This content was created by Alison Parman.

This site requires Javascript to be turned on. Please enable Javascript and reload the page.

Installation Archive: A Capsule Aesthetic

Plasmid Region (teaknees)

This page has tags:

Contents of this tag:
2. Plasmid Region (teaknees)
Contents of this tag:
1. Leather Landscape (Patricia Piccinini)
3. Still Life wth Stem Cells (In Daily)
4. We Are Family (denniscallan)
5. Plasmid Region (teaknees)
6. We Are Family (Art n Kulture)
7. Game Boys Advanced (RMIT University)
8. We Are Family (Ann Shaw)
9. Game Boys Advanced (Halvor Bodin)
10. Game Boys Advanced (Craig O'Shanesy) Game Boys Advanced, 2 002, silicone, polyurethane, clothing, human hair. The two boys are cloned twins. On close inspection alarming signs of premature aging can be seen. The source for this idea was Dolly the sheep. Dolly was a ewe (5 July, 1 996 � 1 4 February, 2 003) famous for being the first mammal to be cloned from a cell. Dolly�s death at the premature age of six years prompted debate about the biological and ethical consequences of cloning.
11. We Are Family (Climent Vilella Capallera) Dirigida per Francesco Bonami i amb obres, entre altres, de Thomas Bayrle Glenn Brown Tacita Dean Ellen Gallagher Berlinde de Bruyckere Ceal Floyer Giuseppe Gabellone Felix Gmelin Dan Graham Damien Hirst Piotr Janas Kerry James Marshall Lucy McKenzie Jennifer Pastor Richard Prince Charles Ray Rudolf Stingel Alessandro Ariatti Patricia Piccinini Bruno Gironcoli Beatriz Milhazes Motohiko Odani Chris Ofili Athanasia Kyriakakos Dimitris Rotsios R�r� Vladimir Dubossarsky Aleksandr Vinogradov Constantin Zvezdochotov Santiago Sierra Fred Wilson Pablo Atchugarry
12. Leather Landscape The Leather Landscape exhibited in �We Are Family� at the Venice Biennale involved a colony of humanoid, transgenic African meerkat-like beings. �What arrests me in this more than natural colony,� Haraway continues, �is not the pink-suited blond human toddler face-to-face with a fabulated playmate living on soft white leather in the museum space. Rather, I am struck by the four-breasted female sitting peaceably on the next level up of the pyramidal habitat, with her milk-lust babies nestled between her legs ready to attach to her alluring array of ventral teats� (Haraway 2014: 249-250).
13. The Young Family (Fenna)
14. The Young Family (Videomax) Australian citizen and resident artist Patricia Piccinini (Freetown-Sierra Leone, 1965) makes drawings, sculptures, photographs and videos that examine the border between the artificial and the natural. Attract and repel, they are unknown creatures, bodies that appear in the flesh, but presented as a mutation, a hybrid or a distortion of what we recognize as normal. In a world determined to humanize technology and homogenizing the human body to eliminate any uncomfortable difference, the works challenge the viewer with a look that is far from the ideal of perfection. The Carrier (Carrier), a work in glass-reinforced plastic, silicone, human hair and fabric has an old unconventionally transported by a being with human hominid features and look. It combines his fascination with medical science and biotechnology with the fears and concerns of modern society such as the appearance, aging and disease-related nature but unnaturally treated. The application of animal characteristics, the absence of face, atrophied limbs and flabby muscles are a personification of disgust generated malformation and physical decline. Strange scenes refer to the universal instinct to apply our own emotions species of animals and things. Piccinini wonders with that series of surrealist works between science fiction and how technology is changing our understanding of what it means to be human and also changes our relationships with others. To see the video on Jose Garcia Cordero: https://youtu.be/Cb12HmBrYW4 To see the video on Urban Art: https://youtu.be/z8bRds5Pqw
15. The Young Family (randomuser1928)