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WOULD YOU TELL YOUR MOST INTIMATE CONCERNS TO A TISSUE ENGINEERED
WORRY DOLL? WHAT SOUNDS COME FROM A SPEAKER MADE OF BONE? HOW DOES
YOUR VISIT TO SCIENCE GALLERY REDUCE EPILEPSY IN A REMOTE PETRI DISH?
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Find out more and book tickets atwww.sciencegallery.com
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ABOUT VISCERAL
There is something that makes us a little uneasy, perhaps even queasy, about the idea o creating
artworks rom living tissue. While we are increasingly comortable with the use o digital
technologies or artistic purposes, the very idea o tissue engineering as an art-orm makes
us squirm. SymbioticA, a leading art-science lab based in Perth at The University o Western
Australia led by Oron Catts and Ionat Zurr, has become internationally celebrated or its pioneering
and provocative experiments in art and science based on a deep understanding o the scientic
processes and ethical issues involved. The work exhibited in VISCERAL: THE LIVING ART EXPERIMENT
orms a series o provocations and puzzles around the nature o the living and non-living, asking
us to consider the myriad o possible implications o our new biotechnological toolkit. VISCERALincorporates ten years o challenging work at the rontier between ne art and biotechnology.
For a whole month the entire SymbioticA laboratory will be transplanted rom Perth to Dublin,
allowing Science Gallery visitors to witness and participate in a series o living art experiments.
Marshall McLuhan could have been describing the work o SymbioticA when he said that artists
have a key role to provide precise advance oreknowledge o the psychic and social consequences
o the next technology, regarding artists as canaries in the coal-mine o scientic research, alerting
us to unexpected ways in which new technologies might transorm social relations. By creating objects
o communication exploring the consequences o emerging technologies the dierent artists involved
in VISCERAL alert us to a series o concerns, about the human body and its possible extension through
semi-living tissues, about our relationship with medical technologies, and with our environment.
The works are occasionally playul, requently uncanny and may even appear to be sentient.
They conront us with important questions around our manipulative capacities more powerully than
any amount o abstract bioethical literature. I want to thank SymbioticA, all the artists and scientists,our supporters and the team at Science Gallery or making VISCERAL come to lie, literally.
WHYVISCERAL?MICHAEL JOHN GORMAN
Director, Science Gallery
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THE LIVINGART EXPERIMENTORON CATTS & IONAT ZURR
Curators VISCERAL, SymbioticA
The last decade o the 20th Century was marked with an increase o anthropocentric interventions
with lie on all levels; rom the molecular to the ecological. The extent in which lie was being
manipulated and aected by human activity required new cultural strategies to contemplate,
scrutinise and make sense o what it means to be alive. With the aim to explore these questions,
SymbioticA was set up in the year 2000, as an artistic research lab in The School o Anatomy
and Human Biology at The University o Western Australia. In the last ten years SymbioticA has
acilitated a thriving programme o residencies, research, academic courses, exhibitions, symposiums,
seminars and workshops. VISCERAL is both an experiment and an historical survey o some o
the works researched and developed at SymbioticA over the last decade.From hacking into DNA Fingerprints to produce cultural icons, through the proposition o using
cultured neurons as computational devices, to superimposing a dying lake rom Western Australia
onto the grounds o Trinity College; the breadth o artistic engagement and experimentation presented
in VISCERAL is a testimony to SymbioticAs wide approach to the exploration o lie manipulation.
VISCERAL is designed as a living experiment in which the SymbioticA lab is transplanted into Science
Gallery where research and experimentation into some projects will continue during the show.
The participatory engagement with the processes o the manipulation o lie is a visceral
experience and implicates everyone involvedincluding the gallery visitorinto the larger picture
o the techno-scientic approach to lie. At the core o all o the artistic explorations in this show
is the sense that human intervention with lie processes needs to be culturally articulated. Rather than
an opinionated, didactic attitude VISCERAL will take an ambiguous posture and by that will acilitate
a space to discuss, critique and debate issues concerning the uture o lie, be it a material, an entity
or a concept.
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VISCERAL EXHIBITS
Alicia King, Australia
The Vision Splendid explores biotech processes
and the physical, ethical and ritual body,
through the augmentation o human tissue
in sculptural orm. The living tissue growing
in the glass bioreactor in this work originates
rom an anonymous emale patient. Her cells
(isolated rom the skin sample o a 13 year
old Arican-American emale on January 31,
1969) were purchased through the American
Type Culture Collection (ATCC) online catalogue,
which itemises over 4,000 human, animal
and plant cell lines available or order. Trawling
through the thousands o entries in the ATCCcatalogue or these cells drew to mind searching
THEVISIONSPLENDID
Photo: Alicia King
through online obituary notices. Estranged
rom the donors body, the cells and tissue
presented here are re-embodied in the
orm o a contemporary living reliquary.
The signicance o the living relica true
vision splendidand product o contemporary
biological technologies acts as the ultimate
miracle, such as a relic o the dead which
is claimed to bleed or weep, as a sign o the
direct power o the creator, or in this case,
Institution. Just as the egg displayed at Sparta
was regarded as a true relic o Ledas union
with the swanso too living relics may appearas validation o the ruits o biotechnology.
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Svenja Johni Kratz, Australia
Aterlie: The Immortalisation o Kira and Rama
is inspired by the shiting understandings
o lie and death and the interconnections
between sel and other in response to
contemporary biotechnologies. The work
involves the production o a custom-made
Egyptian-inspired bioreactor containing living
oetal cal cells that have been immortalised
using a lentiviral plasmid (bacterial DNA
molecule containing viral vectors), as well
as preserved items rom the calves bodies
including their hearts, hide and bone ragments.
The work looks at the ethical ambiguitiesand challenges that accompany the use and
AFTERLIFE:IMMORTALISATIONOF KIRAAND RAMA
Photo: Svenja Johni Kratz
manipulation o organisms, in particular the
use o Foetal Bovine Serum (FBS) in cell and
tissue culture. FBS is a protein rich serum
derived rom the blood o oetal calves used
as a nutrient supplement to enable cells in
culture to survive. The work highlights that
there are victims at every level o consumption,
and that the boundaries between harm and
benet are in constant fux and oten blurred.
This exhibita work in progressis a
collaboration between SymbioticA Research
Group, Svenja Kratz, Dusty Tame and John Barnard.
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VISCERAL EXHIBITS
Andre Brodyk, Australia
Can non-coding DNA be given a new lease
o lie through modern biotech processes?
Proto-animate is concerned with genetic
material that is considered inanimate in
so ar as it does not code or proteins within
the genomic environment. However, these
strands o non-coding DNA do have potential
properties as yet to be comprehensively
dened. In Proto-animate a novel code
sequence is comprised o 158 DNA letters
(bases) derived rom what is considered
PROTO-ANIMATE
Photo: Andre Brodyk
a non-coding region o a gene. This gene
known as the APOE gene (Apolipoprotein E)
is associated with Alzheimers disease in
humans. This sequence was inserted in E.coli
bacteria and is the principal creative agent
at work. Through this process a previously
inanimate, non-coding section o DNA is
poetically expressed in interplay o memories
and repetition within the artists childhood
classroom.
20
20
20
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Tissue Culture and Art Project, Oron Catts and Ionat Zurr,Australia
The Semi-Living Worry Dolls were the rst
tissue engineered sculptures to be presented
alive in a gallery eleven years ago. Inspired
by the Guatemalan worry dolls given to children
to whisper their worries and concerns to,
these worry dolls were hand crated out
o degradable polymers (PGA and P4HB)
and surgical sutures. The dolls are then
seeded with living cells that, throughout
the exhibition, will gradually replace the
polymers within a micro-gravity bioreactor
THESEMI-LIVINGWORRYDOLLS
Photo: Tissue Culture and Art Project
that acts as a surrogate body. The worry dolls
become partially alive. These semi-living dolls
represent the current stage o cultural limbo,
characterised by childlike innocence and
a mixture o wonder and ear o technology.
This work invites you to whisper your worries to
the worry dollswill they take your concerns
away?
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Tagny Duff, Canada
This installation eatures a series o handmade
books made o human and pig ex-plant tissue,
HaCat cells and a synthetic biological virus
(Lentivirus). Tissue culture engineering techniques
such as transection and immunohistochemical
staining procedures along with traditional
book binding techniques are used to maniest
these feshy books. These our sculptures
are exhibited in a Cryobook Archives, a
CRYOBOOKARCHIVES
Photo: Tagny Du
portable reezer unit made into a mobile
miniature library. The Cryobook Archives unit
is engineered by David St.Onge, Benoit Allen
and Jean-Michel Dussault. Cryobook Archives
designed by Tagny Du, John Greyson and
Vincent Chavalier.
VISCERAL EXHIBITS
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Kathy High, USA
Blood Wars is an art project that looks at the
biological reaction o human white blood cells,
and also questions traits inherited through
blood. Blood Wars is set up as a competition
in a simulated tournament where dierent
individuals white blood cells vie or dominance
in the Petri dish. Blood Wars playully engages
with age-old debates about blood traits and
also in discussions o the powerul histories
BLOODWARS
Photo: Benjamin Forster
o blood. Blood Wars involves a series o play-os
where the cellular winner o each round will go
on to ght another participant. Blood Wars will
ultimately give a better understanding o the
processes o blood cell division and cell membrane
fuid exchange, the immune system and the
mythologies o inheritance and blood pathologies.
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TICKETS AND WORKSHOP DETAILS AVAILABLE ON WWW.SCIENCEGALLERY.COM
VISCERAL EVENTS
VISCERAL: THE LIVING ART EXPERIMENT GIVES YOU THE CHANCE TO GET UNDER
THE SKIN OF THE EXHIBITION BY MEETING THE ARTISTS AND RESEARCHERS FROM
SYMBIOTICA AS THEY WORK IN THEIR TEMPORARY LABORATORY, ATTENDING OUR
EVENTS OR CHECKING OUT OUR WORKSHOPS.
to abandon their respective discipline and comortzones, towards a creative project that combine arts
and the lie sciences. Following this discussion artists
rom the VISCERAL exhibition will give you a deeper
insight into their work throughout the gallery.
29:01:11 10:0018:00
VISCERAL: THE LIVING ART EXPERIMENT
A SYMBIOTICA SYMPOSIUM
This conerence will deal with cultural strategies
that engage and scrutinise development in the lie
sciences with a particular emphasis on hands-on
artistic research embedded within a biological
laboratory. Two o SymbioticAs co-ounders and
a selection o SymbioticA residents will speak on
art and biology rom many dierent perspectives:
political, ethical, historical, aesthetical and more.
For more information contact: [email protected].
Speakers include:Oron Catts, (Australia), Marta de-Menezes (Portugal), Deborah Dixon (UK), Tagny Duff (Canada),
Miranda D. Grounds (Australia), Kathy High (USA), Kira OReilly (Ireland), Adele Senior (UK), Meredith Walsh (Australia),Jennifer Willet (Canada), Adam Zaretsky (USA), Ionat Zurr (Australia).
SYMBIOTICA AND ARTISTS TALKS:
Start your Sunday with a panel discussion on theunique programme o SymbioticAs Masters in
Biological Artsthe opportunities and challenges
oered by this interdisciplinary degree; where
students rom art or science backgrounds have
30:01:11 12:3016:00
For full line-up please check out www.sciencegallery.com/events
To register for this free conference visit: sciencegallery.com/eve nts
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View a number o short documentaries about works
developed at SymbioticA, eaturing pieces such as
The Harlequins Coat by ORLAN and Critical Art
SYMBIOTICA DOCUMENTARY SCREENING
02:02:11 18:0019:30
Certain kinds o art and science originate in
the intuiting o deep structures that lie behind
appearance. These themes run across art,
architecture, design and various sciences rom
the Renaissance to today. Join this ascinating talk
SCIENCE, ART AND ETHICS
09:02:11 18:0019:30
PROFESSOR MARTIN KEMP TALK:
16:02:11 18:0019:00
This event will bring together world leaders romthe interace o science, art and ethics who will
address the ethical hurdles encountered by using
living material in art and the questions raised by
What happens when the bio-reactor gets switched
o? How do you dispose o art i its still alive?
Join this uneral event marking the end o the
month-long living art experiment. Well hear
what visitors whispered in the digital ears
VISCERAL: THE FUNERAL
24:02:11 18:30-20:00
Ensembles Producing Immolation.
A discussion led by Oron Catts will ollow
the screening.
combination o new medical and artistic technologies.Featured panelists include Oron Catts (SymbioticA),
Dr Steven Potter (Georgia Tech), Robert Devcic (GV Art)
and Michael John Gorman (Science Gallery).
by Martin Kemp, Emeritus Research Proessor in
the History o Art at Oxord University, who has
written and broadcast extensively on imagery in
art and science, with a special interest in Leonardo
da Vinci.
o the Semi-Living Worry Dolls and well take a last look
at the exhibition to try and answer the questions o how
alive biological art is, who it is, and what respect it
meritsbeore we open up the doors o the wet lab or
the killing ritual.
STRUCTURES AND INTUITIONS IN ART AND SCIENCE FROM LEONARDO TO NOW
Ticketsa4 (pre-booking essential)
Ticketsa7/a5 for students (pre-booking essential)
Ticketsa5 (pre-booking essential)
Free (pre-booking essential)
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Abhishek Hazra, India
Imagine a not so distant uture where
rogue nation states are harnessing human
biomaterials to create explosives. This work
attempts to produce ammonium nitrate
rom breast milk. Using a process called
deamination to extract ammonia rom breast
milk, the work interrogates popular perceptions
around good and bad material. Staged as
a ailed experiment, the work draws attention
LET
ONETHOUSANDPROTEINS
BLOOMPhoto: Abhishek Hazra
to the constraining logic o utility that rames
scientic research. Milk donated by The Human
Milk Bank, Irvinestown, Co Fermanagh.
VISCERAL EXHIBITS
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Boo Chapple, Australia
Transjuicer represents the culmination o
several years o work on the piezoelectric
nature o the bone matrix in order to make
bone audio speakers. So what does the
cow bone audio speaker, the piezoelectric
transducer, actually transduce? At the purely
material level it transduces electromagnetic
waveormsin this case o bone songs
and cow songsinto nano-sonic vibrations.
TRANSJUICER
Photo: Boo Chapple
These vibrations have been recorded using
a laser intererometer and can be listened
to on headphones. At another level again,
the speaker transduces between macro social
context and micro technical interventions,
between the cow and the gallery, between
the dead and the living, between the
perormance o science and its representation.
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Paul Vanouse, USA
Latent Figure Protocol (LFP) is an installation
that uses DNA samples to create unique
images, employing a reactive gel and electrical
current. In the rst LFP a copyright symbol
is derived rom the DNA o an industrially-
produced organism (a bacterial plasmid called
pET-11a), illuminating ethical questions
around the changing status o organic lie
and the ownership o living organisms.
The LFP imaging process relies on cutting
DNA to the sizes needed to make the correct
image. This is essentially doing molecular
biology in reverse.
LATENT
FIGUREPROTOCOL
Photo: Alan Dimmick
Usually scientists use imaging techniques
to determine an organisms genetic sequence,
whereas LFP utilises known sequences in online
databases to produce planned images.
A DNA ngerprint is oten misunderstood
to be a single, unique human identier.
However, there are hundreds o dierent
enzymes, primers and molecular probes that
can be used to segment DNA and produce
banding patterns. These banding patterns
that appear tell us as much about the
enzyme /primer/probe as the subject that
they appear to reproduce.
VISCERAL EXHIBITS
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Nigel Helyer, Australia
The Host project suggests that or a moment
we abandon our anthropomorphic worldview
and think about lie (well actually think about
sex) rom the perspective o an insect. We are
invited to join an audience o 200 live crickets,
who are attending a very serious scientic
lecture on the sex lie o insects, which we
quickly realise is rather more complex and
interesting than our own! One screen shows
the heavily pixelated talking-head o the
scientist, the other an image o an oscilloscope
signal. The oscilloscope image with its
crackling sound-track was obtained under
HOST
Photo: Nigel Helyer
laboratory conditions and is a direct recording
o the electrical activity in the aural nerve
centre o a cricket listening to the sex lecture.
From one perspective the creature becomes
a type o electro-physiological microphonebut
at a deeper metaphorical level we are asked to
re-consider our own perceptual assumptions
about the world.
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Neurotica, Philip Gamblen, Guy Ben-Ary, Peter Gee, Dr. Nathan Scott, Brett Murrayin collaboration with Dr Steve Potters lab, Georgia Tech, Atlanta.
Silent Barrage declares its presence in
scale and sound. This architectural scale
arrangement o noisy pole robots is more than
a mere amplication o neuronal activity in
a remotely located culture dish. Silent Barrage
investigates the nature o thoughts, ree will,
and neural dysunction. The work ocuses
on the bursts o uncontrolled activity o nerve
tissue, a typical characteristic o epilepsy
SILENT
BARRAGE
Photo: Exit Art
and cultured nerve cells. Silent Barrage uses
audience movements in and responses to
the architectural space o amplied neuronal
activity to eed it back to the cultured nerve
cells in an attempt to silence the barrage o
electrical impulses. The scientists hope that
this might help them understand better how
to quieten the activity in the culture dish
and this in turn would assist in treating epilepsy.
VISCERAL EXHIBITS
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Bio-Kino, Tanya Visosevic & Guy Ben-Ary, Australia
Invocation O My Demon Screen casts a
cinematic spell by employing the techniques
o the French lmmaker Jean Painleve.
Painleve cinematically synthesized poetry
and science in his surreal zoological lms
rom the 1930s through to the 70s.
Invocation O My Demon Screen,
emphasises the properties o time over
the qualities o movement with a projection
o the microscopic movie onto a living screen.
INVOCATION
OF MY DEMONSCREEN
Photo: Alana Culverhouse
Produced to celebrate the 10th anniversary
o SymbioticA, VISCERAL sees the world
premiere o Bio-Kinos most recent
maniestation o The Living Screen project.
Bio-Kino was established in 2004 as
a collective o two artists (Tanya Visosevic
and Guy Ben-Ary) and an optical engineer
(Bruce Murphy).
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Paul Thomas and Kevin Raxworthy, Australia
The Midas project is a visual and sonic
installation that amplies certain aspects
o experience at the nano level. The project
draws analogies to the curse o the abled
Midas, King o Phrygia, to whom Dionysus
gave the power o turning all that he touched
into gold. This git soon became a curse,
as even his ood and drink transormed into
gold. The Midas project uses a single skin cell
as a visual metaphor or exploring touch o
the nanobiological body. An Atomic ForceMicroscope (AFM) was used to image a
MIDAS
Photo: Screen capture ( Paul Thomas)
cultured skin cell and the AFM in a orce
stereoscopy mode recorded the atomic
vibrations when skin touches gold.
The installation comprises a gold coated
three-dimensional model and a digital
projection o an image o the skin cell.
The viewer touches the gold coated model
to play the atomic vibrations o atoms and
to initiate the release o semi-autonomous
nanobots that consume the projected image
o the cell.
VISCERAL EXHIBITS
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Lisa Carrie Goldberg, Canada
Structuring Somnolence highlights how the
use o graphical representations o sleep
positioning can be changed or the sake o art
and how scientic tools can be repurposed as
artistic tools. A conductor and an administering
sleep technician will recongure the sleeping
body o a volunteer with the intention o
orming predetermined landscape/architecture
drawings rom the emerging graphical sleep
data known as Sleep Architecture. Unlike a
traditional scientic experiment this researchis not attempting to solve a problem; there are
STRUCTURING
SOMNOLENCE
Photo: Keitaro Yoshioka and Lisa Carrie Goldberg
no health benets to an experiment o this sort.
It is not about calculating sleep eciency; in
act, the sleep o the subject will be disturbed
or the sake o this research. It should be
considered as a method or creating art, using
the electrical data gathered rom a sleep study
or an objective assessment. This installation
will be based on a volunteers sleepover at
Science Gallery on January 28th, which will be
viewable rom Pearse Street rom 21:00 onwards.
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Perdita Phillips, Australia
The Summer Flurries presents a landscape o
droughts, dry lakes and wildres rom Lake
Cliton in Western Australia. A postcolonial
invasion rom somewhere else inverts the deep
history o Dublins spoken and scribed streets
with sounds o wattlebirds and Australian
Shelduck. Participants experience the meshing
o two very dierent locations as they hunt or
invisible traces and track the movement
o water. The piece aims to create linkages
at dierent scales across human and nonhuman
worlds. The Summer Flurries is an outdoor
spatial sound art walk around a Dublin location
utilising high resolution GPS as part o The Sixth
Shore project.
THE
SUMMERFLURRIES
Photo: Perdita Phillips
VISCERAL EXHIBITS
We chart our cities, so we chart ourselves.Peter Turchi
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ACKNOWLEDGEMENTSPROTO-ANIMATE
Assoc. Pro. Peter Lewis, Ryan Withers, University o
Newcastle, Australia.
AFTERLIFE:IMMORTALISATION
OF KIRA AND RAMA
ACID Internship, The Institute o Health and Biomedical
Innovation (IHBI), The Tissue Repair and Regeneration
(TRR) Group.
THE VISION SPLENDID
Australia Council or the Arts (OZCO), MONA Museum,
The bioreactor was developed as part o SymbioticA
Research Group by Alicia King and Matt Johnson.
THE SEMI-LIVING WORRY DOLLS
The TC&A Project is hosted at SymbioticAthe Centre
o Excellence in Biological Arts, School o Anatomy and
Human Biology, the University o Western Australia.
CRYOBOOK ARCHIVES
The Canada Council or the Arts, Social Sciences and
Humanities Research Council o Canada and Concordia
University.
BLOODWARSJohn Simon Memorial Guggenheim Foundation
Fellowship.
ALL PROJECTS WERE RESEARCHED AND DEVELOPED AT SYMBIOTICA IN THE SCHOOL OF ANATOMY
AND HUMAN BIOLOGY AT THE UNIVERSITY OF WESTERN AUSTRALIA FROM 20002010. SYMBIOTICA,
THE CENTRE OF EXCELLENCE IN BIOLOGICAL ARTS IS A JOINTLY FUNDED INITIATIVE BETWEEN THE
UNIVERSITY OF WESTERN AUSTRALIA AND THE WESTERN AUSTRALIAN DEPARTMENT OF CULTURE
AND THE ARTS (20082011).
LET ONE THOUSAND PROTEINS BLOOM
Dr. Will Stanley (School o Plant Energy and Biology,
UWA), CEMA, Srishti School o Art, Design and Technology,
Bangalore, Yashas Shetty and Anne McCrea. Milk donated
by The Human Milk Bank, Irvinestown, Co Fermanagh.
TRANSJUICER
Research conducted in collaboration with William Wong.
SILENT BARRAGE
Neurotica (Philip Gamblen, Guy Ben-Ary, Peter Gee,
Dr. Nathan Scott, Brett Murray) in collaboration with
Dr Steve Potters lab (Riley Zeller-Townson, Douglas
Swehla and Stephen Bobic) Georgia Tech, Atlanta.
STRUCTURING SOMNOLENCE
The University o Western Australia Sleep Laboratory,
Geraldine OConnell, Respiratory Scientist and the
volunteer sleeper.
THE SUMMER FLURRIES
Australian Government through the Australia Council, its
arts unding and advisory body and the Sydney Myer Fund.
20
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ABOUT SCIENCE GALLERY
Science Gallery is a world rsta new type
o venue where science and art collide.
Since opening in early 2008 over 750,000
people have visited Science Gallery. Science
Gallery aims to involve, ignite and transorm
curious minds through sciencecreating
dynamic intersections between science
and artthrough exhibitions, experiments
and events.
ABOUT SCIENCE
GALLERY
SCIENCE GALLERYMEMBER+
Do you love Science Gallery? Do you want
access to a creative community o thinkers
and doers? Become a MEMBER + today
and pledge your support to Science Gallery,
while receiving a number o benets or
yoursellike VIP events, discounts and
much, much more.
www.sciencegallery.com/membership_plus
HAVE YOU JOINED YET?
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Find out more atwww.sciencegallery.com
LEONARDO GROUP
Le
Am
Me
Vi
+
AMBASSADORS
MEMBERS
VISITORS
SCIENCE GALLERY
COMMUNITY
GOVERNING
PARTICIPATING
CONTRIBUTING
Science Gallery is a communitya group o
enthusiastic individuals commited to exploring
and implementing creative ideas in science and
art. This community is enabled by our pyramid
o engagement which ensures opportunitiesto get involved rom walking in the door as a
Science Gallery visitor to suggesting a major
exhibition as a Science Gallery Leonardo.
SCIENCE GALLERY VISITOR SCIENCE GALLERY AMBASSADORS/PARTICIPATING
SCIENCE GALLERY MEMBERS/CONTRIBUTING SCIENCE GALLERY LEONARDO GROUP/GOVERNING
Whether visiting or an event or a coee, ollowingScience Gallery on Twitter or attending all exhibitions,
visitors are encouraged to engage directly with Science
Galleryleaving their thoughts on cards in the space,
blogging about their experiences or adding to our visitor
comments book.
Science Gallery members are the rst to nd out aboutupcoming events and get access to special previews
and members only events. Since the start o 2010 the
MEMBER+ scheme oers a range o benets including
discounts, priority booking and ree WIFI in Science
Gallery, all while supporting Science Gallery activities.
Science Gallery Ambassadors are people who roll uptheir sleeves and get involved! It could be anything rom
running a workshop to providing a talk about Science
Gallery in their local school.
Drawing together a group o exceptional people roma range o backgroundsscience, technology, the arts,
media, education and businessthe Leonardo group
acts as the brain trust o Science Gallery.
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PARTNERS & SUPPORTERS
The Science Gallery team has been involved in a rich dialogue with SymbioticA around the interace between art and science or two years now, and
it is a great honour to be able present this major exhibition to the world or the rst time in Dublin. Special thank you to curators Oron Catts and Dr
Ionat Zurr, as well as Jane Coakley and Rachael Glasgow rom SymbioticA and the University o Western Australia in Perth.
A special thank you to the Wellcome Trust, Lennox Laboratories and Micron Optical or their support o VISCERAL. Thank you to Dr Conor Buckley,
Trinity Centre or Bioengineering, Trinity College Dublin, Anne McCrea rom the Human Milk Bank, Irvinestown and Annabel Huxley PR. The exhibition
is also supported by the Government o Western Australia - Department o Culture and the Arts. Thank you also to the members o Science Gallerys
Science Circle: Dell, Google, ICON and PACCAR, the Department o Tourism, Culture and Sport as well as our media partner the Irish Times and
DART/Irish Rail. Finally a big thank you to all the artists, scientists and the team at Science Gallery.
Brochure Design by Rua Leko, Science Gallery
Exhibition Design by Russell Works
VISCERAL SUPPORTERSGovernment of Western AustraliaDepartment of Culture and the Arts
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SYMBIOTICA IS AN ARTISTIC LABORATORY DEDICATED TO THE RESEARCH,
LEARNING, CRITIQUE AND HANDS-ON ENGAGEMENT WITH THE LIFE SCIENCES.
SYMBIOTICA ENABLES DIRECT AND VISCERAL ENGAGEMENT WITH SCIENTIFICTECHNIQUES. CROSSING THE DISCIPLINES OF ART AND LIFE SCIENCES,
SYMBIOTICA ENCOURAGES BETTER UNDERSTANDING AND ARTICULATION
OF CULTURAL IDEAS SURROUNDING SCIENTIFIC KNOWLEDGE AND INFORMED
CRITIQUE OF THE ETHICAL AND CULTURAL ISSUES OF LIFE MANIPULATION.
SYMBIOTICA HAS FACILITATED OVER 70 RESIDENCIES AND RUNS A THRIVING
PROGRAMME OF RESEARCH, ACADEMIC COURSES, EXHIBITIONS, SYMPOSIUMS,
SEMINARS AND WORKSHOPS INTERNATIONALLY. SYMBIOTICA WAS HONOURED IN
BEING PRESENTED THE INAUGURAL GOLDEN NICA IN HYBRID ARTS IN PRIX ARS
ELECTRONICA AT ARS ELECTRONICA 2007. SYMBIOTICA IS A JOINTLY FUNDED
INITIATIVE BETWEEN THE UNIVERSITY OF WESTERN AUSTRALIA AND THE
WESTERN AUSTRALIAN GOVERNMENTS DEPARTMENT OF CULTURE AND
THE ARTS.
HTTP://WWW.SYMBIOTICA.UWA.EDU.AU/
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WESTLAND
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PEARSE ST.
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ADMISSION FREE: SUGGESTED DONATIONa5
TUEFRI 12:0020:00 / SATSUN 12:0018:00SCIENCE GALLERY, PEARSE STREET, TRINITY COLLEGE, DUBLIN 2
T: +353 (0)1 896 4091 WWW.SCIENCEGALLERY.COM
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