A new commission by Ariel Guzik for Edinburgh Art Festival 2015. ‘Holoturian’ is an underwater resonance instrument designed by Guzik to communicate with whales and dolphins in the deep seas.

This new work is commissioned and produced by Arts Catalyst with Edinburgh Art Festival 2015.

For the last 10 years, the artist, musician, illustrator and inventor Ariel Guzik has searched for a way to communicate with whales and dolphins. Guzik’s project has encompassed the creation of underwater instruments, expeditions to contact whales and dolphins off the coasts of Baja California, Costa Rica and Scotland, sound recordings, and numerous fantastical drawings of this cetacean civilisation and underwater ships and gardens.

Guzik’s extraordinary vision is to build a manned underwater ship – the Narcisa - with the intention of enabling encounters between humans and cetaceans as inhabitants of parallel civilisations, free from hierarchies or intentions of domination or subordination, and devoid of utilitarian or practical research interests.

Commissioned by Arts Catalyst and Edinburgh Art Festival 2015, his new project brings the artist closer to his goal. For this show, his first exhibition in the UK, Guzik is constructing a beautiful capsule, the Holoturian, designed to send a living plant and a string instrument for a period of time into the depths of the sea. Imagined and re-imagined in extraordinary drawings made by Guzik over the past decade, this ship has instrumentation, which expresses life, space, harmony and brightness as primary messages, and is dedicated to sperm whales and other deep ocean creatures. 

The installation is part of Edinburgh Art Festival's 2015 commissions programme, presenting new work by leading Scottish and international emerging and established contemporary artists, and will be displayed at Edinburgh’s gothic kirk Trinity Apse.

The following events have now passed.
Location: Trinity Apse, Chalmers Close, 42 High St, EH1 1SS

Sat 1 August 2015, 11.30am
Ariel Guzik in conversation with environmental scientist and campaigner, Mark Simmonds OBE, chaired by Art Catalyst Director, Nicola Triscott.

Sat 1 August 2015, 7pm
Field recordings by Nature Expression and Resonance Research Laboratory Soundscape and performance by Ariel Guzik, Alejandro Colinas and Emilio Galvez.
A unique opportunity to hear Mexican artist Ariel Guzik perform live in a specially devised set combining electronic music with field recordings of whales and dolphins.

Soundscape and performance by Ariel Guzik, Alejandro Colinas and Emilio Galvez Field recordings by Nature Expression and Resonance Research Laboratory

'Holoturian’ is commissioned and produced by Arts Catalyst with Edinburgh Art Festival 2015.

Ariel Guzik designs and produces mechanisms and instruments to enquire into the various languages of nature. He is also a musician, draftsman and illustrator. He is the director of the Nature Expression and Resonance Research Laboratory in Mexico (Laboratorio Plasmaht de Investigación en Resonancia y Expresión de la Naturaleza, Asociación Civil), an organisation which explores natural resonance, mechanics, electricity and magnetism and how these phenomena can be applied to music and sound experiments.

Ariel Guzik is supported by Wellcome Trust, British Council, EventScotland, Museums Galleries Edinburgh, Arts Council England and the following Mexican institutions, as part of The Year of Mexico in the UK 2015: the Ministry of Foreign Affairs (SRE) through the Mexican Agency of International Cooperation for Development (AMEXCID), the National Council for Culture and the Arts (CONACULTA), the National Institute of Fine Arts (INBA), and The Anglo Mexican Foundation.

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Living Assemblies - Design Your Silken Self

‘Living Assemblies’ is a hands-on workshop, led by designer and researcher Veronica Ranner, investigating the coupling of the biological material silk with digital technologies. 

This workshop is organised in partnership with The Arts Catalyst and in cooperation with Furtherfield.

We invite participants (experts in their own field – artists, designers, scientists, writers, technologists, academics, and activists) to join a weekend-long workshop, in which we will experiment with silk and a range of transient materials to imagine potential future applications for combining biological and digital media.

Traditional methods of crafting silk have barely changed in 5000 years, but recent explorations by scientists are uncovering extraordinary new potential uses for this material.  Reverse engineered silk is one of the few biomaterials not rejected by the human body. Rather, able to be fully absorbed by human tissue, it allows for a range of applications within and interacting with the body, including human bone and tissue replacements, biosensors and biodegradable electronics opening the potential to imagine new wearables and imlantables with a range of functions.

During this two-day workshop, participants will collaboratively explore the potential of reverse engineered silk, currently confined to laboratories. Taking the body as the first site for investigation, Veronica Ranner will ask participants to consider themselves as living assemblies that can be hacked, enhanced and patched into through using bio-digital materials. Activities will involve material experiments combined with a narrative design process to speculate on silk's possible future use in the world.

Workshop details

Day 1

With Veronica Ranner, Clemens Winkler and Luke Franzke, participants will be introduced to transient materials — such as reversed engineered silk — through hands-on experimentation with a range of materials, including agar-agar, gelatine, fibroin, glucose and silk-fibres. They will use digital methods and circuits and combine them with silken materials, to then begin forming their own ideas into speculative objects and artworks.

Day 2

Innovator, scientist and intermedia artist, Gjino Sutic will introduce the concept of ‘bio-tweaking’: improving and hacking living organisms, for example through metabolism hacking, neuro-tweaking, tissue engineering and organ growing. Participants will work together with science writer Frank Swain to construct narratives around their work. In the final session, participants will map out their ideas in discussion with the group.

Workshop Leader

Veronica Ranner is a designer, artist and researcher living and working in London. She researches the burgeoning domain of the bio–digital — a converging knowledge space where digitality and computational thinking meet biological matter. She dissects and creates tangible and immaterial manifestations of such collisions, examining hereby the polyphonic potential of alternative technological futures. Her current doctoral work explores paradigm shifts in reality perception by coupling speculative (bio)material strategies and information experience through design research. Veronica holds a degree in Industrial Design from Pforzheim University, a Masters in Design Interactions (RCA), and has worked trans-disciplinary with a variety of science institutions and biomedical companies, and she teaches and lectures internationally. Her work is exhibited internationally, including at the Israel Museum, Jerusalem (2012), Science Gallery, Dublin (2012), China Technology Museum, Beijing (2012), Ventura Lambrate, Milan (2013) and French Design Biennale, St. Etienne (2013). She is currently pursuing a PhD at the Royal College of Art’s Information Experience Design programme and is interested in complex networked cycles, emerging (bio-) technologies and biological fabrication, systems design, material futures and new roles for designers.

Co- facilitators

Clemens Winkler, designer and researcher at the Zurich University of the Arts, Switzerland.
Luke Franzke, designer and researcher at the Zurich University of the Arts, Switzerland.
Frank Swain, science writer and journalist.
Gjino Sutic, innovator, scientist and artist; Director of the Universal Institute in Zagreb, Croatia.
Other experts joining discussions during the workshops will be Bio-informatician Dr Derek Huntley (Imperial College).

Partners & Support

The project is a collaboration between The Creative Exchange Hub at the Royal College of Art, Tufts University (Boston, MA), The Arts Catalyst (London), and Imperial College (London), and hosted and in collaboration with Furtherfield (London). The project is funded by the Arts and Humanities Research Council.

The Creative Exchange is a national initiative that brings together the best creative and digital minds from leading universities with dynamic and entrepreneurial companies, to create innovative new digital products and services. The Creative Exchange is led by Lancaster University, Newcastle University and the Royal College of Art; funded by the Arts and Humanities Research Council. Find out more at www.thecreativeexchange.org 

Furtherfield is the UK's leading organisation for arts, technology and social change. Since 1997 Furtherfield has created online and physical spaces and places for people to come together to develop and create critical and experimental art and digital technologies on their own terms.

Resources & readings:

[1] Primo Levi (1984), Periodic Table, New York: Schocken Books Inc. (http://www.amazon.com/The-Periodic-Table-Primo-Levi/dp/0805210415)
[2] High Low tech instructions for circuits (http://highlowtech.org/?p=1372)
[3] Floridi, L. (2009). Against Digital Ontology in Synthèse,168(1): pp. 151-178. Available at: http://www.philosophyofinformation.net/publications/pdf/ado.pdf
[4] Hu, T. ; Brenckle, M. A., Yan, M. et al. (2012). Silk-Based Conformal, Adhesive, Edible Food Sensors in Advanced Materials, vol 24, nr 8, 1067-1072. DOI: 10.1002/adma.201103814.
[5] Hwang, S-W., Tao, H., Kim, D.-H., et al. (2012), A Physically Transient Form of Silicon Electronics. In Science 337(6102): 1640–1644. DOI:10.1126/science.1226325.          
[6] Transient Electronics (2012), https://www.youtube.com/watch?v=NnmHZXvJhlk
[7] Fiorenzo Omenetto: Silk, the ancient material of the future (2011), https://www.youtube.com/watch?v=vqqWw3xkMzA
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Sterile / Sensei Ichi-Go

A two part commission by Revital Cohen and Tuur Van Balen

Albino goldfish engineered to hatch without reproductive organs. They were not conceived as animals but made as objects, unable to partake in the biological cycle. An edition of 45 goldfish was produced for the artists by Professor Yamaha Etsuro in his laboratory in Hokkaido, Japan, following an intricate collaboration process which began in 2011.

Commissioned by Arts Catalyst and Schering Stiftung. With thanks to Professor Yamaha Etsuro, Kimura Sizuo, Kyoko Tachibana, Dr Rachel Rodman, Michiko Nitta, Charles Duffy, Arron Smith, Oliver Coles, Leon Eckert, Hannah Fasching.

Sensei Ichi-Go
A machine capable of producing sterile goldfish in an automated reenactment of Yamaha-Sensei’s movements and actions. Physically articulating this fabrication process, its mechanisation allows for the standardisation of both sequence and animal. A contraption with its own (dormant) choreography, the machine is an assembly line, a printer, a puppet master, a potential.

Commissioned by Arts Catalyst and Schering Stiftung. With thanks to Professor Yamaha Etsuro, Kimura Sizuo, Kyoko Tachibana, Ben Ditzen, Frank Verkade.

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An exhibition, forum and research programme involving UK and Japanese artists in investigating nuclear culture in Japan post-Fukushima. Part of the SIAF Collaborative Programme 2014

Artists are making the nuclear economy increasingly visible by rethinking nuclear materials and architectures, decay rates and risk perception; questioning the 20th Century belief in nuclear modernity. As the international population becomes more aware of their role as participants in nuclear culture, this exhibition aims to create a space for open discussion.

The Actinium exhibition was an international hub for discussion about contemporary nuclear culture. The exhibition took place during the opening weeks of the SIAF 2014, and was the base for film screenings, discussion forum and field trips exploring the relationship between the metropolis and nuclear sites in rural Hokkaido.

Actinium is a radioactive element named after the Greek word ‘aktis’ a beam or ray, but its name reveals how little we know about the behavior of different kinds of alpha, beta and gamma radiation. Today the word actinium conjures ideas of action in response to radioactive materials as they enter the public realm through the nuclear cycle of weapons, energy, pollution and waste. Today artists and geologists explore the human time of the Anthropocene as the nuclear industry tries to reverse-mine radioactive waste back into the ground. The geological time frames for radioactive decay are beyond human comprehension and challenge the limits of knowledge and not-knowing.


OYOYO, 6F Daini Mitani Bldg, South 1 West 6,Chuo Ward, Sapporo, Hokkaido 060-0061 Japan

The Exhibition includes works by artists James Acord (USA), Shuji Akagi (J), Chim↑Pom (J), Crowe & Rawlinson (UK/De), Karen Kramer (USA/UK), Cécile Massart (Belgium), Eva & Franco Mattes (USA), Thomson & Craighead (UK/Scotland). Curated by Ele Carpenter (UK).


The Forum brought together international artists from Japan, Britain and USA with Japanese academics, activists and researchers in the field of nuclear culture. Discussion topics included: political, social, material and philosophical concerns, geologic time, the nuclear cycle, DIY Science, radiation, immateriality and invisibility. Presentations by Ryuta Ushiro (Chim↑Pom), Thomson & Craighead, Takashi Noguchi, Susan Schuppli, and Nicola Triscott and roundtable discussions. The Forum took place on Sunday 27 July 2014.

Field Trip Programme

Field Trips enabled an interdisciplinary group of artists and researchers to visit nuclear sites on Hokkaido. These sites included the Underground Research Center for radioactive waste storage at Horonobe, the Nuclear Power Plant at Tomari, and the East Coast of Japan.


Actinium was curated by Ele Carpenter, Arts Catalyst, produced by S-AIR; and took place during the opening weeks of the Sapporo International Arts Festival (SIAF) in July 2014. The project was organised by NPO S-AIR, Sapporo. Supported by: Daiwa Foundation; Pola Foundation; The Agency for Cultural Affairs, Government of Japan; City of Sapporo; Arts Council England; Goldsmiths College, University of London.
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Laboratory Life

An exhibition of five works-in-progress made by 21 international artists, scientists and doctors in an open laboratory, exploring bioscience and the use of medical technology. Organised by The Arts Catalyst and Lighthouse Arts, and led by artist Andy Gracie.

The exhibition was the result of nine days of intensive work in a collaborative open laboratory. It showed projects created by five groups of artists and scientists, led by artists, Andy Gracie, Adam Zaretsky, Kira O'Reilly, Bruce Gilchrist, and Anna Dumitriu.

The exhibition featured DNA tattooing, an astrobiological experiment with fruitflies, a Regency dress embroidered and stained using microbiology, interpretations of synthetic biology terminology made by the public, and a garden shed for DIY tissue culture. Laboratory Life was named after Bruno Latour and Steve Woolgar’s well-known book about an anthropological study of a scientific laboratory.

Our science advisors are John Paul, Helen Smith and Tom Shakespeare.

The Projects

The Quest for Drosophila Titanus, led by Andy Gracie
Collaborators: Kuaishen Auson, Janine Fenton, Meredith Walsh

This group of artists and scientists were engaged in an astrobiological experiment using various phenotypes of Drosophila melanogaster (the fruit fly). Since the early 1960s Drosophila have also played a critical role in space research and are regularly used in experiments on the International Space Station. As such they offer themselves as a perfect organism with which to conduct an experiment about how life might survive elsewhere in the solar system. Taking inspiration from diagrams obtained from NASA the group developed an apparatus with which to expose the fruit flies to various environmental conditions found on Titan. The aim being to take the first step in developing a new species which could adapt to living there. The 'best' flies from each experiment were selected to form a breeding colony which would be the ancestors of this new creature. Their exhibition of work-in-progress includes the experimental chamber, video documentation of the experiments, a printed manual which describes the experimental process, the breeding colony and the memorial to failed individuals.

The Garden Shed Lab, led by Kira O'Reilly
Collaborators: Valerie Furnham, Columba Quigley, Genevieve Maxwell

This group created a space for exploring the relationship between biotechnologies and domestic everyday experiences, such as cooking, tinkering, composting, and gardening. They build a garden shed in their laboratory and inside worked with tissue culture - a technology now just over 100 years old. In order to practice home tissue culture, they made a sterile laminar flow hood and a tissue culture incubator. The group incubated chick embryos, opened the eggs, and attempted to create cell cultures from them, always mindful of the ethical issues of these practices. The group explored the early histories of tissue culture, re-creating an experiment first performed in 1926 by tissue-culture pioneer, Thomas Strangeways, who attempted to harvest cells from a fresh uncooked sausage. Their exhibition of work-in-progress features their garden shed lab, containing their home-made sterile hood and incubator, their laboratory equipment and photographs and video they made whilst on site.

Public Misunderstanding of Science, led by Bruce Gilchrist
Collaborators: Kate Genevieve, Simona Casonato, David Louwrier, Daksha Patel

This group of artists and scientists spent several days testing the public’s understanding of science. Visitors to their laboratory were invited to draw and illustrate their understandings of scientific information and protocol, while listening to scientific discourse on synthetic biology. Their exhibition of work-in-progress is an animated film, which features the drawings sound-tracked with the original discourse and field recordings made on-site at a medical laboratory.

Infective Textiles, led by Anna Dumitriu
Collaborators: Rosie Sedgwick, Sarah Roberts, Brian Degger, Melissa Grant

This group of artists, doctors and scientists worked on the development of a textile-based artwork that takes the form of a Regency style dress stained with bacterial pigments and patterned by antibiotics. Their work used ‘garage science’ methods and ‘DIY’ microbiological processes to explore the notion of infection control. During the lab they cultured microbes from the local environment including soil, buildings and other public places. They then stained silk thread with natural antibiotics – including cloves, turmeric and green tea – and used them to create embroidered patterns on fabric. Their exhibition features the Regency style dress, which has now been pasteurized so that the bacteria are no longer living, video documentation of their project, framed works (which show slides of cultured bacteria and moulds, Gram’s stain paintings embroidered with antibiotic threads and drawings made by visitors to the lab) and a table of items used in their lab. 

Tattoo Traits, led by Adam Zaretsky
Collaborators: Zack Denfield, Helen Bullard, Simon Hall

This group of artists and doctors examined the feasibility of a new notion – “DNA Tattooing”. They explored the ethical, legal, and health issues that might be raised by such a process. Their work involved the creation of a "new media" which they have referred to as Shecan, and the extraction of hybrid DNA from this media. They then adapted a tattoo gun, with the intention of tattooing a novel sequence of hybrid DNA into the nucleus of a living cell, something which is statistically improbable, but conceptually possible. Their exhibition of work-in-progress features The Shroud of Shecan, a monoprint cloth containing the residue of their new media, Whirling Dervish Human Centrifuge, a sculptural and performative device which also contains Shecan, the adapted tattoo gun, beans which have received DNA tattoos, photographs of their work, and a release which the group adapted to manage the legal and contractual issues associated with DNA tattooing.


Wired, Culture24


Laboratory Life is organised by Lighthouse and The Arts Catalyst, with support from the Wellcome Trust. It was conceived by artist Andy Gracie, based on the Interactivos? model developed by the Media Lab Prado in Madrid.

Laboratory Life - Microwave Festival, Hong Kong

Sat 5 November 2011 - Wed 30 November 2011
The Arts Catalyst and Lighthouse presented Laboratory Life open lab projects at the Microwave International Festival exploring frontiers of art and biotechnology.
As part of an international exhibition of art labs, the five art-science projects made by the artists, doctors and scientists, who transformed Lighthouse into a living science laboratory earlier in the year were presented in Hong Kong. The projects were led by Adam Zaretsky, Andy Gracie, Anna Dumitriu, Bruce Gilchrist and Kira O’Reilly.
Public Misunderstanding of Science - led by Bruce Gilchrist. Collaborators: Kate Genevieve, Simona Casonato, David Louwrier, Daksha Patel
Infective Textiles - led by Anna Dumitriu. Collaborators: Rosie Sedgwick, Sarah Roberts, Brian Degger, Melissa Grant
The Quest for Drosophila Titanus - led by Andy Gracie. Collaborators: Kuaishen Auson, Janine Fenton, Meredith Walsh
Tattoo Traits - led by Adam Zaretsky. Collaborators: Zack Denfield, Helen Bullard, Simon Hall
The Garden Shed Lab - led by Kira O’Reilly. Collaborators: Valerie Furnham, Columba Quigley, Genevieve Maxwell
A combination of the artworks and artefacts created by the teams, and documentation of the laboratory was shown in the festival international exhibition. The exhibition also features work by leading international art labs, including which includes work by etoy, robotlab and Time’s Up.
Lead artist Andy Gracie, and Lighthouse programme curator Jamie Wyld also took part in discussions about the project at the festival symposium.


Andy Gracie is a digital artist, creating technological systems designed to interact with natural living systems, incorporating ecosystems and biotechnology. At two Arts Catalyst events, Laboratory Life and Republic Of The Moon, Gracie presented his project “Drosophila Titanus”. The project developed an experimental breeding programme for fruit flies. The project aimed to genetically modify the new breed of fruit flies in order for them to survive on Titan, one of Saturn’s moons, which is considered to host an environment rather similar to Earth. In order to carry out this experiment, Gracie recreated the atmospheric conditions found on Titan using everyday materials such as vodka, smoke alarms and a bicycle pump.
Kira O'Reilly is a performance artist, who graduated from the Cardiff School of Art in 1998. Between 2003 and 2004, O'Reilly undertoook a residency with SymbioticA, a bio-art project based in the department of Human Anatomy at The University of Western Australia.
Anna Dumitriu is a British artist whose work fuses craft, sculpture and bioscience to explore our relationship to the microbial world, technology and biomedicine. She has an international exhibition profile, having exhibited at venues including The Picasso Museum in Barcelona, The Science Gallery in Dublin, The Museum of Contemporary Art (MOCA) Taipei, and The V & A Museum in London. 
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Bird Lake Museum

The Bird-Lake Museum is a museum of natural history, whose collections have all been created by young people with special educational needs.

The Bird-Lake Museum is a travelling museum of natural history, founded by explorer-anthropologist Kitty Lake and ornithologist William Bird. Its collections have all been created by young people with special educational needs (aged from 10 to 15 years) at Oakley School, Tunbridge Wells, Rosendale School, Dulwich, Turney School, Dulwich, and Waveney School, Tonbridge.

The students worked with artist Sally Hampson studying the natural world to make birds' eggs, nests and wings, insects and nature drawings. Visits to the tranquil and enchanting Sevenoaks Wildfowl Reserve by the students during the project included nature walks, talks and 'pond-dipping' activities.

The Museum was shown at the Sevenoaks Wildfowl Reserve in May and June 2001. The Bird Lake Museum is a touring project.


We would like to thank the following organisations and individuals:

Natural History Museum
Rowena Taylor
John Tyler and members, Sevenoaks Wildfowl Reserve
Mike Harris and members, The Angling Society
The Arts Council of England
The Paul Hamlyn Foundation

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Interspecies, London

Interspecies uses artistic and participatory strategies to stimulate dialogue and debate, showing artists in contact with real animals and negotiating a new power relationship, questioning the way we view our interactions with animals during Darwin's anniversary year.

Interspecies asks: Can artists work with animals as equals? If not, what is the current state of the human-animal relationship? It has recently been shown that humans are closer to the higher primates than previously thought, with chimpanzee and gorilla behaviour reflecting politics, deception and even possibly creativity. What does this mean to the way we see ourselves as one species inhabiting a planet in crisis?

This exhibition centres around a durational work by Kira O'Reilly and draws together projects by Nicolas Primat and other artists who question the one-sided manipulation of non-human life-forms for art, and have tried to enter the animals' point of view as a fundamental part of their practice. It has to some extent been inspired by Donna Haraway'sWhen Species Meet but was triggered by discussions with the late Nicolas Primat.

The artists

Nicolas Primat specialised in directly working with monkeys and apes in collaboration with primatologists. In Portrait de Famille, he is playfully swarmed by a tribe of squirrel monkeys, in Demo Bonobo, he established a relationship via sexual signals with a group of Bonobo apes and in The Making of Les Petits Hommes Vers he and his colleagues make a science fiction film with a group of monkeys.

Kira O'Reilly's durational performance Falling Asleep With A Pig. The artist and pig (Deliah) cohabit a living space, partially viewable by the public for 72 hours. At some point the pig and artist fall asleep. The work addresses the ethics of human and animal interaction, acknowledging the implicit ambivalences and violence in the appropriation of animals as a resource.

Antony Hall's Enki Experiment 4 allows visitors to Interspecies to communicate with an electric fish on the same level, avoiding the use of language, instead stimulating a shared empathy through a physical connection. 

Ruth Maclennan's films Harry and Three short films on Hawks and Men explore the relationship between a bird of prey and the human being who trains it, capturing the rapt gaze of hunter and bird, recalling ancient ideas of shape-shifting and shamanic transformations. 

Rachel Mayeri's Primate Cinema: Baboons as Friends juxtaposes footage of baboons taken in the field with a re-enactment by human actors, shot film noir style in a bar in Los Angeles. A tale of lust, jealousy, sex and violence transpires simultaneously in non-human and human worlds.

Beatriz da Costa's work PigeonBlog proposes an alternative way to participate in environmental air pollution data-gathering through equipping urban homing pigeons with GPS-enabled sensing devices. PigeonBlog is intended as a social experiment between humans and animals.

Snæbjörnsdóttir/Wilson's Radio Animal involves a specially designed caravan in which the artists to travel to various locations in the UK to gather material from people about their relationship to animals. They are particularly interested in animals that are considered ‘unwelcome’ visitors but have for whatever reason found their way into what we may consider our own territories.  Animal Radio is a Story Gallery, Lancaster commission funded by the Henry Moore Foundation.


Interspecies included two symposia chaired by Rob La Frenais:

Non-Human Primates with Sarah-Jane Vick - primatologist and psychologist; Patrick Munck - artist, videographer and collaborator with Nicolas Primat; Rachel Mayeri - artist

Animals, Humans and Power with Giovanni Aloi - editor Antennae; Ruth Maclennan - artist; Helen Macdonald, author of Falcon; Bryndis Snæbjörnsdóttir; Karen Knorr - artist and photographer

Rachel Mayeri also held two Primate Cinema workshops on How to Act like an Animal as part of the exhibition

Links to artists' websites

Kira O'Reilly, Antony Hall, Ruth Maclennan, Rachel Mayeri, Beatriz da Costa, Snæbjörnsdóttir/Wilson

Supported by

Arts Council England, Darwin 200, A Foundation

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Bipolar: Anne Brodie, Weather Permitting

New works by Anne Brodie and Weather Permitting shown at the Society of Antiquaries, London, alongside the launch of a new book, Bipolar

Two new commissioned works were shown at the Society of Antiquaries to coincide with the launch of the new book Bipolar, as the culmination of the Polar programme.

Artist Anne Brodie took one of the lumps of ice that she had brought back from Antarctica out of its lodgings inside the British Antarctic Surveys freezer in Cambridge and let it not so gently melt over the course of the evening. It was acoustically wired up by sound engineers Lee Patterson and Mark Hornsby, and produced uncomfortably loud interruptions as the ancient air kept locked under pressure by the ice belched into the London air. The cabinet was recycled from an exhibition held in the British museum

Weather Permitting (Kathryn Yusoff and Jennifer Gabrys) presented a series of large snow globes containing contemporary or near-future polar landscapes. Forecast Factory: Snow Globes and Climate Change are part of a project that investigates the phenomena of weather, from tornadoes in trailer parks to drifting ice shelves in the Antarctic. 


Bipolar is a interdisciplinary polar archive created for International Polar Year 2007-08. It is published to mark the 'Polar Archives' symposium and series of talks, held at the British Library in Autumn 2007, which brought together leading artists, scholars, scientists and thinkers to explore how our knowledge of the Polar regions is constructed and how it can be enriched.

The book features essays from the renowned geographer Denis Cosgrove and cultural critic Kathryn Yusoff, and over 30 'archives' contributed by the symposium participants that investigate various records — visual, personal, historical, chemical, biological — that can enrich and extend our engagement with the Polar regions and their effect on global environments. The collection investigates how archives place demands on us to think about what is vital in that knowledge—vital to our present work and to the work to come—the basis on which we remake worlds. With the Polar regions under increasing pressure due to climate change, both environmentally and geopolitically, these archives assume their most potent role as the basis on which we imagine and shape the futures of both polar and global spaces.

Authors include Denis Cosgrove, Kathryn Yusoff, Nicola Triscott, Eric Wolff, Heather Frazar, Rachel Weiss, London Fieldworks, Stephan Harrison, Marko Peljhan, Katrina Dean, Anne Brodie, Sverker Sörlin, Simon Faithfull, Aqqaluk Lynge.

Price £12.95
ISBN 9780953454662
Edited by Kathryn Yusoff
Published by The Arts Catalyst, 2008
Designed by PKMB/Paul Khera
Full colour, 128 pages, softback.
Dimensions 220 x 170mm.

Buy online from Cornerhouse

Links to artists' websites:

Anne Brodie and Weather Permitting


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