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8 November 2001 26 January 2002
Published March 2002
The metaphor of becoming animal till there is no longer man or animal is becoming real with the advances in genetic tissue technology and stem cell research. Artists dealing with hands-on wet biology art practice are exploring the tangibility of such an idea. Zurr looks at issues surrounding such new technology, at the experiment which saw an ear grafted onto a mouses back, constructed in vitro (outside of the body) and the possible future for the human and animal kingdoms.
Nexus Multicultural Art Centre
6 September 7 October 2001
Artspace & Ivan Dougherty Gallery, Sydney
22 November 15 December 2001
Singapore Art Museum
9 December 2001 - 3 February 2002
At Fremantle Arts Centre, as part of the annual Fremantle Festival in 2001, selected artists addressed the notion of fascination by and in the freak, geek and grotesque in relation to carnivals and circuses. Artists included Susan Flavell, Emma Margetts, Clare McFarlane and Nein Schwarz.
Juan Fords recent exhibition Clone is a series of portraits of doppelgangers trapped within neo-realistic hallucinatory environments that are rich in attributes taken from technological culture. The juxtaposition of traditional painterly portraiture with objects taken from recent technologies uncovers the sense of mystery that these new technologies provide for us. Trotter looks at Fords practice within the context of our post-modern society, discussing relevant issues of capitalist culture as narcissistic and the breakdown of a consistent personal identity within it.
November 30 - December 9 2001
The current revolutions in biology and computers, and their implications for ethics and politics, raise a host of new questions for which the arts, traditional humanistic disciplines and Enlightenment modes of rationality may seem ill-prepared. Mitchell questions the notion of the post-human age and the ways in which we approach death as more and more a problem to be solved by engineering and adjudicated by lawyers. Mitchell looks at films such as Jurassic Park, The Matrix and Blade Runner in order to explore some of these ideas and discourses.
Lynne Roberts-Goodwins work with birds is the latest chapter in her 20-year practice using digital photography. Her current work involves the research and image capture/production of animal habitat and migration using infrared and supplementary daylight fibre-optic lighting with digital image and video capture technologies.
What characterises all of Stelarcs projects and performances is the notion of the prosthetic. The EXTRA EAR is a project Stelarc has been fostering since 1997 and the problems lie in finding the appropriate medical assistance to realise it. Constructing the EXTRA EAR would involve a number of procedures, over approximately 8-10 months. Techniques from Cosmetic, Re-constructive and Orthopaedic surgery are necessary. Here Stelarc outlines some of the essential steps in constructing the EXTRA EAR and discusses the nature of this radical project.
Steven Hollands pests/pets, DEED and being are a part of an ongoing series of ephemeral investigations into the representation of animal life. Underlining this is an exploration into the act of looking and the dominance of human vision. Holland was born in Dwellingup, WA, and studied at Curtin University, Canberra School of Art and at the Royal College of Art.