PUBLIC TALK: How Crude Was Life at Gdansk?
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How Crude Was Life at Gdansk? : Public Talk at SymbioticA with Catts & Zurr |
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Oron Catts and Ionat Zurr will discuss the Tissue Culture and Art Project(TC&A) retrospective in Lazina Centre for Contemporary Arts, Gdansk; they will use the opportunity to reflect on some of TC&A’s earlier works, and attempt to create a kind of a narrative to culminate with TC&A’s latest work Crude Matter, which might be somewhat different from what the Curator of the show Ryszard W. Kluszczyski had to say:
Presentation of the works of Oron Catts and Ionat Zurr in Centre for Contemporary Art in Gdansk is the world's first retrospective exhibition of these artists. In this framework the full spectrum of their works is presented, from early prints and light boxes (1996-2000), through a video installation The Remains of Disembodied Cuisine (2005), until the semi-living sculptures: Semi-Living Worry Dolls (2000), Victimless Leather (2004) and Crude Matter (2012 – premiere of the work). The installation The Remains of Disembodied Cuisine refers to an earlier project – Disembodied Cuisine (2003), in which artists offered the audience small steaks grown in a laboratory from cells taken from frogs, which themselves have witnessed the feast being present at the exhibition. Semi-Living Worry Dolls refers to a Guatemalan story about the dolls on which we can pass our fears to feel unburdened. The dolls are created from mouse cells on polymer backbones (and decorated with surgical thread) would also listen to the concerns of the viewers, but because of their semi-living tenderness and helplessness (they are located in the bioreactor that supports their half-lives) they themselves become the source of our care. The purpose of Victimless Leather, is to breed during the exhibition miniature leather coat of cells (leather farming instead of farming livestock for leather production). Through this work artists highlight the issue of human exploitation of other living creatures. In Crude Matter the artists are distancing themselves from the concept of life as the genetic code and referring to the legend of the Golem, they take up the problem of the substrate, the source of matter, the context for life that eventually becomes its substitute.
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