In Art & Science women are today a visible presence in international festivals and conferences, either working as faculty, curators, artists, scientists or having an interweaved role. The balanced numbers between genders is an undeniable phenomenon and consequently this is an interesting time to reflect on the status quo of contemporary science and art.
The concept of woman might be considered as a challenging one as it is nonconsensual in its multiplicity of roles and arousing cultural imaging. In her philosophical work The Second Sex, published in 1949, Simone de Beauvoir wrote: “The word “female” evokes a saraband of images: an enormous round egg snatching and castrating the agile sperm; monstrous and stuffed, the queen termite reigning over the servile males; the praying mantis and the spider, gorged on love, crushing their partners and gobbling them up; the dog in heat running through back alleys, leaving perverse smells in her wake; the monkey showing herself off brazenly, sneaking away with flirtatious hypocrisy. And the most splendid wildcats, the tigress, lioness, and panther, lie down slavishly under the male’s imperial embrace, inert, impatient, shrewd, stupid, insensitive, lewd, fierce, and humiliated”. More recently, the artist Mary Maggic would post on her Facebook profile, referring to the article “Five Queer People on What ‘Femme’ Means to Them” published in vice.com (Dec 2017): “yes there are so many manifestations of femme… in my case I take it as having a cunt and a full womb as something to both be aware and to subvert, as both a femme labor and a femme joy, not to be solely defined by my body parts and babe-bearing, to live as non-binary non-normative WITH my cunt not despite having, to refuse the patriarchy, to care for the non-human, to care fucking CARE and celebrate that”. Therefore, contributions to the conference are welcome from individuals who identify themselves as women, independently of their sex.
FEMeeting 2018 is a conference co-organised by Cultivamos Cultura and CIC.Digital of the Universidade Nova de Lisboa in partnership with Centro de Arte e Cultura/Fundação Eugénio de Almeida and Faculdade de Belas-Artes da Universidade de Lisboa. This Meeting’s aim is to bring together women from all over the world to share and disseminate their projects in the arts, science and technology research. As a result we will strenghten our network, contribute to the development of art-science research methodologies and grow our cooperation strategies increasing knowledge sharing and bring communities closer. We will have an open afternoon of lectures in the conference room of Faculdade de Belas-Artes da Universidade de Lisboa on the 15th of June, and will then be treated to a second afternoon of lectures, on the 16th, by Fundação Eugénio de Almeida in Évora. The following 3 days will be spent in Cultivamos Cultura and Naturarte Hotel in São Luís.
The organizers of the conference wish to provide the opportunity for the gathering and presentation of artwork and research experiences in the unspoiled environment of southwest Portugal. The aim of the conference is to disseminate projects being undertaken by women worldwide and, as a result, to contribute to the development of art-science research methodologies and to the growth of cooperation strategies that can increase knowledge sharing and bring communities closer.
FEMeeting takes place in June 15-19th, 2018. Activities will be spread over three different locations in Portugal. On June 15th, there will be four lectures on Art Research around the world, by guest speakers. This first day will be hosted by the Faculty of Fine Arts of the University of Lisbon. The following day, June 16th, will include a visit to the exhibition “WAH” at the Fundação Eugénio de Almeida, in the UNESCO Heritage city of Evora, and three guest presentations on contextualizing ideologies (these travel and activities are not included in the meeting’s fee). This second day will be closed with a cocktail and celebration of “Art, Science and Technology: 50 years of Leonardo/ISAST”. The core of the meeting, between the 17th and the 19th of June, will be held in the town of São Luís at the Hotel Naturarte. These days will be dedicated to the conference sessions, including all speakers, plus several social activities to encourage communication. Only the events in Lisboa and Évora are open to the public.
June 15th – Lisbon, FBAUL auditorium
“Art, Science and Technology Teaching and Practice”
13.30 – Signing in and registration for attendees.
14.00 – Welcome to Faculdade de Belas-Artes da Universidade de Lisboa – Victor dos Reis
14.10 – Introduction and welcome to the FEMeeting 2018 Marta de Menezes – Cultivamos Cultura; and Maria Teresa Cruz – CIC Digital – UNL
14.40 – Tarsh Bates – SymbioticA – UWA – AU – “SymbioticA – an artistic laboratory dedicated to the research, learning, critique and hands-on engagement with the life sciences”
15.30 – Jennifer Willet – Incubator Lab @ University of Windsor – CA – “INCUBATOR Lab: Re-imagining biotechnology through bioart pratices”
16.20 – Kathy High – RPI – Nature Lab and Sactuary for Independent Media – USA – “BioFutures: Working with Art and Science in Various Communities”
17.10 – Victoria Vesna – UCLA – Art/Sci Centre California Nanosystems Institute – USA – “From the Singular to the Collective: Anticipatory Art Science”
June 16th – Évora, Centro de Arte e Cultura – Fundação Eugénio de Almeida
“Women Matters in Art, Science and Technology “
14.00 – Introduction to WAH exhibition and welcome to the Centro de Arte e Cultura – Fundação Eugénio de Almeida – José Alberto Ferreira.
14.30 – Introduction and welcome to the FEMeeting 2018 Dalila Honorato – Ionian University – GR
15.00 – Maria Antónia Gonzalez Valerio – Faculty of Philosophy and Literature
– Universidad Nacional Autonoma de Mexico – MX – “Implications of biotechnology and ontology for a possible aesthetics”
16.00 – Shannon Bell – Political Science Department – York University – CA –
“Transgression Revisited: From Body to Body Parts to Body Waste”
17.00 – Monika Bakke – Philosophy Department – Adam Mickiewicz University in Poznan – PL – “A rock of one’s own: Lithic intimacy in art and science”
18.30 – Cocktail and celebration of “Art, Science and Technology: 50 years of Leonardo/ISAST” with a few words by: Nina Czegledy (Leonardo/ISAST) and Annick Bureaud (Leonardo/Olats).
15th of June – FBAUL auditorium – Lisbon
Art, Science and Technology Teaching and Practice
13.30 – Signing in and registration for attendees.
14.00 – Welcome to Faculdade de Belas Artes da Universidade de Lisboa – Victor dos Reis
14.10 – Introduction and welcome to the FEMeeting 2018
Marta de Menezes – Cultivamos Cultura; and Maria Teresa Cruz – CIC Digital UNL
14.40 – Tarsh Bates – SymbioticA @ University of Western Australia – AU
15.30 – Jennifer Willet – Incubator Lab @ University of Windsor – CA
16.20 – Kathy High – RPI & Nature Lab @ Sactuary for Independent Media – USA
17.10 – Victoria Vesna – Art/Sci Centre California Nanosystems Institute @ UCLA – USA
16th of June – Centro de Arte e Cultura – Fundação Eugénio de Almeida – Évora
Women Matters in Art, Science and Technology
14.00 – Introduction to WAH exhibition and welcome to the Centro de Arte e Cultura
José Alberto Ferreira.
14.30 – Welcome FEMeeting– Dalila Honorato – Ionian University – GR
15.00 – Maria Antónia Gonzalez Valerio – Faculty of Philosophy and Literature
@ UNAM – MX.
16.00 – Shannon Bell – Political Science Department@York Univeristy – CA.
17.00 – Mónica Bakke –Philosophy Department @ Adam Mickiewicz University in Poznan – PL.
17th of June – Naturarte & Cultivamos Cultura – São Luís, Odemira
9.30 – Welcome to FEMeeting closed sessions – Dalila Honorato
9.40 – Welcome to Cultivamos Cultura, Naturarte and Odemira – Marta de Menezes and Deolinda Seno-Luís
Morning Session: Making Stories
10.00 – Júlia Barbany Arimany
10.15 – Tagny Duff
10.30 – Annick Bureaud
10.45 – Michelle Lewis-King
11.00 – Anna Lindmann
11.15 – Helena Loermans
11.30 – Nina Sellers
11.45 – Marta de Menezes
12.00 – Lunch Break
Afternoon Session: Feminism and Sexuality
14.00 – Elizabeth Littlejohn
14.15 – Ebru Yetiskiu
14.30 – Anna Jakobsson and Rosanna Gunnarsson (Konstmusiksystrar)
15.00 – Isabel Burr-Raty
15.15 – Paulina Hubard
15.30 – Shannon Bell
15.45 – Vídeo participation from Robertina Sebjanic and Sasa Spacal
16.00 – Coffee Break
Evening Session: Speculative Futures
17.00 – Karolina Zyniewicz
17.15 – Mónica Mendes
17.30 – Vanessa Toquero
17.45 – Bilge Hasdemir
18.00 – Stephanie Rothenberg
18.15 – Manuelle Freire
18.30 – Regine Rapp
18th of June – Naturarte & Cultivamos Cultura – São Luís, Odemira
Morning Session: Questions on Nature
10.00 – Nina Czegledy
10.15 – Monika Bakke
10.30 – Marie Pier Boucher and Kira O’Reilly
11.00 – Catarina Pombo Nabais
11.15 – Dolores Steinman
11.30 – Laura Benítez Valero
11.45 – Maria Antónia Gonzalez Valério
12.00 – Lunch Break
Afternoon Session: Embodiment
14.00 – Anna Isaac-Ross
14.15 – Lena Ortega
14.30 – Jasna Jernejsek
14.45 – Renata Rosado Alves
15.00 – Minerva Hernandez
15.15 – Laura Beloff
15.30 – Ana Santos
15.45 – Victoria Vesna
16.00 – Coffee Break
Evening Session: Microbiome
17.00 – Nicole Condon-Shih
17.15 – Charissa Terranova
17.30 – Johanna Rotko
17.45 – Tarsh Bates
18.00 – Joan Linder
18.15 – Miriam Simun
18.30 – Kathy High
19th of June – Naturarte & Cultivamos Cultura – São Luís, Odemira
Morning Session: Body
10.00 – Ana Baleia
10.15 –Maya Fernandes Kempe
10.30 – Chrystal Kershaw
10.45 – Maria Francisca Abreu-Afonso
11.00 – Jennifer Willet
11.15 – Hege Tapio
11.30 – Maria Manuela Lopes
11.45 – Amy Youngs
12.00 – Lunch Break
Afternoon Session: Community
14.00 – Branda Miller
14.15 – Julia Bentz
14.30 – Anne Glassner
14.45 – Katherine Behar
15.00 – Sarah Blissett
15.15 – Anna Rewakowicz
15.30 – Tanha Gomes
15.45 – Katayoun Chamany
15.45 – Mary Maggic
16.00 – Coffee Break
Evening Session: Uncanny
17.00 – Roberta Buiani
17.15 – Polona Tratnik
17.30 – Louise Mackenzie
17.45 – Jenifer Wightman
18.00 – Ana Teresa Vicente
18.15 – Dalila Honorato
- Amy Youngs, Ohio State University, USA
- Annick Bureaud, Leonardo/OLATS, FR
- Catarina Pombo Nabais, CFCUL, PT
- Charissa N. Terranova, University of Texas at Dallas, USA
- Cosima Herter, writer and science consultant, CA
- Dalila Honorato, Ionian University, PT/GR
- Dolores Steinman, University of Toronto, CA
- Hege Tapio, i/o/lab, NO
- Isabel Burr-Raty, Artist, CH/BE
- Jenifer Wightman, The New School – Parsons School of Design, USA
- Jennifer Willet, University of Windsor, CA
- Joan Linder, University of Buffalo, USA
- Kathy High, Rensselaer Polytechnic Institute – Troy, USA
- Kira O’Reilly, University of the Arts Hensinki, IE/FI
- Laura Beloff, IT University of Copenhagen, FI/DK
- Lena Ortega, UNAM, MX
- Louise Mackenzie, Baltic & Northumbria University, UK
- María Antonia González Valerio, UNAM, MX
- Maria Manuela Lopes, Instituto de Ciências Educativas do Douro, PT
- Maria Teresa Cruz, Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa, PT
- Marie Pier Boucher, MIT, CA/USA
- Marta de Menezes, Cultivamos Cultura, PT
- Mary Maggic, Artist, USA/AT
- Minerva Hernandez, Bioscénica, MX
- Mónica Mendes, Faculdade de Belas-Artes da Universidade de Lisboa, PT
- Monika Bakke, Adam Mickiewicz University in Poznan, PL
- Nina Czegledy, University of Toronto, CA
- Nina Sellars, Artist, AU
- Polona Tratnik, AME – ISH, SI
- Regine Rapp, Art Laboratory Berlin, DE
- Roberta Buiani, York University, CA
- Sarah Blissett, University of Roehanpton, UK
- Shannon Bell, York University, CA
- Tagny Duff, Concordia University, CA
- Tarsh Bates, University Western Australia, AU
- Victoria Vesna, UCLA, USA
Amy Youngs creates biological art, interactive sculptures, and digital media works that explore relationships between technology and our changing concept of nature and self. Research interests include: interactions with plants and animals, technological nature follies, constructed ecosystems, and seeing through the eyes of machines. Youngs has exhibited her works nationally and internationally at venues such as the Te Papa Museum in New Zealand, the Trondheim Electronic Arts Centre in Norway, and the Peabody Essex Museum in Salem, MA. She has lectured widely at venues such as the Australian Center For the Moving Image in Australia and the Walker Art Center. She has published articles in Leonardo and Antennae and her work was profiled in the book, Art in Action, Nature, Creativity & our Collective Future. She received her MFA from the School of the Art Institute of Chicago and is currently an Associate Professor of Art at The Ohio State University, where she teaches media arts and eco arts courses.
Annick Bureaud is a Paris-based art critic (collaborator to the French contemporary art magazine Art Press) and curator in art-science and technology. She is the director of Leonardo/Olats (www.olats.org), the French/European sister organisation to Leonardo/ISAST (www.leonardo.info). She wrote numerous articles and co-edited the ebooks Water is in the Air: Physics, Politics and Poetics of Water in the Arts, Leonardo/ISAST, MIT Press, 2014 and Meta-Life. Biotechnologies, Synthetic Biology, ALife and the Arts, Leonardo/ISAST, MIT Press, 2014. She organised many symposia, conferences and workshops among which Artmedia VIII: From Aesthetics of Communication to Net Art, Paris, 2002 and Visibility – Legibility of Space Art. Art and Zero Gravity: The Experience of Parabolic Flight, Paris, 2003. In 2009, she co-curated the exhibition (Un)Inhabitable? Art of Extreme Environments, Festival @rt Outsiders, MEP/European House of Photography, Paris. In 2012, she was the curator of the work Tales of a Sea Cow by Etienne de France at the PAV in Torino, Italy. www.annickbureaud.net
Catarina Pombo Nabais was born in Lisbon in 1976. Degree in Philosophy from the Classic University of Lisbon Faculty of Arts (1998), obtained the Diplôme d’Études Approfondies in philosophy at Université d’Amiens, France (1999) and completed his PhD in Philosophy Université Paris VIII, under the guidance of the philosopher Jacques Rancière (2007) have obtained the maximum degree for a PhD thesis in France. In 2013, he published his first book, entitled Gilles Deleuze: Philosophie et Littérature, the publisher L’Harmattan, Paris. It scholarship Post-Doc at the FCT Center of Philosophy of Science, University of Lisbon (CFCUL) that is integrated member since 2006. From 2007 to 2014 was head of the research group “Science and Art”. It is currently head of the subject line Sci Art Philo-LAB.
Charissa N. Terranova is a writer and educator. Terranova researches complex biological systems from a cultural purview, focusing on the history of evolutionary theory, biology, and biocentrism in art, architecture, and design. She is author of Art as Organism: Biology and the Evolution of the Digital Image (2016) and Automotive Prosthetic: Technological Mediation and the Car in Conceptual Art (2014), and coeditor with Meredith Tromble of The Routledge Companion to Biology in Art and Architecture (2016).Terranova is currently coediting with Ellen K. Levy D’Arcy Wentworth Thompson’s Generative Influences in Art, Design, and Architecture: From Forces to Forms, forthcoming from Bloomsbury Press, 2019, and writing a monograph titled Biology in the British Bauhaus: Morphogenic Modernism in Art, Science, and Design. Associate Professor of Aesthetic Studies, she lectures and teaches seminars at the University of Texas at Dallas on modern and contemporary art and architectural history and theory, the history of biology in art and architecture, and media and new media art and theory. www.charissanterranova.com
Cosima Herter is a science consultant who specializes in the history and philosophy of science, technology and medicine. She is known for her science and story consulting on the award-winning BBC America sci-fi television series Orphan Black.
Dolores Steinman was trained as a Paediatrician and, upon relocating to Canada, obtained her PhD in Cell Biology. Currently she is a Research Associate in the Department of Mechanical Engineering at the University of Toronto and a volunteer Docent at the Art Gallery of Ontario. In her research she observes the rapport and the connection between medical imagery and its non-scientific counterparts. Her pursuit is driven by her keen interest in placing the ever increasingly technology-based medical research in the larger context of the humanities.
Dalila Honorato, Ph.D, is a facilitator of safe spaces for hosting the interaction of ideas around liminal issues in the frame of Art&Sci. Her research focus is on embodiment, monstrosity, the uncanny and the acrobatic balance between phobia and paraphilia. She is Assistant Professor in Media Aesthetics and Semiotics at the Ionian University, Greece, guest faculty at Alma Mater Europaea, Slovenia, collaborator at the Center of Philosophy of Sciences, University of Lisbon, Portugal and member of the Steering Committee of the conference “Taboo-Transgression-Transcendence in Art & Science”. http://ionio.academia.edu/DalilaHonorato
Hege Tapio is based in Stavanger, the oil capital of Norway. During her artistic and curatorial practice she has for a long time pursued her interest in the intersection of art, technology and science. With a kitchen bench DIY attitude and through artistic practice she has been inspired to how apparatuses, new technology and life science opens to renewed interpretation, creative misuse and critical thinking. She is the founder and director of of i/o/lab – Centre for Future Art since 2001, where she has established and curated Article biennial – a festival for the electronic and unstable art. Her work has been exhibited and presented in Greece, China , Latvia, Denmark, England and several places in Norway, along with public commissions and several curatorial projects. http://tapio.no
Isabel Burr-Raty is a Belgian-Chilean independent filmmaker and performance artist based in Brussels since 2013. She is interested in the ontological crack between the native and the engineered, between the un-licensed knowledge of the resettled, the relocated, and the official facts. Her ethnographic and experiential approach brings her to explore and embody the inner topography of isolated landscapes in the planet, in the human body and in the scientific lab, in order to develop hybrid bio-artistic-narratives that: dig up chapters left out of history books, blur the limits between fiction and reality and speculate about the memory of the future. In her film work Isabel embodies human Cosmo-visions that are in eco-survival resistance, bringing the imaginative realisms of the camouflaged and their subversive sense of chronology into the screen. In her performance work she is researching on the operational supra-sensitive principles of totemic anthropomorphism from the lens of bioengineering, combining new media and new materials to create sculptures and lectures that play with synthetic magic and propose bio-autonomy practices.
Trained as a Toxicologist, Jenifer Wightman is a research scientist specializing in greenhouse gas inventories and life cycle analysis of agriculture, forestry, waste, and bioenergy systems at Cornell University, funded by DoE, USDA, NYS DA&M, and NYSERDA. Her art practice began in 2002 and employs scientific tropes to incite curiosity of biological phenomena and inform an ecological rationality. Her art has been commissioned by NYC parks, featured at the Lincoln Center, BAM, and Imagine Science Festival, and is held in collections such as the Morgan Library, Library of Congress, Gutenberg Museum, Bodmer Museum, and the Danish Royal Library.
Jennifer Willet, Associate Professor in the School of Creative Arts at The University of Windsor (Canada) is an internationally successful artist and curator in the emerging field of bioart. Her work resides at the intersection of art and science, and explores notions of representation, the body, ecologies, and interspecies interrelations in the biotechnological field. In 2009 she opened a bioart research and teaching lab INCUBATOR: Hybrid Laboratory at the Intersection of Art, Science, and Ecology, the first biological art lab in Canada. In 2018, Willet and INCUBATOR Lab launched a state-of-the-art BSL2 theatre/laboratory facility where audiences can view live multimedia bioartperformances through a glass wall.
Joan Linder. Known for drawings packed with thousands, even hundreds of thousands of tiny, energized marks, Linder’s large-scale images of quotidian subjects find inspiration from her immediate surroundings. Her most recent project, Operation Sunshine, explores the toxic chemical and radioactive waste sites on Buffalo / Niagara Falls. The work was exhibited in solo exhibitions at Mixed Greens Gallery, NY; the Albright Knox Art Gallery, Buffalo, The Faulconer Gallery, Grinnell College, IA. Other past notable exhibitions venues include Kunstahallen Brandts, Odense, Denmark; the Aldrich Museum, the Gwanjgu Art Museum, the Bronx Museum, the Queens Museum, and The Museum of Fine Arts Boston. She has received residency fellowships at Yaddo, MacDowell, Villa Montalvo, and a Pollock Krasner Foundation grant. Linder is Chair and Associate Professor of Drawing in the Department of Art at the University at Buffalo SUNY and is co-curating an exhibition Hot Spots: Radioactivity in the Landscape, opening at the University of Buffalo Art Galleries in September 2018. https://www.joanlinder.com
Kathy High is an interdisciplinary artist, educator working with technology, art and biology. She collaborates with scientists and other artists, produces videos, performances and installations and considers living systems, empathy, animal sentience, and the social, political and ethical dilemmas of biotechnology and surrounding industries. She has received awards including Guggenheim Memorial Foundation, Rockefeller Foundation, and National Endowment for the Arts. Her artworks have been shown at documenta 13 (Germany), Guggenheim Museum, Museum of Modern Art, Lincoln Center and Exit Art (NYC), UCLA (Los Angeles), Science Gallery, (Dublin), NGBK, (Berlin), Fesitval Transitio_MX (Mexico), MASS MoCA (North Adams), Esther Klein Gallery (Philadelphia) and Para-site (Hong Kong). High is Professor in the Arts, and has a lab in the Center for Biotechnology and Interdisciplinary Studies at Rensselaer Polytechnic Institute, Troy, NY. She hosts bio/ecology+art workshops and is creating an urban nature center in North Troy (NATURE Lab) with community media organization The Sanctuary for Independent Media. She is an ongoing Vivo Art artist in resident with the Center for Microbiome Sciences & Therapeutic, DePaolo Lab, School of Medicine, University of Washington, Seattle. www.kathyhigh.com
Kira O’Reilly is a London based artist; her practice, both wilfully interdisciplinary and entirely undisciplined, stems from a visual art background; it employs performance, biotechnical practices and writing with which to consider speculative reconfigurations around The Body. But she is no longer sure if she even does that anymore. Since graduating from the University of Wales Institute Cardiff in 1998 her work has been exhibited widely throughout the UK, Europe, Australia, China and Mexico. She has presented at conferences and symposia on both live art and science, art and technology interfaces. She has been a visiting lecturer in the UK and Australia and U.S.A in visual art, drama and dance. Most recent new works have seen her practice develop across several contexts from art, science and technology to performance, live art and movement work.
Laura Beloff is an internationally acclaimed artist and researcher who has been actively producing art works and exhibiting worldwide in museums, galleries and art events since the early 1990’s. She has been a recipient of various grants, art residencies and awards. In 2014 she received with partners the largest art grant within Nordic countries from the Nordic Cultural Fund. Her artistic and research interests include practice-based investigations into a combination of information, technology and organic matter, which is located in the cross section of art, technology and science. The research engages with the fields of: art & science, biotechnologies, biosemiotics, and information technology in connection to art, humans and society. The outcome of the research and artistic practice is in a form of process-based and participatory installations, programmed conceptual structures and networked wearable objects, additionally to publications and papers. Additionally to her work as an artist she has worked in academic positions as a Professor in Oslo, Norway, Visiting Professor in Wien, Austria and currently as Associate Professor and Head of PhD School in Copenhagen, Denmark. http://www.realitydisfunction.org/
Lena Ortega. Artist, researcher and designer based in Mexico City whose main line of research are the concepts of atmosphere and embodied experience. The exploration of such notions has led her to experiment through various types of media that range from immersive installations to sound and light art. Member of the Art+Science interdisciplinary research group based in the UNAM with inter national projection. She holds a Masters in Visual Arts from the UNAM and a specialization in Media and Design for Printing from SFSU. She has been part of the official selection and honorable mention of animation and video contests and has taught at the Faculty of Arts and Design of the UNAM and recently at La Salle University. Currently finishing a PhD in Art History at the UNAM and venturing into sound art exploring the intersections between culture and nature. www.leenalee.net
Louise Mackenzie is an artist and researcher, recently completing a PhD in fine art at Northumbria University, an Associate of the Institute of Genetic Medicine, Newcastle University and a member of the Cultural Negotiation of Science research group. Louise explores notions of human drive, progress, production and waste. Drawn towards the mechanisms upon which consumer-led society is founded, elements of her work focus on technical processes and, increasingly, biotechnology. Her current research investigates the use of life as material, specifically, the insertion of synthetic DNA into living organisms and the emotional weight of working with life in the laboratory. Louise was a finalist in the Bio Art & Design Awards 2015 and recipient of the New Graduate Award at Synthesis, Manchester Science Festival, 2013. She has spoken at Transimage Edinburgh, Leonardo LASER London, ISEA2016 Hong Kong, Bodily Matters, UCL London, and Sonic Environments, Brisbane. Her artworks have been exhibited at the National Library of Spain (Madrid), Lumiere (Durham), Summerhall (Edinburgh), BALTIC39 (Newcastle), Bond House (London), Basement 6 Collective (Shanghai) and National Taiwan University of the Arts (Taiwan). www.loumackenzie.com
María Antonia González Valerio. PhD in Philosophy from the National Autonomous University of Mexico (UNAM) with postdoctoral studies in the area of aesthetics. Full-time professor of the Faculty of Philosophy and Literature and of the postgraduate programs in Philosophy, Philosophy of Science, Art History and Fine Arts UNAM. She works within the research line of ontology-aesthetics and the interdisciplinary line of arts, sciences and humanities, specifically in the field of art that uses bio-media. Head of the research group Arte+Ciencia (Art+Science) which gathers artists, scholars and scientists in an interdisciplinary work that produces education at an under and postgraduate level, specialized theoretical research, artistic creation and exhibitions. www.magonzalezvalerio.com
Maria Manuela Lopes is a visual artist and researcher based in Portugal and the UK. Her current practice is transdisciplinar and based on issues of memory and self-identity informed by life sciences and medical research and presented in the form of time-based installations, occasionally including biological materials. She has been working and showing nationally and internationally and also teaching fine arts in Portugal since 1998. She has studied fine arts – sculpture at the FBAUP-Porto, Portugal and did an MA at Goldsmiths College in London. She is presently doing a practice based research degree at UCA Farnham, UK, working with representational strategies of Alzheimer’s disease in a neuroscience laboratory at Hospital Santa Maria and Molecular Medicine Institute in Lisbon.Maria is also assistant-Director of two residency programs: 1) ‘artists in Labs’ Ectopia – Lisbon, and 2) Cultivamos Cultura, an ecological oriented residency program in a farm in Alentejo. She has concurrently been presenting her work internationally at conferences and also publishing.
Maria Teresa Cruz teaches at the Communication Sciences Department, in Social and Human Sciences Faculty of the New University of Lisbon (UNL) in the fields of Image Theory, Media Aesthetics and Media Art Theory. She is the director of the Research Center on Communication and Language, where she also coordinated the research line on «Art and Communication» (2007-2012) and created the Journal Interact – Art, Culture and Technique (www.interact.com). Her research interests focus upon cultural techniques, as well as contemporary art and post-media aesthetics.
Marie-Pier Boucher’s work brings concerns with globalization, aesthetics, and politics to bear on the study of interplanetary habitation, environmental degradation, biotechnology, global health and architectural and urban infrastructures. Her specific focus is design for extreme environments such as outer space. Collaborator on Adaptive Actions, she co-edited Heteropolis (2013) and Adaptive Actions (Madrid) (2010) an participated in collective exhibitions (Tokyo Wonder Site (TWS), Japan, 2015; Leonard & Bina Ellen Art Gallery, Montreal, 2010; Biennale Madrid Abierto, Spain, 2010). Her research residencies include: Johnson Space Center, NASA, Houston, USA (2014); Banff Center for the Arts, Canada (2011); Max Planck Institute for the History of Science, Berlin, Germany (2010) and; SymbioticA, Western Australia (2006). She holds a PhD in Art, Art History and Visual Studies from Duke University (2015) and is currently a Mellon Postdoctoral Fellow at MIT’s Center for Art, Science and Technology (CAST) + Program in Science, Technology and Society (2017-2019).
Marta de Menezes is a Portuguese artist with a degree in Fine Arts by the University in Lisbon, a MSt in History of Art and Visual Culture by the University of Oxford, and a PhD candidate at the University of Leiden.She has been exploring the intersection between Art and Biology, working in research laboratories demonstrating that new biological technologies can be used as new art medium. In 1999 de Menezes created her first biological artwork (Nature?) by modifying the wing patterns of live butterflies. Since then, she has used diverse biological techniques including functional MRI of the brain to create portraits where the mind can be visualised (Functional Portraits, 2002); fluorescent DNA probes to create micro-sculptures in human cell nuclei (nucleArt, 2002); sculptures made of proteins (Proteic Portrait, 2002-2007), DNA (Innercloud, 2003; The Family, 2004) or incorporating live neurons (Tree of Knowledge, 2005) or bacteria (Decon, 2007). Her work has been presented internationally in exhibitions, articles and lectures. She is currently the artistic director of Ectopia, an experimental art laboratory in Lisbon, and Director of Cultivamos Cultura in the South of Portugal. http://martademenezes.com
Mary Maggic is a non-binary artist working at the intersection of biotechnology, cultural discourse, and civil disobedience. Their work spans documentary video, scientific methodology, public workshopology, performance, and large scale installation. Maggic’s most recent projects Open Source Estrogen and Estrofem! Labgenerate DIY protocols for the extraction and detection of estrogen hormone from bodies and environments, demonstrating its micro-performativity and potential for mutagenesis, i.e. gender-hacking. They hold a BSA in Biological Science and Art from Carnegie Mellon University and a MS in Media Arts and Sciences from MIT Media Lab and have had the privilege to exhibit and/or perform at Haus der Kulturen der Welt (Berlin), OK Center (Linz), Haus der elektronischen Kunst (Basel), Jeu de Paume (Paris), Institute of Contemporary Arts (London), and Spring Workshop (Hong Kong).
Minerva Hernandez. Transdisciplinary artist. Her work revolves around collective memory, the relationship between body, technology, science, poetry and vitality. She studied Photography and Cinematography in Brussels, Belgium. She is an honorary member of the National System of Creators since 2010 and is part of the Art and Science research and creation group of the UNAM. She currently directs the transdisciplinary Bioscénica company, dedicated to creating, developing and producing proposals that combine arts, sciences and technology. http://bioscenica.mx
Mónica Mendes is a digital media artist, designer and professor at the University of Lisbon. She is currently coordinating the Multimedia Art PhD and collaborating in the Sustainability Sciences PhD of the University of Lisbon. She is also a researcher at LarSys / Madeira Interactive Technologies Institute (M-ITI), collaborator at Fine Arts Research Center (CIEBA) and a member of Food, Farming and Forestry College (F3). Additionally, she co-founded altLab, a hackerspace dedicated to independent experimentation in alternative media, and the Creative Coding Circle, an informal collective focused on creative programming. Interested in designing for a more sustainable world, Mónica created the ARTiVIS project, exploring real-time interactive systems at the intersection of Art, Science and Technology. The research has been carried out with multidisciplinary collaborations from research institutions, hackerspaces and local populations, and has taken place in community, culture and art events such as art residencies, meetings and workshops, conferences and exhibitions. Mónica holds a PhD in Digital Media (UT Austin-Portugal Program), a Master in Multimedia Educational Communication (Universidade Aberta) and a degree in Communication Design (Faculdade de Belas-Artes). http://monicamendes.info
Monika Bakke is Associate Professor in the Philosophy Department at the Adam Mickiewicz University, Poznań, Poland. She writes on contemporary art and aesthetics with a particular interest in posthumanist, transspecies and gender perspectives. She is the author of Bio-transfigurations: Art and Aesthetics of Posthumanism (2010, in Polish) and Open Body (2000, in Polish) co-author of Pleroma: Art in Search of Fullness (1998), and editor of Australian Aboriginal Aesthetics (2004, in Polish), Going Aerial: Air, Art, Architecture (2006) and The Life of Air: Dwelling, Communicating, Manipulating (2011). From 2001 till 2017 she was working as an editor of a Polish cultural journal Czas Kultury [Time of Culture].
Nina Czegledy, artist, curator, educator, works internationally on collaborative art & science & technology projects. The changing perception of the human body and its environment as well as the paradigm shifts in the arts informs her collaborative projects. She has exhibited and published widely, won awards for her artwork and has initiated, researched, lead and participated in forums and symposia worldwide.
Nina Sellars is a visual artist and researcher who works across the disciplines of art, science and humanities. Her practice is focused on the way anatomy shapes our understanding of the body, identity and subjectivity. Sellars’ interest in anatomy has taken her from working in classical art studios and wet anatomy labs to working in physics labs and medical imaging facilities – here she critically engages with the cultural implications of anatomy. Essentially, her research questions how concepts of anatomy appear meaningful to us in the 21st century – an era defined by discourses of the posthuman. Sellars’ artwork has been exhibited widely, including most recently at the Museum of Contemporary Art, Sydney, Australia – New Romance: Art and the Posthuman (2016); ArtScience Museum, Singapore – Human+: The Future of Our Species (2017); Perth Institute of Contemporary Art – HyperPrometheus (forthcoming, 2018). In 2017, Sellars was artist in residence at SymbioticA, biological arts laboratory, The University of Western Australia, to further her research on human adipose tissue (aka fat), assisted by funding from the Australia Council. Previously, Sellars was a Research Fellow at the Alternate Anatomies Lab, an arts and robotics lab directed by the performace artist, Stelarc, at Curtin University, Perth, WA (2014 – 2016).
Polona Tratnik, Ph.D., is Dean of Alma Mater Europaea – Institutum Studiorum Humanitatis, Faculty and Research Institute for Humanities, Ljubljana, where she is a Professor and Head of Research as well. She also teaches courses at the Faculty for Media and Communication at Singidunum University in Serbia, at the Academy of Fine Arts and Design of the University of Ljubljana, at the Faculty of Education of the University of Maribor and at the Faculty for Design of the University of Primorska. She used to be the Head of the Department for Cultural Studies at the Faculty for Humanities of the University of Primorska. In 2012 she was a Fulbright Visiting Scholar, as well as a Guest Professor at the University of California Santa Cruz. She was a Guest Professor also at the Capital Normal University Bejing (China), at the Faculty for Art and Design Helsinki TAIK (Finland), and at the Universidad Nacional Autónoma de México(Mexico City). She is president of the Slovenian Society of Aesthetics (since 2011) and an Executive Committee Member of the International Association of Aesthetics. She has authored seven monographs and one proceeding as single author, including the Hacer-vivir más allá del cuerpo y del medio(Mexico City: Herder, 2013), Art as Intervention(Sophia, 2017) and Conquest of Body. Biopower with Biotechnology(Springer, 2017). Polona Tratnik is a pioneer bio artist exhibiting worldwide at shows such as Ars Electronica festival and BEAP festival in Perth.
Regine Rapp is an art theoretician and curator. Her specific fields of research for 20th and 21st century art are installation art, image text theory, artist books, and art & science collaborations. She worked as Assistant Professor for Art History at the Burg Giebichenstein Art Academy Halle until Autumn 2013. She is co-director of Art Laboratory Berlin, which she co-founded in 2006. Regine curated over 30 exhibitions (exhibition series on Time and Technology, Synaesthesia and macro/microbiologies) and has published several books. Concurrent to the exhibition Sol LeWitt. Artist’s Books in 2011 she conceived and realised the international Sol LeWitt_Symposium at Art Laboratory Berlin. Together with Christian de Lutz she developed the international transdisciplinary conference Synaesthesia. Discussing a Phenomenon in the Arts, Humanities and (Neuro-)Science, 2013 at Art Laboratory Berlin. Her publication [macro]biologies & [micro]biologies. Art and the Biological Sublime in the 21st Century reflects theoretically Art Laboratory Berlin’s last series from 2014-15. In 2016-17 together with Christian de Lutz she conceived the series Nonhuman Agents with exhibition, workshops, performances, and an international interdisciplinary conference (Nov 2017), which is now published online.
Roberta Buiani is an interdisciplinary artist, media scholar and curator based in Toronto. She is the co-founder of the ArtSci Salon at the Fields Institute for Research in Mathematical Sciences (Toronto) and a co-organizer of LASER Toronto. Her research-creation work is mobile, itinerant and collaborative, exploring how scientific and technological mechanisms translate and transform the natural and human world, and what happens when they are taken outside of their traditional context and relocated through artistic and cartographic practices. Her work was exhibited in Toronto at the Ryerson University Faculty of Architecture and Artscape Youngspace; and was featured at Transmediale, the Hemispheric Institute Encuentro, Immigrant Movement International (Queens), and RPI among other. Recently, she has launched a series of curatorial experiments in “squatting academia”, aiming at repopulating abandoned spaces inside the university with collaborative works in art and science and at filling formal spaces of research with site-specific installations and performances. She teaches communication and cultural studies at York University. http://atomarborea.net
Sarah Blissett is an artist, writer and dramaturg, currently studying for a PhD in Performance Studies at the University of Roehampton. She holds a BA from the University of Cambridge and an MA from the Royal Central School of Speech and Drama. Her research explores Food and Ecology in Performance, through an investigation into algae organisms and ecosystems as ‘active ingredients’ in planetary ecology. Ecological and philosophical issues of multispecies entanglement and trans-corporeal relations are core to this food-based practice, where material/semiotic subjects are digested in a variety of ways. Her work considers the implications of these ideas through performance studies research, which draws on Poetic Biopolitics, Ecomaterialism and Posthuman Feminism.
Shannon Bell, a Canadian performance philosopher who lives and writes philosophy-in-action, is a Professor of Political Science at York University, Toronto, Canada. Her books include: Fast Feminism (2010), Reading, Writing and Rewriting the Prostitute Body (1994), Whore Carnival (1995), Bad Attitude/s on Trial co-authored (1997, republished 2017), The Book of Radical General Semantics co-edited (2016), Subversive Itinerary: The Thought of Gad Horowitz, co-edited (2013) and New Socialisms co-edited (2004). Bell is currently working on shooting theory ––video-imaging philosophical concept such as Heidegger’s ‘stillness’, Husserl’s ‘epoché’, Batialle’s ‘waste’ and ‘expenditure’, Weil’s ‘attention’, Deleuze’s ‘deterritorialization’, Virilio’s ‘vision machine’ and ‘accident’ and Levinas’ ‘elemental’.
Tagny Duff is an artist and scholar working across media art and microbiology, with a particular interest in microbial interaction and scientific practices from a cultural point of view. Duff has exhibited biological art works nationally and internationally in venues such the Science Gallery in Ireland (2011) and Espace Multimedia Gatner, France (2015). She has published numerous peer-reviewed articles on the overlap between art and science methodologies and approaches including the recent publication “Mangling Methods Across Performance Research, Biological Arts and Life Sciences” published by Media-N Journal of the New Media Caucus. Duff is Associate Professor in the Department of Communication Studies at Concordia University and since 2009 is the director/founder of Fluxmedia, a network for researchers engaging in collaboration across art and the life sciences and Speculative Life Lab at Milieux Institute for Arts, Culture and Technology at Concordia University. https://tagnyduff.com
Tarsh Bates is an artist/researcher interested in the aesthetics of interspecies relationships and the human as a multispecies ecology. She has worked variously as a pizza delivery driver, a fruit and vegetable stacker, a toilet paper packer, a researcher in compost science and waste management, a honeybee ejaculator, an art gallery invigilator, a raspberry picker, a lecturer/ tutor in art/science, fantasy, art history and gender & technology, an editor, a bookkeeper, a car detailer and a life drawing model. Tarsh is a postdoctoral research associate at SymbioticA, UWA, supported by The Seed Box, an international environmental humanities collaboration based at Linköping University in Sweden and funded by Mistra and Formas. She is particularly enamoured with Candida albicans. http://www.symbiotica.uwa.edu.au
Victoria Vesna, Ph.D., is an Artist and Professor at the UCLA Department of Design Media Arts and Director of the Art|Sci Center at the School of the Arts (North campus) and California NanoSystems Institute (CNSI) (South campus). Although she was trained early on as a painter (Faculty of Fine arts, University of Belgrade, 1984), her curious mind took her on an exploratory path that resulted in work can be defined as experimental creative research residing between disciplines and technologies. With her installations she investigates how communication technologies affect collective behavior and perceptions of identity shift in relation to scientific innovation (PhD, CAiiA_STAR, University of Wales, 2000). Her work involves long-term collaborations with composers, nano-scientists, neuroscientists, evolutionary biologists and she brings this experience to students. Victoria has exhibited her work in 20+ solo exhibitions, 70+ group shows, has been published in 20+ papers and gave 100+ invited talks in the last decade. She is the North American editor of AI & Society journal (Springer Verlag, UK) and in 2007 published an edited volume – Database Aesthetics: Art in the Age of Information Overflow (Minnesota Press) and another in 2011 — Context Providers: Conditions of Meaning in Media Arts (co-edited with Christiane Paul and Margot Lovejoy) Intellect Ltd, 2011. Currently she is working on a series Art Science & Technology based on her online lecture class. http://victoriavesna.com
- Ana Baleia – PT
- Ana Santos – PT
- Ana Teresa Vicente – PT
- Anna-Isaak Ross – USA
- Anna Jakobsson – SE
- Anna Rewakowicz – PL/CA/FR
- Anna Lindemann – USA
- Branda Miller – USA
- Ebru Yetiskin – TR
- Elizabeth Littlejohn – CA
- Helena Loermans –
- Jasna Jernejsek – SI
- Johanna Rotko – FI
- Julia Arimany – ES
- Julia Bentz – AT/PT
- Karolina Zyniewicz – PL
- Katherine Behar – USA
- Laura Benítez Valero – ES
- Maria Francisca Abreu Afonso – PT
- Manuelle Freire – FR
- Maya Fernandes Kempe –
- Michelle Lewis-King – CN
- Miriam Simun – USA
- Nicole Condon- Shih – CN/USA
- Paulina Hubard – MX
- Renata Rosado Alves – BR/PT
- Rosanna Gunnarsson – SE
- Stephanie Rothenberg – USA
- Tanha Gomes – CA
- Vanessa Toquero – ES
Ana Baleia is graduated in Fashion Design in Lisbon, 2002. She worked in Lisbon with several designers and fashion brands. After a brief period in Cape Verde, designing for a local brand, she returned to Portugal in 2008 and settled in São Luís. She is a founder and member of Ateneu do Catorze, an artistic and cultural space, where her studio is located. Her work includes costume design, product design and visual art, as well as collaborations with performing artists, theatre companies and product brands. Her interest in a more organic and tactile approach to textile media has led her to explore craft techniques and handiwork including sewing, ripping, painting. Blending concepts with garments she creates special characters, pieces with a wearable story.
Ana Santos finished in 2014 a degree in Multimedia Design and Communication, later going on to Contemporary Artistic Practices at the Faculty of Fine Arts of Porto. Currently resides and works in Lisbon, where develops a PhD in Anthropology at ISCTE-IUL. As a Media Artist, works with performance and installation, focusing the work on body technology studies. Has exhibited and participated in several collaborative projects in Europe and South America. The current research links the fields of art, technology and sociology through an accidentally symbiotic assumption among Nature Cultures, resulting in a mediated prosthesis research among artists, scientists and amputees
Ana Teresa Vicente is an artist and a PhD student in Fine Arts (Photography) at the Artistic Studies Research Centre (CIEBA), Faculty of Fine Arts, University of Lisbon (FBAUL) with a fellowship by FCT – Foundation for Science and Technology (2013-2017). She completed her Master Degree in Painting in 2011 with the thesis Body Rondo – The Illusion of Suspended Time, and graduated in Fine Arts – Painting in 2007, at FBAUL. She also attended several courses on the subjects of illustration, image in motion, ballet, contemporary dance, and photography. She presents her work through exhibitions, lectures, and publications regularly since 2005. She is currently one of the coordinators of the Post-Screen: International Festival of Art, New Media and Cybercultures (Lisbon).
Anna Isaak-Ross holds a BFA from the School of Visual and Performing Arts at Syracuse University. After working with several artists at Amorphic Robot Works in New York City, Anderson Ranch Arts Center in Snowmass, Colorado, and as an intern to Juan Quezada in Mata Ortiz, Mexico, she moved to Massachusetts. She has been a resident artist at Cultivamos Cultura in São Luís, Portugal. At present, Anna is the Studio Manager of the Art & Design Department at the University of Massachusetts, Lowell.
Anna Jakobsson (Konstmusiksystrar) is an artist-researcher, stage-director and producer based in Stockholm. Her practice expands over the fields of contemporary performance, opera and theatre and is distinguished by an interest in feminine narratives and non-hierarchical working methods. Anna’s work often explores different modes of audience participation and she wants her work to be both gentle and challenging in once. She holds a MA in Performance Practice as Research from the Royal Central school of Speech in London. Anna also studied stage directing for opera under the supervision of prominent stage director Kasper Holten, former Director of Opera of the Royal Opera House in London. Since 2017 she is the producer of Konstmusiksystrar (Sisters in Art Music). http://konstmusiksystrar.se/manifestet/
Anna Lindemann is devoted to integrating art and science as both an artist and educator,. Her work combines animation, music, video, and performance to explore the emerging field of EvoDevo (Evolutionary Developmental Biology). She graduated magna cum laude with honors from Yale with a BS in Biology, where she worked in Dr. Antónia Monteiro’s lab conducting researchon genes involved in the patterning of wing eyespots during butterfly development. She received an MFA in Integrated Electronic Arts from Rensselaer Polytechnic Institute, where she was awarded the DeWitt Wallace Fellowship, the Ellis and Karin Chingos Graduate Fellowship, and the Rensselaer Graduate Fellowship. Anna’s work has been presented at such venues as the Center for Media, Arts, and Performance, ATLAS Institute, University of Colorado at Boulder; Imagine Science Film Festival, New York, NY; ISEA, Vancouver, Canada; Experimental Media and Performing Arts Center, Troy, NY; KLI Institute for Theoretical Biology, Klosterneuburg, Austria; EvoMUSART, Parma, Italy. She is currently Assistant Professor in the Digital Media and Design Department at the University of Connecticut where she has pioneered curricula integrating art and science, including the courses “Animating Science,” “Scientific Visualization,” and the special topics course “AntU Traveling Exhibit Development.” https://annalindemann.com
Ana Rewakowicz is an interdisciplinary artist born in Poland, living and working in Montreal (Canada) and Paris (France). She received her BFA from Ontario College of Art and Design, Toronto and MFA from Concordia University, Montréal, Canada and is currently pursuing her PhD in art and science at the École Polytechnique in Paris. Known for her stimulating, interactive, inflatable works that question our relationship with the environment, she is concerned with issues of sustainability and technology as an opportunity for social transformation. Presently her art engages in growing environmental complexities with a particular focus on water. She has works in permanent collections of the Musée d’art contemporain in Rome, Italy (MACRO), Musée d’art contemporain de Montréal, Musée national des beaux-arts du Québec, Musée de Joliette, and has exhibited extensively in Canada and abroad, including Copernicus Science Museum (Warsaw, Poland), Bienal del Fin del Mondo, (Mar Del Plata, Argentina), ISEA 2014 (Dubai, UAE), Foundation Stiftelsen 3,14 (Bergen, Norway), Anchorage Museum (Alaska, USA), Pori Art Museum (Finland) and La Maison Europénne de la Photographie (Paris, France). www.rewana.com
Branda Miller is an internationally recognized media artist and educator, dedicated to explore new visions, use media for social change and support independent voices. With three decades of experience in youth media, community media, media arts and education, she seeks to expand documentary form through participatory design. Professor Miller is a co-founder and Arts and Education Coordinator at The Sanctuary for Independent Media in Troy, NY. She has produced diverse events and educational workshops, with an interdisciplinary breadth including media and film, photography, public lectures and public art. She has developed and overseen dozens of community arts and education initiatives engaging teens, community members and professional artists, with a focus on the environment, sustainability and local voices. A tenured Professor of Media Arts in the Integrated Electronic Arts Department at Rensselaer Polytechnic Institute (1991-2015), she played a key role in the shaping and development of the graduate and undergraduate interdisciplinary arts programs. Branda Miller is also an Emmy award-winning editor who has worked extensively in themedia industry of Los Angeles and New York City. Professor Miller’s media art works have been screened at festivals, museums and exhibitions, broadcast nationally and internationally.
Crystal Kershaw is an English cross-disciplinary artist and member of artist collective Ateneu Do Catorze, São Luis, Portugal; her work includes sculpture, painting, site specific installation and interior design. She studied Art & Design at Camberwell College Of Arts (UAL) and English Literature at King’s College London; mainly self-taught she has continued her artistic practice while living, exhibiting and teaching creativity led workshops internationally.
Ebru Yetiskin is an Istanbul based independent curator and media theorist who works on the interaction of sciences, technology, art and politics. She has been a full-time researcher and lecturer in Istanbul Technical University since 2003. She studied cinema (BA) in Istanbul University, Science, Technology and Society (STS) in University of Louis Pasteur and Istanbul Technical University(MA), and Sociology in Mimar Sinan Fine University (PhD). During her PhD research, she was a visiting scholar in Ecoles des Mines de Paris – Centre for Sociology of Innovation. As part of her research, she curated media art related exhibitions entitled, Cacophony (2013), Code Unknown (2014), Waves (2015), Contagious Bodies (2015), Illusionoscope (2017) and Interfaces (2018) in Istanbul. She also directed and curated Plugin New Media Section of Contemporary Istanbul (2015). Since then, she focused more on writing and making public talks as well as workshops, such as “Network Politics in Data Driven Worlds” in Akbank Art Center and “Today’s Art: Yet Another” in Borusan Contemporary Museum. In 2016, she edited a book of poetry, “Like The Others,” written by a robot, Deniz Yılmaz; curated its autograph session in Istanbul Art and Book Fair and developed a transdisciplinary curating conception: paratactical curating.
Elizabeth Littlejohn is a communications professor, human rights activist, photojournalist, and documentary film-maker, who teaches at Sheridan ITAL in Toronto. She has written for Rabble.ca for the past eleven years on social movements, sustainable urban planning, and climate change. As a running gun social movement videographer, she has filmed internationally. Her articles, photojournalism, and videos have been published widely to document the Occupy and Climate Change movements, LGBTQIA* rights, and Idle No More, and printed in NOW Magazine, the Toronto Star, and Our Times. She has an unending passion to protest the rise of the right in the U.S. and Canada, and has filmed on the frontline of the queer resistance of Work for Peace during the inauguration, and for five years, the reign of Toronto’s notorious right wing ex-Mayor, Rob Ford. Recently she has directed, filmed and produced ‘Leelah’s Highway’, a broadcast half hour focusing on the suicide of trans youth, Leelah Alcorn, and ‘Frolic’s Haunt’, a nine-minute film about a queer, accessible haunted house with its own unique scare system.
Helena Loermans is a former laboratory technician engaged in experimental research and is now weaving in her studio in Odemira. She studied Jacquard Design in Florence, including textile analyses. Lab O is a laboratory for the research and reconstruction of canvases of old master paintings, incorporated in her studio.
Jasna Jernejšek works as a freelance curator, project manager, researcher and publicist in the field of contemporary visual arts, especially photography, new media and related practices. She finished BA in Cultural Studies at the Faculty of Social Sciences in Ljubljana (2007), where she also completed her M.Sc. in Communication Studies (2013). She completed curatorial course at the World of Arts, School for Curatorial Practices and Critical Writing at the Center for Contemporary Arts, SCCA-Ljubljana (2011–2013). She was the co-editor of the Art-Area radio broadcast about contemporary visual and related arts at Radio Študent (2012-2016). She was a curator and project manager at Photon–Centre for Contemporary Photography in Ljubljana and with the international festival Photonic Moments–Month of Photography (2013-2017). She regularly writes exhibition and catalogue texts and publishes articles in the magazines “Fotografija” and “Membrana”, both dedicated to photography. She is a member of the Sektor Institute for Networking, Research and Promotion of Media Arts. She lives and works in Ljubljana, Slovenia.
Johanna Rotko is a visual artist who lives and works in Kotka, Finland. She has been working with Sac-charomyces cerevisiae since she learned the technique from Pavillon_35 art group in 2013. She lives with her man Tommi, two years old doughter Frida and a jackrusselterrier called Pulla (Bun) who does not know is she a man or not. Rotko’s laboratory is in their kitchen, exposure happens in her studio and the research area is in their balcony. Last November, her home laboratory expanded to Biofilia laboratory in Aalto University. Also the research area has moved indoors due to winter conditions. Projects main themes for the artistic research is Rotko’s own relationship with nature and how nature is affected by her actions. She got to know bioart first time when she was studying the MA degree in Aalto University and she was inspired to do minor subject (26 credits) with biological arts. These courses guided her to do the MA thesis work with yeastograms in 2014-2015. Her work has been exhibited in Oulu, Corvallis, Helsinki, Kotka, Dortmund, Tokyo and Paris. The Living images, yeastograms -project has been funded by City of Kotka, Art Promotion Center Finland, Bioart Society and Kone Foundation.
Júlia Barbany Arimany is currently finnishing her studies in acting at Institut del Teatre of Barcelona. Althought her studies are in acting, she is very interested in other ways of materializating her ideas like drawing, installation and videoart pieces. She has done some instalations and performances with her colective “LAS HUECAS” who are working in the fel of the political and social isssues about the urbanism of the 92′ olympic games from Barcelona. A comic-lover Julia is waiting for the end of the world, she is afraid of everything.
Julia Bentz is a postdoc researcher and integrated member of the Centre for Ecology, Evolution and Environmental Changes at the University of Lisbon. Her background in interdisciplinary social sciences (MPhil. Development Studies, University of Vienna, Austria; PhD Economics, University of the Azores, Portugal) and personal interests have directed her research towards the interactions between social and ecological systems in a variety of research fields, including marine spatial planning, marine wildlife tourism, protected areas, sustainable mobility, climate change adaptation and transformation. Within her current project, ART FOR ADAPTATION, she aims to develop new understandings of how artistic and creative practices can contribute to successful climate change adaptation.
Karolina Żyniewicz is an artist graduated from the Academy of Fine Arts in Łódź, Department of Visual Arts, and currently in the third year of her doctoral studies in the Transdisciplinary PhD Programme at Artes Liberales Faculty, University of Warsaw. Working in a laboratory, mostly at the Institute of Genetics and Biotechnology, Faculty of Biology, University of Warsaw, Karolina locates her works in the field of bio art. She tries to use her artistic projects as a research method. Her artistic activity is focused on broad understood life (its biological and cultural meaning). Her projects have mostly conceptual character. The visual site of them is rather limited and has sources in laboratory practice. The main point of her research interest are the multilevel relations emerging during the realization of bio art projects. She tries to put her observations, as an artist, in the context of Science and Technology Studies (STS) and Actor-Network Theory by Bruno Latour. karolinazyniewicz.com
Katherine Behar is an interdisciplinary media and performance artist who uses materialism and feminism to explore contemporary digital culture. She is known for projects that mix low and high technologies to create hybrid forms that are by turns humorous and sensuous. Behar’s works have appeared throughout North America and Europe. Pera Museum in Istanbul presented a comprehensive survey exhibition and catalog, Katherine Behar: Data’s Entry | Veri Girişi, in 2016. Additional solo exhibitions include Katherine Behar: Anonymous Autonomous (2018), Katherine Behar: E-Waste (2014, catalog/traveling), and numerous others collaborating as “Disorientalism.” Behar is the editor of Object-Oriented Feminism, coeditor of And Another Thing: Nonanthropocentrism and Art, and author of Bigger than You: Big Data and Obesity. She is Associate Professor of New Media Arts at Baruch College, City University of New York.
Laura Benitez Valero learned a PhD in Philosophy from the Autonomous University of Barcelona (UAB) with a thesis on the relationship between artistic practices and biotechnologies (January 2014). An external collaborator of the teaching team for Aesthetics and Art theory at the Department of Philosophy of the UAB, and as coordinator at the Institute of Humanities of Barcelona. She has worked as coordinator at the Institute of Humanities of Barcelona/CCCB. Guest lecturer at Master’s degree in Research in Arts and Design at EINA and Lecturer on Dystopian Thinking at ELISAVA, both Universities of Design. She has been guest researcher at the Ars Electronica arts centre, and researcher at the MACBA’s documentation centre. She has participated in cycles as a reader, teacher and guest researcher at different international institutions. She is currently collaborating on different research projects, academic and autonomous alike. Based as researcher in HANGAR, centre for arts production and research, her current research focuses on processes of bio-resistance, bio-civil disobedience and non-human agents.
Maria Francisca de Abreu Afonso lives in Lisbon and while studying dedicated herself to music, dance, theatre and illustration. Graduated from the Faculty of Sciences of the University of Lisbon, with a degree in Biology (2012/2015). In 2014/2015, lived in Brussels and, as part of the study program, went to Guyana. This expedition shifted her and how she wanted to do as a practice in Biology. After graduation, she did a sabbatic year in which she worked with a scientific team of Marine Ecology and Climate Change (MARE Institute) and was involved in several projects, such as the short film Reich der Möglichkeiten: intermitências da percepção (with Clemens Schöll). She’s currently doing her masters in multimedia art, with a specialization in photography, in the Faculty of Fine-Arts of Lisbon. In December 2016, she represented Portugal in the jury at the first EUFA (European University Film Awards), category of the European Film Awards, held in Hamburg. She won the Faculty of Fine Arts’ scholarship for Cultivamos Cultura’s Summer School (2017) and has been exhibiting ever since. Her pieces are about identity, search for the self and the relationship with the other.
Manuelle Freire is currently postdoctoral researcher at EnsadLab – PSL (Paris). She is a lecturer and program developer in art-science-technology for academic and cultural institutions. Her current work is inscribed in the “Chaire arts-science”, jointly created by Fondation Daniel et Nina Carasso, l’école Nationale des Arts Décoratifs, and l’école Polytechnique. Her research aims to propose institutional innovation strategies for academia in line with the emerging cognitive paradigms. She investigates specifically the institutional structures for art-based research involving transdisciplinary, cross-institution and/or cross-sector collaborations. Through a 10-year practice as a designer, Dr. Freire transitioned to scholarly research and academic roles since 2008: Teaching assistant, part-time faculty in the department of Art Education at Concordia University (2008-2014); Several research assistant positions, namely to the dean of Fine Arts in the development of academic programs for Research-Creation (2009-2012); Programme coordinator of Hexagram: the international network dedicated to research-creation in media arts, design, technology and digital culture (2013-2016); Associate artistic director at ELEKTRA – BIAN (2016-2017).
Maya Fernandes Kempe is a ceramist, sculptress, art pedagogue. Founder of espaço azul in Lisbon, worked 9 years in several artistic and educational projects in the museums of Berlin, teaches art pedagogy and ceramic sculpture at the Lisbon based art school nextart. Founder (with Ana Baleia, João Veiga and Sérgio Fernandes) and member of the recent art-center Ateneu do Catorze in São Luis.
Michelle Lewis-King is a sound artist, acupuncturist and Senior Lecturer at Roy Ascott Studios, DeTao Masters Academy at SIVA, Shanghai, China. She currently works with 4DSOUND on projects involving spatial sound and embodiment-an article on this collaboration is published in the Red Bull Music Academy Daily (11/2016). Michelle’s own research is published in: Technoetic Arts (Vol 13, Iss.3), Digital Creativity (Vol 26, Iss. 1), Journal Sonic Studies (Issue 4), ELSE Journal of Artistic Research (Issue 0) and many conference proceedings. Her artistic research has been exhibited in: Digital Suzhou (2018), Reflections from the Inner Mirror (2017), PROJECT ANYWHERE (2015-2016), TodaysArt NL 2015, Drawing Towards Sound: with John Cage, Pierre Boulez, Aura Satz, etc. (2015), Digital Futures: V&A Museum (2014), Chinese Film Festival, Anatomy Museum London (2014), Disjointed: Digital Cultures, Ex-Teresa Museum Mexico (2013), Artist Games, Spike Island, UK (2012) and Experimental Notations, Royal Nonesuch Gallery, Oakland, CA (2011).
Miriam Simun is a research-based artist investigating the implications of socio-technical and environmental change. Simun is a graduate of the London School of Economics, the Interactive Telecommunications Program at New York University. Her work has been the subject of numerous international presentations, including exhibitions at the New Museum of Contemporary Art, New York; the Museum of Arts and Design, New York; the DeutscheBank Kunsthalle, Berlin; The Contemporary, Baltimore; Ronald Feldman Fine Arts, New York; the Museum of Fine Arts, Split; the Bemis Center for Contemporary Arts, Omaha; the Himalayas Museum, Shanghai; and the Beall Center for Art + Technology, Irvine. Simun is a recipient of awards from Creative Capital, the Robert Rauschenberg Foundation, the Joan Mitchell Foundation, and the Foundation for Contemporary Arts. She was the recipient of the Santa Fe Art Institute’s 2015 Food Justice Residency in New Mexico, and the OMI International Arts Center’s 2016 Artist Residency in New York. Simun’s work has received extensive coverage in media outlets both stateside and abroad, including the BBC, The New York Times, The New Yorker, CBC, MTV, Forbes, Art21, and ARTNews. www.miriamsimun.com
Nicole Condon-Shih is an interdisciplinary artist and educator working between the USA and Beijing, China. Her practice intersects art and science and examines the dichotomy between the microscopic versus the macroscopic in thinking about biological systems, and, more recently, cultural and urban networks. She works both individually and collaboratively, such as with her local Chinese medicine doctor, and engages the community as a laboratory. Her work has been shown internationally in Hong Kong at the Bi-City Biennale of Urbanism & Architecture, in Beijing at the B3 Biennale of the Moving Image, and in the Reverse the Perspective exhibition at the Xiangsi Art Museum in Tianjin, China. She received her B.F.A. from Cornell University’s School of Architecture, Art, and Planning and M.F.A. from Hunter College, City University of New York. Nicole Condon-Shih recently joined the Cleveland Institute of Art (CIA) as an Assistant Professor of Foundations and previously spent eight years heading the Foundation Department at the Central Academy of Fine Arts in Beijing, China.
Paulina García Hubard studied at the Active School of Photography (1990-1991 was a scholarship holder for 2 terms), then did a BA Hons. Photography at London College of Printing (1992-1995) and later completed an MA Applied Arts and Visual Culture at London Guildhall University (1996-1998). Between 1998 and 2001 she documented the villages of Aldeburgh, Suffolk, in England and St. Feliu de Guixols on the Costa Brava of Catalunya. With the fruit of this work she made two solo exhibitions in Europe and participated in two collective exhibitions. In 2005 she founded and directed the Workshop “Abriendo Los Ojos-Afro México”, where more than 15 students from Costa Chica (Guerrero and Oaxaca) learned to express themselves through visual language using new photographic technologies. This project was sponsored by BIZAR and SONY of Mexico. During 2006 and 2009 she coordinated, photographed and edited the Graphic Memories of the IFE (Federal Electorate Institute). In 2009, she won the BANAMEX contest award, El México de los Mexicanos : 1st Place “Children in their Environment”, publishing her work in the book El México de los Mexicanos, name that also gave title to the collective exhibition in the Rejas de Chapultepec of 2009. In September 2011 she organised, promoted and exhibited again in the Rejas de Chapultepec the Project “Abriendo Los Ojos Afro-México” , curated by Francisco Mata Rosas . This exhibition was circulated from September 2011 to April 2012 in Mexico City. The Ministry of Foreign Affairs organised a new exhibition in September 2012. Last year her work on the killings of Ayotzinapa was published on a book by F. Mata Rosas and the UAM University, called 43.
Renata Rosado holds a graduation in Biological Sciences at the public University of Alfenas (UNIFAL), Minas Gerais, Brazil. She is currently doing a master degree of Drawing at Faculty of Fine Arts at University of Lisbon, Portugal. As biologist she has experience with micro algae taxonomy, palynology and paleopalynology. Besides that, she also worked with public health, after college. Recently, as an artist, she is still seeking for a place between science and art, paving her way of an old passion on scientific drawing as well as experimenting many other expressions of art and means with the purpose of unite her investigative approach and her artistic aspiration.
Rosanna Gunnarsson (Konstmusiksystrar) is a composer and sound artist based in Stockholm. She has a bachelor’s degree in composition from the Royal College of music in Stockholm and studied under Pär Lindgren, Marie Samuelsson, Per Mårtensson and Henrik Strindberg. Her main fields of work are contemporary music, both chamber and larger ensembles/orchestras, as well as electronic music and sound installations. One of her latest works is an audio-visual installation at Stockholm Arlanda airport, chronicling a Swedish surfer’s experiences of riding waves in the Baltic sea. She is a board member in Konstmusiksystrar (Sisters in Art Music) since 2017. http://konstmusiksystrar.se/manifestet/
Stephanie Rothenberg’s interdisciplinary artworks make visible the physical and imaginary networks that create technological utopias. Moving between real and virtual spaces, she explores how new technologies mediate our everyday experiences and connect us to larger global systems. Her work has been exhibited in venues including House of Electronic Arts (HeK), MASS MoCA, LABoral, Sundance Film Festival, Transmediale and ZKM. In addition, she has participated in and organized numerous events and conferences on economic themes including Baltan Lab’s “Economia” in Eindhoven and MoneyLab #2 and #3 in Amsterdam, and co-organizing #5 in Buffalo April 2018. She is a recipient of numerous grants and awards including a Creative Capital. Residencies include the LMCC Workspace program, Eyebeam and the Santa Fe Art Institute. Her work is in the collection of the Whitney Museum and has been widely reviewed including Artforum, The Brooklyn Rail and Hyperallergic. Stephanie received her MFA from The School of the Art Institute of Chicago. She is Associate Professor and Director of Graduate Studies in the Department of Art at SUNY Buffalo where she teaches courses in design and emerging technologies.
Tanha Gomes has a BFA in photography and is currently pursuing her master’s degree in art education (both at Concordia University, Canada). She has as a strong, diversified and international experience in contemporary art education with children, adolescent and adult populations (in Brazil, France, Argentina and Montreal). Her current research and expertise focuses on issues of inclusion in museums, galleries and artist-run centres, where she explores how art education serves to counter exclusion and foster intercultural relations and social justice. She lives in Montreal, where she works as an art educator at DHC/ART Foundation for Contemporary art, OPTICA and the feminist artist-run centre La Centrale, where she serves on the board of directors.
Vanessa Toquero is an independent researcher and designer working at the crossroads of Art, Design and Biology. Trained as design engineer, media researcher, and biohacker (self and community trained), she creates fictional scenarios embedding people, living organisms and matter into devices forming new media ecologies. Also, she nourishes (from) and believes (in) the middle ground (communities of hackers / artists / citizens working in alternative spaces) to have the power to subvert the dominating role of traditional science and technology spheres and therefore, guide us towards a more inclusive knowledge production. She researches about the role of an artist to influence the social imaginary through workshops and interfaces that focus on the radical poetry of the nonhuman. www.hybridoa.org www.hackuarium.ch
The conference participation fee until 15th of May 2018 is 50 euros and for later conclusion of registration is 80 euros. The conference participation fee for students is 20 euros, regardless the registration period. The fee includes the conference’s folder, refreshments during the conference coffee-breaks and expenses concerning the editing of the book of proceedings. The fee does not include accommodation or meals. We are available to help with any practical information you may require to book your plane ticket and accommodation nearby. The transfer of the conference fee is made to the following bank account with indication of “FEMeeting 2018” and “Your Name”:
Beneficiary Name: Cultivamos Cultura- Associação Cultural
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In case of cancellation, requests submitted before June 1st 2018 will be refunded 50% of the registration fees. No refund will be available after this date.