00

Adam Zaretsky recently presented in Belgium by Skype last week and here is the video:

Adam Zaretsky: about excess, lust and deep ecology />
Next he is off to Hong Kong, Canada and Mexico
To perform, lecture, run labs and exhibit...
Here are links to the video that is showing in all three places:

Documentary 'Dangerous Liaisons, Leiden University Embryology Arts Honors
Class by ZootenGenant on Adam Zaretsky:

Part 1: /> AKevL2YCg&q=zaretsky

Part 2: />
Part 3: />
Dangerous Liaisons
These are documents from the Transgenic Pheasant Embryology Art and Science
Laboratory taught by Adam Zaretsky at the University of Leiden as a part of
an Honors Course called, Vivoarts, Art and Biology Studio. Held by the Arts
and Genomics Centre, this hands-on perfomance art wet-lab was documented in
order to stimulate debate about the use of new biological methods for
permanent alteration of genetic inheritance.

Adam Zaretsky:

The process and experimental embryos are presented.  What you see is the
protocol and the results of imaging somatic difference.  A pedagogical
signature is imbued in these stillborn sculptures.  The plasmid injection
was done raw with home-made tools.  My research shows that intramuscular
plasmid injection is enough for incorporation into the genome. In fact, the
new Hepatitis B vaccine is just a raw plasmid injection.  This is a way
towards a furtherance of qualitative knowledge of artistic avian embryology
and mutagenesis research.  Students actively commented on concepts of humane
sacrifice and the ritual roots of sacrifice by designing some conflicting
schemas for ending an embryo's life.  I also took time to practice during
this event, developing Fratricide to her legal limit.

The lab gives students the tools and skills they need to interact through
the humanities with their four day incubated and windowed eggs.  The
students are offered microsurgical, teratological and naked plasmid
injection as developmental embryology tinkering tools.  In this lab the
students are given a chance to make their first transgenic vertebrate, an
embryonic pheasant.  Held at the University of Leiden, this lab cleared both
the Animal Experimentation Committee and Recombinant safety.    It appears
that avian embryos are not considered animals by definition in the EU as
they are not 'free living beings.'  They are also not considered a
Recombinant Safety Hazard because they are incapable of reproducing.

In the name of transgenic art, fledgling artists are utilizing lab technique
as a new medium to produce living and often mutant living art forms.  As
these 'sculptures' live and die, often at the whims of the artistic
investigator, the personal, non-repeatable moments take on a ritual air.
What kinds of rituals do interdisciplinary Art and Biology practices entail?
How do they reveal the implicit rituals of science?  What new performative
rites come out of mixing ethics and esthetics in the laboratory? Scientists
also have their methodologies of creative flourish and humane sacrifice.
But, scientific and artistic play is often based on different paradigmatic
reading of what the act of experimentation is.  As artists learn laboratory
technique, the rituals of science and new rituals of sci-art unfold,
decouple and reconfirm magical thinking in both arenas.  How does animal
research relate to the history of animal sacrifice?  What is the role of
subjectivity in developmental embryology? Is transgenic protocol also a
ritual for the cultural production of liminal monsters.  And how does
mutagenesis impede or coerce the imaginary in the lifeworld?  Through an
analysis of artists confronted with the responsibility of ending the life of
transgenic pheasant embryos, (which they had altered with plasmids in the
name of art,) I hope to show living rituals for new biotechnological
processes as they are invented.

The Shows are:

Microwave International New Media Arts Festival 2008
Hong Kong, China

7th – 23rd November /> />
Can Life be translated into a computer code?
Can a computer program produce Life?
Where is the line between Human and Machine,
when technology is tangled up so intricately in our existence?
And what happens when technology starts blurring the line between Human and
Running 7-23 November 2008, Microwave International New Media Arts Festival
be exploring "life" in our technological age, under the title "Transient
As the ever-advancing technologies osmotically seep into our being, Festival
2008 aims to
take a long, hard look at life technologies and biotech from the point of
view of art.
"Transient Creatures" will bring artists/scientists from all over the world
to Hong Kong,
provoking deeper thought into issues that lie hidden in our society, while
inspiring the city
with extraordinary creative uses of today's technology.


Imagining Science Exhibition

 Exhibition runs at the Art Gallery of Alberta, November 14, 2008 - February
1, 2009.
Imagining Science is a unique exhibition project built on a series of
conversations and collaborations between internationally recognized artists,
scientists, bio-ethicists, lawyers and contemporary philosophers. Organized
by Professors Tim Caulfield and Sean Caulfield, Canada Research Chairs in
the fields of Health Law and Policy, and Printmaking respectively, in
conjunction with Catherine Crowston at the Art Gallery of Alberta, the
exhibition addresses the impact of the rapidly changing world of genetics,
bio-technologies and human engineering, and the many significant
breakthroughs, challenges and controversies that have arisen in the last
decade with advancements made in new life science technologies: stem cell
research, cloning, genetic testing. The works in the exhibition explore the
complex and interrelated legal, ethical and social issues associated with
advancements made in the life sciences over the past 100 years. /> />



13th International Festival of Performance Ex Teresa Arte Actual 2008
"Controlled Accidents" (Accidentes Controlados)
Curator: Edith Medina

noviembre 2008 /> /> />
The 13th International Festival of Performance, inquires into and propounds
the new meanings of the artist's rapprochement with the action art and new
representations and discourses that are generated about the body, in a
context of scientific and technological advances, diffuse cultures,
fragmented state politics, aestheticized and less integrated societies,
which establishes different order relationships with corporal issue and with
its manifestations and interpretations, resulting in artistic structures
which need completely different tools than those used in the past.

Controlled Accidents tries to explore new investigation and creation fields
related to the body and their decodings in the contemporary society, from
premises of how to rethink the body in an epoch in which the
techno-scientific advances and the social theories and postmodern
communications have generated discourses and conceptualizations of corporal
issue, which although they denote it as something material are more
interested in its dematerialisation, however the body as nearby element and
potentializer of our realities continues being the most important device of
our experience.

Likewise, controlled accidents project makes an allusion to the artistic
content of the expression with that one utilized since its origin. In 1936
David Alfaro Siqueiros within his Experimental Work Shop in New York,
employed this term to
articulate the plastic innovative experimentations series that he executed
in his workshop, and in which Jackson Pollock was a participating. Where
Siqueiros talked about materic combinations, which although they were
thought, they finalized being accidents, he utilized a two element
composition method from which dynamic works were arising and with techniques
which in that moment changed the art and plasticity discourse's way. So is
how expresses itself the intention of the international festival of
performance, where the body relation is made evident with the technological
advances and the experiences that arise from said conjunction in different
societies, with distinct contexts and accesses to the culture and

The body, its representations and its discourses have taken other ways, no
longer only as an evolutionary element, but as economic, political, cultural
and artistic expression tool. In societies influenced by the information
technologies and the biotechnology the ways of seeing our bodies and
thinking about ourselves have been radically modified, as well as the
identity, being and individuality concepts.

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