Finding Affinities – At the Nexus of Art and Science – April 28 – May 4, 2019 – Art Museum Moritzburg – Halle, Germany

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Herzliche Einladung zu “FINDING AFFINITIES – AT THE NEXUS OF ART AND SCIENCE” am Sonntag den 28. April 2019, ab 12 Uhr, im Nationalen Akademie der Wissenschaften Leopoldina -Kunstmuseum Moritzburg Halle (Saale)

You are cordially invited to the opening of “FINDING AFFINITIES – AT THE NEXUS OF ART AND SCIENCE”, Sunday April 28, 2019, beginning at 12pm, in the National Academy of Science Leopoldina – Kunstmuseum Moritzburg, Halle (Saale)

Kunst-Wissenschaftsausstellung der Global Young Academy

Im Rahmen der internationalen Tagung „Re-enlightenment? Truth, reason and science in a global world. GlobaI Young Academy International Conference of Young Scientists“ an der Nationalen Akademie der Wissenschaften Leopoldina wird im Kunstmuseum Moritzburg Halle (Saale) eine Ausstellung der Global Young Academy Arbeitsgruppe Science & Art = Peace and Justice zu sehen sein.

Von Anfang an bestand eine starke Verbindung der Projektgruppe zur offenen, internationalen ArtSci Nexus-Plattform, die sich auf die kollaborative Ästhetik zwischen Kunst und Wissenschaft konzentriert. ArtSci Nexus Teams arbeiten mit wissenschaftlichen Themen, Datensätzen, Werkzeugen und Techniken, um den wissenschaftlichen Prozess konstruktiv zu kritisieren, die Forschung zu visualisieren und auf einen Beitrag zu neuen Methoden und Ansätzen hinzuarbeiten.

Vier aktive Nexus-Teams werden in einer einwöchigen Ausstellung am Kunstmuseum Moritzburg Halle (Saale) vorgestellt: Arrhythmia, Neural Module, Bacteriality und The Well-Tempered Brain. Zusätzlich dazu werden das Gastprojekt Dolphinet, die Klangkünstlerin Miriam Akkermann von der Jungen Akademie und eine Kinderbuchpublikation von Dmitry Alexeev präsentiert.

Weitere Informationen zu den ausgestellten Projekten

https://www.kunstmuseum-moritzburg.de/index.php?id=507

In a unique collaboration between the GYA working group Science & Art = Peace and Justice and Art-Sci Nexus, four teams of artists and scientists will present their work in a week-long exhibit at the Art Museum Moritzbug in Halle (Saale), Germany – during the GYA’s 2019 Annual General Meeting and International Conference.

Programme – 28 April – 4 May 2019
Art Museum Moritzburg
Friedemann-Bach-Platz 5, 06108 Halle (Saale)

Visiting Hours 28 April – 4 May: 12:00-18:00

Special Events

Sunday, 28 April 2019
Vernissage 12:00-18:00
12.30-13:00 Introduction Speech
13:00-14:00 Dmitry Alexeev “Science. Martyrdom. Entrepreneurship. Vision”
14:00-15.00 Moderated Panel discussion
15.30-17.00 Performances by Arrhythmia, Neural Module, Well-Tempered Brain and Dolphinet, with guest sound artist Miriam Akkermann

Monday, 29 April 2019
18:00-18:40 Lecture by ArtSci Nexus curator Candace Goodrich 30 min, 10 min Q&A “Anthropocentrism: The Failure of Modernity – How do we decolonize the sciences through ecovention?”
19:00-21:00 Performances by Arrhythmia 20 min, Neural Module 20 min, Well-Tempered Brain 20 min, Dolphinet with Guest sound artist Miriam Akkermann 20 min

Saturday, 4 May 2019
March4Science Workshop
12:00-12:30 Workshop opening featuring poetry by Martin Dominik (University of St. Andrews)
12:30-13:00 Lecture by Rob Jenkins (University of York, UK) “Lessons from illusions”

One of the most important insights from psychology is that we do not experience reality as it is. We experience reality as it seems. Our picture of reality emerges from the interaction between evidence arriving at the senses and expectations drawn from memory. This interaction is called perception. The role of expectations in shaping perception can sometimes be exposed by illusions. The great appeal of perceptual illusions is that they offer us glimpses into the workings of our own minds. They also offer a source of humility. None of us has direct access to the truth. None of us is infallible. Contemplating the limits of the human mind gives us a better understanding of ourselves and our place in the world. In this talk, I will explore fundamental principles of perception, what they tell us about how the mind works, and how they can inform better decisions.

13:00-15:00 Workshop on sonification of science data with Mark Matthes (artist, musician and curator from Hamburg, Germany) and Sergey Kostyrko (St. Petersburg State University, Russia)

Sonification is advanced fast growing technique allowing explore scientific data and monitoring complex processes using sound generating systems. The data obtained during the measurements can be converted into sound vibrations, which makes it possible to register them through the human auditory system. The goal of many sonification systems is to process the multimodal data streams in real time, as well as to operative detect the changes in critical parameters. In the same way as visualization of datasets creates the visual abstractions for the complex relationships between variables, sonification transforms the data in audible abstractions. As audible sound itself is a very complex phenomenon, special attention is paid to the issues of sound design. Often, aesthetic and artistic experiments translate sonification projects from the field of scientific research into the field of digital art. Thus, the purpose of this workshop is to introduce the theoretical and practical aspects of the considered technique.

15:00 Music performance based on discussed techniques

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20, March 2019 6pm – The Aestheticization of the Anthropocene – A discussion about terminology, periodization and imagery

Rupert talk.jpgFor English, please scroll down/

Rupert maloniai kviečia į menininkės bei kuratorės Candace Goodrich viešą paskaitą „Antropoceno estetizacija”, kuri vyks kovo 20 d., 18 val. Rupert (Vaidilutės g. 79). Renginys yra 7-osios Rupert alternatyvios edukacijos programos dalis ir vyks anglų kalba. Įėjimas į paskaitą yra atviras ir nemokamas.

Antropoceno tema, nepaisant jos aktualumo, patraukė tik mažos meno bendruomenės dėmesį, kurią motyvavo Amitavo Ghosho spekuliacijos išdėstytos knygoje „The Great Derangement: Climate Change and the Unthinkable (2016), jog šis laikotarpis į istoriją bus įrašytas kaip „menas, kai dauguma meno ir literatūros formų užsiėmė maskavimo strategijomis, kurios neleido žmonėms pažinti jų padėties tikrovės“. Augant klimato kaitos reiškinių svarbai ir apimčiai susiduriama su unikaliu reprezentaciniu ir estetiniu iššūkiu – kaip pavaizduoti „ilgalaikę kritinę padėtį”. Didelis poreikis mažinti klimato kaitos poveikį iššaukia naujų vizualinės komunikacijos metodų paiešką. Meno istorikas TJ Demos manifeste „Prieš Antropoceną: vizualinė kultūra ir aplinka šiandien” (2018) tiksliai pastebėjo, jog šiandieniniai vizualinės išraiškos metodai stiprina „techno-utopinę poziciją“, kuri savo ruožtu padeda pamatus planetos valdymo programoms ir nepatvirtintiems geo-inžinerijos sprendimams. Paskaitoje Rupert, C. Goodrich kvies patyrinėti seriją meno kūrinių siekiant dekonstruoti jų veiksmingumą. Kaip pataria postkolonializmo tyrinėtojas Dipesh Chakrabarty bei meno istorikė Heather Davis bei kiti tyrėjai, paskaitos metu bus siekiama permąstyti Antropoceno apibrėžimą bei kokias politines pasekmes šio termino naudojimas gali turėti. Savo straipsnyje „Klimato istorija: keturi teiginiai” (2009) D. Chakrabarty kalba apie dialektinį skilimą žmones vaizduojant turinčius tiek žmogišką, tiek nežmogišką ar negyvą pusę bei teigia, jog šis įsivaizdavimas prasilenkia su tradiciniu postkolonialistinės teorijos samprotavimu, taigi turėtų būti permąstomas. Paskaitoje taip pat bus diskutuojama apie galimą periodo pradžią, nes būtent tikslus laiko apibrėžimas suteikia progą kalbėti apie istorinę tiesą, klimato etiką, teisingumą bei neo-liberalaus kapitalizmo, kolonijinės plėtros neigiamą poveikį biosferai.

Candace Goodrich yra menininkė, nepriklausoma kuratorė, šiuo metu gyvenanti tarp Stokholmo ir Vilniaus. Goodrich mokėsi tapybos Niujorko vizualių menų mokykloje bei Niujorko meno akademijoje. 2016-2017 m. buvo Curatorlab (Konstfack, Stokholmas) dalyvė, o 2018 m. apsigynė postkolonializmo studijų magistro laipsnį (Södertorn Högskola, Stokholmas). 2012-2014 m. pirmasis jos kuratorinis projektas buvo tarptautinė menininkų rezidencija One-Sided Story, kurioje dalyvavo 38 menininkai. Taip pat ji dirbo Kunstkraftwerk (Leipcigas) meno direktore, kur pristatė ir kuravo 16 tarptautinių parodų, kuriose dalyvavo virš šimto menininkų iš daugiau nei trisdešimties šalių. Goodrich yra tarpdisciplininės platformos skatinančios bendradarbiavimą tarp meno ir mokslo ArtSci Nexus viena iš įkūrėjų. Anksčiau skaitytos paskaitos: „Can robots end class struggle? A second chance for Autonomia” – Hamburger Bahnhof, Berlynas, Vokietija, 2017; „After C.P. Snow: A Brief History of Recapturing Consilience” – Goethe’s universiteto biochemijos institutas, Frankfurtas, Vokietija; „Networks for Stability: The Leipzig Residency Circle”, Zagreb Centre for Independent Culture and Youth, Zagrebas, Kroatija.

Renginio dieną bus galimybė pasinaudoti nemokamu transportu nuo Vilniaus centro iki Rupert. Rezervuoti vietą galite atlikę registraciją: https://goo.gl/forms/znnQb1tatFW8zvw62

Paskaitą bei Rupert alternatyvios edukacijos programą remia Lietuvos kultūros taryba bei kūrybinių industrijų centras Pakrantė.

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Rupert is pleased to invite all to a talk ‘The Aestheticization of the Anthropocene – A discussion about terminology, periodization and imagery’ given by artist and curator Candace Goodrich. The talk will take place on the 20th March, from 6 pm at Rupert (Vaidilutės str. 79). This event is part of the 7th Rupert Alternative Education programme and will be held in English. Entrance is free and open to the public.

Despite its urgency, the subject of the Anthropocene has attracted the attention of only a fraction of the art community, which motivated Amitav Ghosh’s speculation in The Great Derangement: Climate Change and the Unthinkable (2016), that this moment in history might end up being remembered as ‘a time when most forms of art and literature were drawn into the modes of concealment that prevented people from recognizing the realities of their plight’. The scalar and temporal magnitude of the phenomena of climate change poses a unique representational and aesthetic challenge in depicting ‘the long emergency’. The earnest need for mitigation demands that we expeditiously employ new methods of visual communication. Art historian TJ Demos has fittingly pointed out in his manifesto, Against the Anthropocene: Visual Culture and Environment Today (2018) that the current modes of imaging consequently advances a ‘techno-utopian position’ that helps pave the way for planetary management agendas and untested geoengineering solutions. In the course of this lecture, we will examine a number of artworks and deconstruct their efficacy. As suggested by postcolonial theorist Dipesh Chakrabarty, art historian Heather Davis, among others, we will question the Anthropocene designation in-and-of-itself, and will consider what the political ramifications of the term’s adoption could be. Chakrabarty addresses in his article ‘The Climate of History: Four Theses’ (2009), the dialectical fissure of designating humans as both human but also a ‘nonhuman, nonliving agency’, and remarks that this does not align well with the traditional conceptualization of postcolonial theory and therefore should be deliberated. We will also exchange ideas on the demarcation of the period’s beginning, which sets an important precedence in terms of historical truth, climate ethics and justice, and the acknowledgement of the negative impact that neoliberal capitalism and colonial expansion have had on the biosphere.

Candace Goodrich is an artist and independent curator, currently living between Stockholm, Sweden and Vilnius, Lithuania. She holds a BFA from the School of Visual Arts (NYC) and a MFA from the New York Academy of Art (NYC), with a concentration in painting. She was a participant in Curatorlab at Konstfack in Stockholm in 2016/2017, and in 2018 she completed a second Master’s in Postcolonial Theory and Multiculturalism at Södertorn Högskola, Stockholm. She founded and directed her first curatorial project in 2012-2014, the international artist residency One-Sided Story involving 38 artists. She was the founding Art Director of the Kunstkraftwerk Leipzig, where she curated 16 international exhibitions, involving 100+ artists, representing 30+ countries, sponsored by numerous foundations, embassies, and ministries of culture worldwide. In addition to the exhibition program, she co-directed a complimentary education program and together with Pogon-Zagreb, hosted ICSC-Intercity/Switchcity, a 3 year curatorial/collective residency exchange program. She is co-founder of the ArtSci Nexus, an interdisciplinary platform fostering collaborations between the arts and sciences. Notable lectures include: ‘Can robots end class struggle? A second chance for Autonomia’ – Hamburger Bahnhof, as part of the ‘Festival of Future Nows’, September 2017; ‘After C.P. Snow: A Brief History of Recapturing Consilience’ – Institut für Biochemie II at the Universitätsklinikum Goethe-Universität, Frankfurt am Main, Invited by Prof. Dr. Ivan Đikić (December 2014); and ‘Networks for Stability: The Leipzig Residency Circle’ – Residency Programme Forum – POGON – Zagreb Centre for Independent Culture and Youth – Zagreb, HR (June 2014).

On the 20th March, there will be free transport between Vilnius center and Rupert for the talk. Registration: https://goo.gl/forms/znnQb1tatFW8zvw62

This event and Rupert’s Alternative Education programme are kindly supported by Lietuvos kultūros taryba and Pakrantė.

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Cyland Audio Archive and Sergey Kostyrko

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Congratulations to ArtSci Nexus member Sergey Kostyrko, whose experiments on data sonification of neuron cells activity have been published by Cyland Audio Archive. Special thanks to Sergey Komarov for making this possible, Dr. Paul Roach for sharing the data, Dr. Sasha Kagansky and Mark Matthes for fruitful discussions, as well as Global Young Academy for supporting this project.
http://cyland.bandcamp.com/album/caa-41

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ArtSci Nexus at the AGM 2019 – Global Young Academy

a-0021.jpgAGM 2019: International Conference and Anniversary Annual General Meeting of the Global Young Academy

ArtSci Nexus is proud to be presenting Nexus teams at the AGM 2019: International Conference and Anniversary Annual General Meeting of the Global Young Academy. Arrhythmia, Neural Module, Bacteriality, and the Well-Tempered Brain, alongside guest project Dolphinet and guest sound artist Miriam Akkermann from the Die Junge Akademie. 

Program TBA

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GYA Science & Art Working Group was launched in 2016 and had a strong connection with ArtSci Nexus platform from the very beginning. During the first seminar, organized in Edinburgh in August 2016, a team of scientists from the Global Young Academy with expertise in cell biology, bioinformatics, neurobiology, microelectronics, computer science, partnered with ArtSci Nexus artists to discuss the problems related to the sonification of biological data. Scientific as well as the aesthetic questions were raised. Following this initial contact, the aims and objectives of working group were formulated to include the idea of promoting an active engagement of scientists in the arts and set up mutually beneficial creative collaborations with artists to develop new techniques and expand old disciplinary boundaries.

International Conference of Young Scientists &
Anniversary Annual General Meeting of the Global Young Academy

29 April – 3 May 2019 | Public days: 1 – 3 May 2019 | Halle (Saale), Germany

The GYA Anniversary International Conference of Young Scientists and Annual General Meeting celebrates the 10th anniversary of the GYA. Recognizing that the GYA thrives from the activities of its 200 members and builds on the work of its over 200 alumni, all are invited to play an active role in this Anniversary AGM.

The theme of the conference is:

Re-enlightenment? Truth, reason and science in a global world

With the rise of post-fact concerns, Enlightenment is again a hotly debated topic. We understand “enlightenment” here in a broad sense and from a global perspective. Enlightenment as a global concept means connecting to reality and truth. It relates to core values such as critical thinking, freedom of thought and scientific achievement, and is in opposition to science denial, post-fact and post-truth movements.

As a global organisation aiming to empower early-career researchers to lead international, interdisciplinary, and inter-generational evidence-informed dialogue, the GYA welcomes a debate about re-enlightenment: framed around a reflection on the role and limits of science in today’s globalized society and on how science can help in solving its problems.

The Re-enlightenment theme will also be a foil to discuss the core principles that animate the GYA itself. In interactive sessions, members, alumni and guests will be invited to question, debate and develop the values that characterize the GYA spirit. At the 2019 annual meeting, we will therefore not only highlight the growth and accomplishments of our global network, but also develop a vision for its future.

The conference will take place at the German National Academy of Sciences Leopoldina.

Visit the conference website for further information.

https://globalyoungacademy.net/events/agm-2019-anniversary-conference-and-meeting/

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December 12, 2017 – Wolfgang Ganter and Dr. John LaCava at Rockefeller University – artist talk and exhibition

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Wolfgang Ganter – Artist Talk: Tuesday, December 12, 1-2pm in Weiss 301

Bacteriality: Fusing Art and Science

Opening: 2-6 pm in the Mock-up Lab, top floor of Weiss

On view until December 13

Artist Wolfgang Ganter uses microbes as instruments to render pictorial artwork. This unique interplay leads to spontaneous interactions between the organisms and photographic media, and allows the unimaginable to emerge.
In this lecture, he will present a seminar on his work fusing art and science.
An exhibition of Wolfgang’s works will be on view after the talk in the Mock-up lab on the top floor of Weiss. The exhibition will remain open until 6 p.m.
A brief introduction will be given by John LaCava about their rapidly-growing art/science collaboration network.
Wolfgang Ganter recently began a one month artist-in-residence at The Rockefeller University in the Laboratory of Cellular and Structural Biology, after which he will take up a residency at the Australia China Art Foundation in Shanghai, China.

Some of his work of relevance to this exhibition can be found at https://www.wolfgangganter.de/works/bactereality

This residence was made possible by the ArtSci Nexus and Rockefeller University. 
1230 York Ave, New York, NY 10065, USA

 

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Artist Wolfgang Ganter, biochemists Dr. John LaCava and Dr. Dmitry Alexeev at the School of Molecular and Theoretical Biology – Summer 2017

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The School of Molecular and Theoretical Biology is based on a belief that many students of high school age are ready to participate, intellectually and through work in the laboratory, in real scientific experiments. They believe that the experience of working in a real research environment is helpful in deciding whether science and research is for you. They offer a chance to work on a real scientific question alongside real scientists with a possibility of obtaining real and novel results. At the school students hear lectures, learn how to perform different techniques and calculations and explore current ideas in areas of molecular and theoretical biology.  http://molbioschool.com/en/

This year ArtSci Nexus Scientific Director Dr. John LaCava and Dr. Dmitry Alexeev invited artist Wolfgang Ganter to contribute to their wet lab experiments.

In LaCava’s section they ran three parallel “clusters” during the laboratory sessions; each designed to explore a different aspect of protein interactions research.

Synopsis of the clusters:

Dr. LaCava cluster: Compare the performance of different mouse monoclonal antibodies for their ability to purify protein complexes associated with human LINE-1 retrotransposons. LINE-1s are selfish genes that inhabit human genomes and may cause diseases and exacerbate cancer.
Dr. Ketaren cluster: Use protein affinity reagents known as nanobodies (small, single-chain antibody fragments derived from camelids) to purify GFP-tagged model protein complexes and determine the most efficient approach. Nanobodies are a cutting edge affinity reagent and are the topic of intense research as tools for basic and clinical research, diagnostics, and therapeutics.
Dr. Alexeev cluster: Explore and use computational tools for PPI analyses: obtain and visualize data from public repositories. Infer protein complexes that may form with LINE-1 retrotransposons based on integrating unpublished and publicly available data.

Text from Molbio School website

The Team – Alexeev, LaCava, Ganter (right to left)

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Wolfgang Ganter and Dr. Ana Domingos at IGC Lisbon – artist in residence

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Upon meeting at the first ArtSci Nexus Think Tank in Leipzig in April 2016, artist Wolfgang Ganter and biochemist Dr. Ana Domingos of IGC Lisbon began a correspondence which lead to Ganter being invited to be an artist-in-residence in the summer 2016 to Domingos’ laboratory to develop a new series of work. Pictured here are works in progress from the Gulbenkian museum archive.
Reflection of Wolfgang Ganter:
“I brought lots of slides and colour negatives from Berlin, including some found footage, but mostly pictures from the Gulbenkian museum that I shot during the residency with Ana Domingos at the IGC in Lisbon. My plan was to take advantage of the lab work space provided in Barcelona and combine the workshop with the actual work I have to do for the upcoming exhibition in Lisbon next year. After getting to know my students a bit, we started playfully working with the found footage and cultures of bacteria and yeast available at the CRG. As I expected, these cultures did not perform very well. Apparently lab bacteria are often very picky with nutrient sources, being selected to thrive primarily on rich lysogeny broth (LB) at 37°C. Hence, the gelatin of my photographic film did not spawn rapid growth. Even the ∆yjjM E. coli strain, purportedly optimised  for  fast  laboratory growth, was quite disappointing.
Our results showed that most of the lab bacteria do not grow in interesting shapes as they were designed to grow in easy controllable and compact shapes – forming rounded colonies on LB agar plates. What I was hoping for were more wild and branch-like vortex shapes.
Luckily I had team leaders with scientific experience in my workshop; one of them had the idea to extract bacteria from soil, as these cultures often show exceptionally interesting shapes. So we collected soil samples in test tubes from all over Barcelona and extracted and purified the bacteria from it. It proved to be a great strategy, and we observed different fantastic shapes appearing on the LB-agar plates. We selected the most interesting looking ones and tested them on the film material. The rough, wild bacteria grew so much faster in the photographic emulsion, outperforming the ∆yjjM strain by far. Using the wild bacteria we worked on the self-shot film material from the Gulbenkian museum, producing very satisfying results. With a little more time we probably could have had even more intriguing  pictures. Unfortunately I had to stop the process on many slides by drying  them, in order to get ready for a heading back to Berlin.”
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