Sometimes the online world reveals unsuspected parallel dimensions. This is an unknown restyle of Neural independently (and secretly as we never knew about it) made by NY-based Motion and Graphic Designer, Clarke Blackham. Very nicely made, perhaps only a bit glossier for the magazine’s line, it testifies once more how even your most familiar outcomes can have another life somewhere else.
In Michael Sedbon’s “CMD”, two artificial ecosystems, made by sets of photosynthetic bacteria, share a light source, the access to which is granted through a ‘market’. A genetic algorithm optimises the market rules. Each bacterial colony can claim access to →
Bricolage is an installation that grows in the incubator that hosts it. Some “bio-bots” grow in this protected environment: they are autonomous cellular structures, specifically bioengineered by Nathan Thompson, Guy Ben-Ary and Sebastian Diecke. Bio-bots are made of blood cells, →
Anna Dumitriu has developed a number of artworks that blend DNA with textiles, all in controversial circumstances. Her latest “The Plague Dress” involves a 1665 style raw silk, hand-dyed with walnut husks, referencing Nicholas Culpeper, a herbalist of the time →
Cesar & Lois define their “Degenerative Cultures” artwork as a ‘bhiobrid’ (bio-digital hybrid), whose aim is to criticise our endless appetite for control over nature. This installation features a printed book on this topic, which is slowly being eaten by →
We need oxygen. We need it for most of our vital activities, including digesting, moving and thinking. And we get oxygen from the fundamental act of breathing, along with plenty of other substances. The natural basic functioning of nature is →
In the art installation “Labor“, Paul Vanouse makes a system that re-creates the scent of people sweating in stressful conditions. The bacteria involved are placed in three glass bioreactors. These produce the primary scents, which are then merged in a →
Marta de Menezes has a long record of daring bio-art, in some parts deeply questioning our concept of identity. In her “Anti-Marta” she has performed a skin transplant between her and her partner Luis, using an autologous graft as control. →