art laboratory berlin

Wednesday, August 28, 2013

Photos of artist talk with C-LAB and Rüdiger Trojok - 24 August, 2012

C-LAB is a London based artist collective, founded by the two artists and scientists Laura Cinti and Howard Boland, that is dealing critically with contemporary intersections and cross-fertilisation of art, science, and technology. The work of Cinti and Boland focuses on the examination and exploration of the implications, properties and peculiarities of all which is or regards organic and synthetic life. This being their incentive, they want to create a platform that is open for both artistic and scientific reflection and discourse. In their most recent experimental art projects, C-LAB developed a variety of genetic constructs that led to new kinds of behavior of e.coli bacteria; the scientists thereby explored the possibilities of synthetic biology and techniques of genetic engineering in an art context (e.g. in artworks such as kate, katEred, Stressostat or Banana Bacteria).

Laura Cinti from C-LAB (front left)

Howard Boland from C-LAB presenting

Also the DIY scene has started to experiment with biology on a molecular level in private homes. The technologies and chemicals that they use are usually being acquired through the internet, just like the theoretical background knowledge and the working instructions. This growing community meets in online forums or festivals, and is connected worldwide. The movement is creating both fascination and discomfort, the potential misuse of modern biotechnologies is creating fears in times of repeated warnings of pandemics through viruses such as SARS or H5N1. At the same time this democratization of technologies and knowledge can lead to new impulses for the sciences as well as enhance public debate and consciousness.

Rüdiger Trojok gave a presentation of the do-it-yourself biohacking scene and the possibilities and limits of bringing biotechnologies into private spaces.

various DIY bio-labs

Rüdiger Trojok presenting

The talk was organized and presented by presented by Desiree Förster and Daniela Silvestrin in collaboration with Art Laboratory Berlin

Discussion after the presentations

'shimmering' bacteria, effected by a magnetic field

C-LAB: http://c-lab.co.uk/home.html
Rüdiger Trojok: http://www.openbioprojects.net/1801.html

Saturday, August 24, 2013

Art and Biotechnology: Artist Talk with C-LAB and Rüdiger Trojok

Art and Science talk with C-LAB and Rüdiger Trojok
24 August,3 PM

CLAB, The Living Mirror, 2013

Art Laboratory Berlin would like to invite you to an artist talk with the artist collective C-LAB (UK) and the biohacker Rüdiger Trojok (Berlin) presented by Desiree Förster and Daniela Silvestrin on 24 August from 3 PM.

C-LAB is a London based artist collective, founded by the two artists and scientists Laura Cinti and Howard Boland, that is dealing critically with contemporary intersections and cross-fertilisation of art, science, and technology. The work of Cinti and Boland focuses on the examination and exploration of the implications, properties and peculiarities of all which is or regards organic and synthetic life. This being their incentive, they want to create a platform that is open for both artistic and scientific reflection and discourse. In their most recent experimental art projects, C-LAB developed a variety of genetic constructs that led to new kinds of behavior of e.coli bacteria; the scientists thereby explored the possibilities of synthetic biology and techniques of genetic engineering in an art context (e.g. in artworks such as kate, katEred, Stressostat or Banana Bacteria).

C-LAB, katEred, 2012

Also the DIY scene has started to experiment with biology on a molecular level in private homes. The technologies and chemicals that they use are usually being acquired through the internet, just like the theoretical background knowledge and the working instructions. This growing community meets in online forums or festivals, and is connected worldwide. The movement is creating both fascination and discomfort, the potential misuse of modern biotechnologies is creating fears in times of repeated warnings of pandemics through viruses such as SARS or H5N1. At the same time this democratization of technologies and knowledge can lead to new impulses for the sciences as well as enhance public debate and consciousness.

After the peek into C-LAB's art practice the Berlin-based biohacker Rüdiger Trojok will give a presentation of the do-it-yourself biohacking scene and the possibilities and limits of bringing biotechnologies into private spaces.

In a following discussion round these different perspectives and areas of knowledge will be combined and confronted, which will give the possibility for exchange, discussion and imagination with regard to the ethical and aesthetic examination of art on the intersection with science and research.
(more at http://www.artlaboratory-berlin.org/html/eng-events-archive.htm)

C-LAB: http://c-lab.co.uk/home.html
Rüdiger Trojok: http://www.openbioprojects.net/1801.html

Thursday, July 25, 2013

Works from Eva-Maria Bolz, Andy Holtin and Ditte Lyngkær Pedersen in Synaesthesia/4: Translating, Correcting, Archiving

Eva-Maria Bolz, Der Innere Monitor
Colour Plates
(c) Photography: Kirsten Kofahl, 2013

Eva-Maria Bolz, Der Innere Monitor
Colour Plates
(c) Photography: Eva-Marie Bolz, 2013

Eva-Maria Bolz, Der Innere Monitor
Artist Book
(c) Photography: Eva-Marie Bolz, 2013

Andy Holtin, Corrections and Connections
Video Installations
(c) Photography: Tim Deussen, 2013

Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Illustrations and Video Installations
(c) Photography: Tim Deussen, 2013

Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Video Installations
(c) Photography: Tim Deussen, 2013

Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Illustrations and Video Installations
(c) Photography: Tim Deussen, 2013

Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Illustrations
(c) Photography: Tim Deussen, 2013

Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Illustration
(c) Photography: Tim Deussen, 2013

Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Illustrations and Video Installation
(c) Photography: Tim Deussen, 2013

Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Illustrations and Video Installations
(c) Photography: Tim Deussen, 2013

Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Video Installations and Artist Book
(c) Photography: Tim Deussen, 2013

Ditte Lyngkær Pedersen, Why Is Green a Red Word?
Artist Book
(c) Photography: Tim Deussen, 2013

Ditte Lyngkær Pedersen, Why Is Green a Red Word? and Andy Holtin, Corrections and Connections
Video Installations and Artist Book
(c) Photography: Tim Deussen, 2013

Saturday, July 13, 2013

International Interdisciplinary Conference: Synaesthesia. Discussing a Phenomenon in the Arts, Humanities and (Neuro-)Science

Synaesthesia Conference Introduction by Regine Rapp, Christian de Lutz

Keynote speech by Prof. Dr. Hinderk M. Emrich

Prof. Dr. Hinderk M. Emrich. (C) Photography: Tim Deussen

Keynote speech by Prof. Dr. Hinderk M. Emrich

Ditte Lyngkaer Pedersen on "Why is Green a Red Word?"

Sina A. Trautmann-Lengsfeld, Multisensory Processing in Synaesthesia

Birgit Schneider, On Hearing Eyes and Seeing Ears. Berlin Optophonia in the 1920s.

David Strang talking about his project "Transmission + Interference"

Caro Verbeek, Inhaling History of Art - On the Role of Olfaction during the Avant-Garde

Agnieszka Janik, Synaesthesia for Color is Linked to Reduced Motion Perception

Romi Mikulinsky, From Page to Screen - the Present and Future of Reading

Discussion, Agnieszka Janik speaking

In the front with Katharina Gsöllpointner, Caro Verbeek and Gertrud Koch (from left to right)

Katharina Gsöllpointner, Digital Synaesthesia - Introduction into a New Project

James Rosenow, (C) Photography: Tim Deussen

James Rosenow and Regine Rapp, (C) Photography: Tim Deussen

Conference SYNAESTHESIA. Discussing a Phenomenon in the Arts, Humanities and (Neuro)Science. (5 & 6 July 2013/ Art Laboratory Berlin). - From left to right: Olga Shmakova, Assistent, Art Laboratory Berlin; Ditte Lyngkaer Pedersen, artist, Aarhus, Denmark; Sina A. Trautmann-Lengsfeld, Dept. of Neurophysiology and Pathophysiology, University Medical Center Hamburg-Eppendorf, Hamburg; David Strang, artist, Plymouth, UK; Agnieszka Janik, Dept. of Psychology, Goldsmiths, University of London; Caro Verbeek, Royal Academy of Arts Amsterdam, Rijksmuseum Amsterdam; James Rosenow, Cinema and Media Studies, University of Chicago; Christian de Lutz, co-founder/ curator, Art Laboratory Berlin; Katharina Gsöllpointner, Media Arts/ Art History, University of Applied Arts, Vienna; Eva-Maria Bolz, artist, Berlin; Romi Mikulinsky, Macquarie University, Sidney/ Bezalel Academy for Arts and Design, Jerusalem; Hinderk M. Emrich, Director of the Center for Psychological Medicine, Hannover; Polina Dimova, Institute for Russian and Comparative Literature, Oberlin College, Ohio; Eva Kimminich, Institute for Romance studies, Potsdam University; Regine Rapp, co-founder/ curator, Art Laboratory Berlin.
(C) Photography: Tim Deussen

Thursday, June 13, 2013

Synaesthesia Conference 5/6 July, 2013

Art Laboratory Berlin is pleased to announce our upcoming conference:

5/ 6 July, 2013

Theater Glaskasten, Prinzenallee 33, Berlin-Wedding

As a theoretical addition to our ongoing exhibition series SYNAESTHESIA (October 2012 - July 2013/ http://artlaboratory-berlin.org/home_eng.htm), Art Laboratory Berlin will hold an international interdisciplinary conference to further explore and theoretically question the field of multisensory perception.

The term "synaesthesia", from the Greek "aisthesis" ("Sensation", "sensory impression") and "syn" ("together") means the experience of two or more sensory impressions at the same time. Currently there is a strikingly strong interest in the coupling of the senses in science, humanities and in contemporary art. This should come as no surprise: Our daily life in recent years has been subject to ever more multimedia and multisensory experiences. Comparing the latest technologies in the field of communication we come upon the radical technological development during the last 25 years: music video (text, music, colour), computer (as "total" sensory object) and also newest multiple forms of mobile phones (not only used for calls, but as a photo camera, music player or text machine, etc.).

It is the aim of Art Laboratory Berlin to grasp the specific impulses of our current complex, synchronous and technologised society on the phenomenon of synaesthesia, with its distinctive form of sensory fluctuation. For the upcoming conference, we are interested in discussing issues from diverse scholarly fields - humanities, arts as well as natural and social sciences - regarding both historical positions and contemporary inquiries. We will reflect topics such as: synaesthesia and the neurological discourse (memory and cognition; sensory perception); synaesthesia - between perception and subjectivity; synaesthesia and language; synaesthetic modalities (grapheme synaesthesia; synaesthesia of smell, taste, touch, sound and vision); synaesthesia in art and cultural history (in visual art, literature and film); synaesthesia and the digital world (synaesthesia in the 21st century).
More information at: http://www.artlaboratory-berlin.org/html/eng-events-archive.htm

Conference Concept: Regine Rapp & Christian de Lutz, Art Laboratory Berlin
Realisation of Conference: The Art Laboratory Berlin Team: Regine Rapp, Christian de Lutz, Olga Shmakova, Chiara Cartuccia, Chiara Massari, Anastasia Shavlokhova, Ashley Chang

Cooperation partners: Association of Neuroesthetics_Platform for Art and Neuroscience, fotoscout
Supported by: