Andy Gracie (UK/ES) works across various disciplines including installation, robotics, sound, video and biological practice. Recently his work has involved studies and reactions to the science of astrobiology; notions of the origins of life coupled with a re-examination of its boundaries. His practice employs scientific theory and practice to question our relationships with environment and the notion of the “other” while simultaneously bringing into focus the very relationship between art and science. His work has been shown internationally and has included special commissions for new works.
Agnes Meyer-Brandis (DE), born 1973 in Aachen, Germany, studied mineralogy for a year, then transferred to the Art Academy in Maastricht, the Düsseldorf Art Academy and the Cologne Media Art Academy. She comes from a background of both sculpture and new media art. Her work, exhibited worldwide and awarded, is at the experimental edge of art and science, exploring the zone between fact and fiction. Agnes Meyer-Brandis is the founder of the “Forschungsfloss FFUR / Research Raft for Subterranean Reefology“, a small institute whose chief aim is to explore and confirm subterranean phenomena and unknown lifeforms. Since 2007 her focus of investigation moved into higher altitude with their connected realities. She realized an artistic experiment in weightlessness in cooperation with the German Space Agency DLR. In 2011 she started to breed Moon Geese in Italy.
The ARTSAT: Art and Satellite Project (JP), which began in 2010, understands Earth-orbiting satellites and deep-space spacecrafts as “media that connect Earth with outer space.” The project launched a miniaturized art satellite and an independently developed spacecraft to carry out experimental creative practices that utilize data transmitted from space, including interactive media art and sound/software art. The project, a collaboration between Tama Art University and the University of Tokyo, is run by members from various fields.
Jon McCormack (AU) (Australian, 1964) is a Melbourne-based electronic media artist and academic. Since the late 1980s McCormack has worked with computer code as a medium for artistic expression. He holds degrees in Applied Mathematics and Visual Art, along with a PhD in Computer Science. Inspired by the complexity and wonder of a diminishing natural word, his work is concerned with electronic ‘after natures’ –alternate forms of Artificial Life that may one day replace the biological nature lost through human progress and development. His artworks have been widely exhibited at leading international galleries, museums and symposia, including the Museum of Modern Art (New York, USA), Tate Gallery (Liverpool, UK), ACM SIGGRAPH (USA), Prix Ars Electronica (Austria) and the Australian Centre for the Moving Image (Australia). His has received over 16 international awards for new media art including prizes at Ars Electronica (Austria), Images du Futur (Canada), New Voices, New Visions (USA), Alias/Wavefront (USA), The John Lansdown Award for Interactive Media (UK) and Nagoya Biennial (Japan). The monograph Impossible Nature: the art of Jon McCormack was published by the Australian Centre for the Moving Image in 2005 to widespread acclaim. The book documents McCormack’s creative achievements over the last 15 years and reflects on the philosophical and creative ideas behind his unique work. McCormack is currently a research Professor at Monash University in Melbourne. He is also visiting Research Fellow at Goldsmiths, University of London, and was recently artist-in-residence at the Ars Electronica Future Lab in Linz, Austria.
Nelo Akamatsu (JP) creates art works across several media such as installations with electric devices, event installations, video installations, sculptures, paintings and photos. He has an MFA from the Department of Intermedia Art of Tokyo National University of Fine Arts and Music in 2005. Golden Nica of Prix Ars Electronica (2015), Taro Okamoto Award of Contemporary Art (prize 2004, 2014), solo exhibition at the Italian Embassy in Tokyo (2009), joint exhibition at Bauhaus University in Weimar (2004).
Rüdiger Trojok (DE) studied systems and synthetic biology at the Universities of Potsdam, Copenhagen (DTU) and Freiburg. During his thesis he invented a novel contraceptive method based on genetically altered lactic acid bacteria. He worked as a freelance consultant for the office for Technology Assessment by the German Parliament on biohacking and synthetic biology. Since 2014 he works for the Institute for Technology Assessment and Systems Analysis at the Karlsruhe Institute for Technology on the EU program Synenergene. He is currently establishing a citizen science biolab in Berlin, and is supporting open-source biotechnology projects related to public life, politics and the arts.
Naomi Griffin-Murtagh (IE) studied at the National College of Art and Design Dublin and is now working as a product designer in Northern Ireland. Claire Dempsey has a degree in Immunology from Trinity College Dublin, and is currently undertaking her PhD at the University of Birmingham. Aisling McCrudden has a degree in Human Health and Disease from Trinity College Dublin. This project is a result of a collaboration in an Idea Translation Lab in the Science Gallery, offered to TCD and NCAD students and coordinated by Dr Teresa Dillon. The project ran over 12 weeks and the students had to pool their resources to come up with projects centred on the field of synthetic biology. The team decided to pose the question ‘What if farmers were pharmacists’. The answer they came up with was Opimilk. The project explores the potential of synthetic biology to use Opiorphin as an alternative to treat chronic pain. Following this the team was selected to attend the ArtScience Innovation Workshop in Le Laboratoire Paris, in June 2013. The annual ArtScience Innovation Workshop sees teams of students from around the world come together for an intensive week of discussion and immersion in idea translation. Consequential the project was showcased at Ars Electronica’s exhibition “Project Genesis” from August 2013 to July 2015.
Patricia Piccinini (AU) is an australian multidisciplinary artist who works painting, video, sound, installations, digital printing and sculpture. Considered one of the most important Australian creators of their time, in 2014 was awarded the Artist Awards Melbourne Art Foundation’s Awards for the Visual Arts.
(Photo by Alli Aughtred)
Matthew Gardiner (AU) is an artist most well known for his work with origami and robotics. He coined the term Oribot 折りボト and then created the field of art/science research called Oribotics. Oribotics is a field of research that thrives on the aesthetic, biomechanic, and morphological connections between nature, origami and robotics. Matthew Gardiner is currently an artist and senior lead researcher at the Ars Electronica Futurelab, in Linz Austria. As an artist Gardiner is known for his works concerned with origami and robotics: Oribotics. The work arises from the consideration of folded forms, their kinetic properties and electromechanical methods of actuation, sensing, interactions and luminous display. In 2003 Gardiner coined the terms Oribot and Oribotics, to define the emergent field of folding, robotics and technology, and has produced the following works with premieres: Oribotics 2004 at Next Wave Festival, Oribotics [laboratory] 2005 at Asialink Center, Oribotics [network] 2007 at the Melbourne International Arts Festival, Oribotics [de] 2008 at Künstlerdorf Schöppingen, Oribotics [house of dreaming] 2009 for Arena Theatre Company, Oribotics [the future unfolds] 2010 for Ars Electronica Festival and Tokyo Design Touch.
Cornelia Hesse-Honegger (CH) was born in 1944 in Zürich Switzerland. One year at the school for applied Art in Zürich and an apprentice as a scientific illustrator at the scientific department of the Zoological Museum of the University of Zürich where she worked for geneticists and taxonomists as a freelancer for 25 years. Later work at marine stations in the Mediterranean as well as the South Pacific. After the accident of Chernobyl 1987 – 1990 studies leaf bugs and plants in the environs of areas with nuclear fallout in Sweden, Ticino, Switzerland and Chernobyl Ukraine. In 1988 she makes the first studies of leaf bugs in the environs of nuclear power plants in Switzerland. On 1988 and 1989 she publishes her first articles about deformed leaf bugs and Drosophila flies. Studies on the health on leaf bugs in the environs of the reprocessing plants Sellafield, UK, 1989 and La Hague, France, 1999. Her studies on the health of leaf bugs in the environs of the nuclear power plants Three Mile Island and Peach Bottom Plant Pennsylvania, USA, 1991, as well as Krümmel and Stade in Germany, 1995, and Gundremmingen, 2002. In 1997 she studies leaf bugs in the environs of the nuclear test area in Nevada and Utah, USA, and 1998 around Hanford nuclear factories. The exhibition ‘After Chernobyl’ toured Europe and Canada from 1992 until 1999. Since 1994 she has undertaken cooperative work with Locus+, Newcastle upon Tyne, UK, who organized the exhibition and book ‘The Future’s Mirror’. In 1998 her book called ‘Heteroptera’ came out with the German publisher Zweitausendeins and 2003 with the publisher Steidl. The English version appeared at Scalo Zürich 2003. In 1986 she began working with the silk manufacturer ‘Fabric Frontline’ Zürich, for whom she created 75 designs which were very successful and with which she could pay all her research.
Fostering a cross-pollination between the digital and the physical, Nick Ervinck (BE) (1981, Belgium) explores the boundaries between various media. Studio Nick Ervinck applies tools and techniques from new media, in order to explore the aesthetic potential of sculpture, 3D prints, installation, architecture and design. Through his divergent practice, a strong fascination with the construction of space is noticeable. Not only does Nick Ervinck focus on the autonomous sculptural object, he also questions its spatial positioning and points to the phenomenological experience and embodiment of space. Ervinck’s work in short oscillates between the static and the dynamic, prospecting new virtual or utopian territories. For several years he participated in many individual projects and group shows. In 2005 he received the Godecharle prize for Sculpture, in 2006 the Mais prize of the City of Brussels and the prize for visual art of West-Flanders and in 2008 the Rodenbach fonds award. His work has been exhibited at MOCA Shanghai, MARTA Herford, Kunstverein Ahlen, Koraalberg Antwerp, Zebrastraat Ghent, HISK Ghent, Odette Ostend, Superstories Hasselt, Brakke Grond Amsterdam, MAMA Rotterdam and Telic Art Exchange Los Angeles/Berlin.
Yasuaki Kakehi (JP) is a media artist and an interactive media researcher. He works at Keio University and MIT Media Lab. His works have been exhibited at a lot of exhibitions including ACM SIGGRAPH and Ars Electronica Festival. He developed the lapillus bug with Michinari Kono, who is a PhD student at the University of Tokyo. This art piece is based on an ultrasound-based non-contact actuator developed by Takayuki Hoshi, who is an assistant professor at Nagoya Institute of Technology.
The work of María Ignacia Edwards (CL) (Santiago, Chile, 1982) has its origin in her will of assuming herself as an active observer of the world, from her own exercises of discarding and selection, from the crossing of relationships and encounters, her long bicycle rides and her deep interest in the stars, the scientific and philosophical thought. From all these references arises the idea of “grid”, like a vast weft of spatially interconnected points, as in a constellation. The sky map traced in the earth´s surface by means of its paths. Her journeys, blackboards, notebooks and mobile constructions, as in a philosophy of the world, a mental and physical map of experiences, as well of the status and position that the artist occupies in the world and the universe. Her work is characterized by its coherence and consistency, which begins with the recognition of that which has been discarded and unnoticed, and ultimately with the ethics and dignity in which each of these recovered fragments of the world are brought back again to its presence, transfigured and reinterpreted by the artist´s will. After getting her Arts bachelor degree in Universidad Finis Terrae (Santiago, Chile, 2006), and her Diploma in Cinema Photography Direction, in Universidad de Chile, María Edwards travels and settles in New York (2009-2012) in order to enhance her knowledge on Engraving and Artist book discipline, doing artistic residencies in School of Visual Arts and in Lower East Side Printshop. On 2012, she was granted an invitation from the Arts Cultural Center in Mexico, Reinosa/Tamaulipas, to perform an individual exhibition, “In Between”, in the context of Tamaulipas International Arts Festival. Her work has been exhibited in Chile and abroad, in countries like Spain, United States, Argentina, Peru and Mexico. She has also taken part in international art fairs; Pinta Art Fair – New York, ArteBA – Buenos Aires, Art Lima-Peru, ChaCo – Chile. Recently she has been awarded with the honorary prize “Art for Science”, granted by the National Commission for Scientific and Technological Research (CONICYT) in Santiago, Chile. The EFG/ArtNexus prize in The International Art Fair, ArtLima 2015.
Lorena Lozano (ES) is an artist and biologist. She graduated in Biology (Universidad de Oviedo) and Environmental Art (Glasgow School of Art) and is preparing her doctoral thesis on the role of contemporary art in mediation with nature (Universidad de Oviedo & Coimbra). Her research connects knowledge and methodologies from art and from science. She is a founding member of ecoLAB, experimental laboratory in Art, Ecology and Open Electronics (LABoral Centro de Arte 2011-12); and a co-founder of the econodos_ecology and communication platform. She is currently working on the Herbarium project at Fundación Cerezales Antonino y Cinia, León. She has published in ArtNodes, Universitat Oberta de Catalunya and Plastik_Art & Science, CERAP, Université Paris, Panthéon-Sorbonne. Her work has gone on show at LABoral Centro de Arte, Barcelona OFF-Loop Festival, Instituto de Recerca Biomédica, Barcelona, Centro de Cultura Contemporánea de Barcelona and Mackintosh Museum, Glasgow.
Verónica G. Ardura (ES) is a visual artist and university docent. She graduated in Fine Arts from the University of Salamanca, majoring in Painting, she is currently studying at l`Academie Royale des Beaux Arts de Lièje. Her interest is focused on establishing spaces of processual reflection, research and creation among artists from different disciplines. She possesses wide professional experience in teaching arts and design at the ESNE school in Oviedo and in stage design with playwrights, musicians and dancers. She did the experimental stage design Extensiones: Ser nombrado for the project Bárbara humana con cola by Carla Fernández at Teatro Pradillo Madrid 2014. She has collaborated in Danza Infinita, an art and science project by Lorena Lozano produced by LABoral Centro de Arte and exhibited at Centro Cultural Recoleta, Buenos Aires, Musée de l´Art Différencié de Liège, Belgium, Museo Eduardo Sivorí, Buenos Aires, Galería Gema Llamazares, Gijón. Shortlisted for the Principality of Asturias Visual Artists Exhibition in 2011.
Alberto Valverde (ES), artist and technologist. With a wide experience in system design, creation of interactive and multimedia environments, web design and robotics. He has taught various multimedia materials of the Bachelor of Fine Arts at the University of Vigo and is currently in the Master of Animation and Audiovisual Illustrated book at the same university. In his work, Valverde investigates about chaos as way of order, proposing the creation of random vectors. At the same time he pays special attention to the relationship between man and machine. In 2010 he received the first prize of the 11th Muestra Internacional Unión Fenosa. Organized by MAC de A Coruña, due to the interactive installation Reflejos y Antireflejos. His work has also been awarded in Tentaciones 2011 –Estampa. Madrid– and in AlNorte 2012. He has also been selected in numerous competitions, among them; stand out the El premio de Grabado Máximo Ramos de Ferrol, Lúmen_Ex – Premios de Arte Digital de la Universidad de Extremadura–, as well as the XLIV Certamen Nacional de Arte de Luarca, Asturias. His recent exhibitions include Relacions/Interactions in the Verge Gallery in Sydney and Desenho na Universidade Hoje, in Porto, Portugal.
María Castellanos (ES), Artist and researcher, she is a graduate of Fine Arts from the University of Vigo, where she is currently completing her thesis La piel biónica. Membranas tecnológicas como interfaces corporales en la práctica artística. Where she investigates about the technological prosthesis, focusing on the hybridizations among cyborgs and wearables, as a paradigm of expanding of the human sensorial capabilities. Her work has been selected in numerous competitions and won several awards among which stand out the Artista Revelación del Principado de Asturias award in 2008, Premio Tentaciones 2011 – Feria Estampa, Madrid – or the Alnorte 2012 production grant, as well as the Astragal award 2013 which she produced the corpo-realidad project. She has participated in numerous exhibitions, national and international, being present in countries like Portugal, Argentina, Colombia, Australia and Japan. Among the most recent samples there are Eidos da Imaxe in the MARCO de Vigo museum and corpo-realidad en CS-LAB of the Zokei University, Tokio.
Biopresence (JP/AT) [Shiho Fukuhara and Georg Tremmel] is an art venture formed by Shiho Fukuhara and Georg Tremmel with the purpose of exploring, participating and ultimately defining the most relevant playing field of the 21st century: the impact of biotechnologies on society and the human perception of these coming changes. Biopresence creates Human DNA trees by transcoding the essence of a human being within the DNA of a tree in order to create “Living Memorials” or “Transgenic Tombstones”. Biopresence is collaborating with scientist and artist Joe Davis on his DNA Manifold algorithm, which allows for the transcoding and entwinement of human and tree DNAs. The Manifold method is based on the naturally occurring silent mutations of base triplets, this means it is possible to store information without affecting the genes of the resulting tree. Biopresence Human DNA Trees do not modify the genes of an organism. Therefore, they are not genetically modified organisms (GMOs).