Adam Zaretsky (b.1968, USA) ::: Article

Artist, performer, researcher, art theorist. Practices bioart (embryology, parasitology, etc.) using a wide range of media-strategies and technologies in his projects. In 1999 graduated from the School of the Art Institute of Chicago (Art and Technology, MFA), where he assisted in teaching the History of Art and Biology course with Eduardo Kac. The next two years he spent as a research associate at the Massachusetts Institute of Technology (Cambridge, Massachusetts, USA) in the Arnold Demain Laboratory for Microbiology together with Joe Davis. Taught the experimental Art and Biology class for the Conceptual/Information Arts Department at the San Francisco State University; at the Contemporary Arts Center Exploratorium (with Julia Reodica, San Francisco), and also co-taught with Oron Catts at the Sci-Art Research Laboratory at the University of Western Australia's Art and Architecture Department (Perth, Australia). While researching he works out various forms of bioart focusing on the installation with such elements as environment, cookery (radical nutrition), on performative animalism and laboratory experiments in the sphere of body manipulation. Author of several scientific and literary publications and projects in the sphere of molecular biology (including the social artistic research "Workhorse Zoo" realized in collaboration with Julia Reodica within the show "Unmediated Vision" at the Salina Art Center, Kansas, 2002). Since 2002 A.Zaretsky has been teaching the experimental bioart class VivoArts for the Integrated Electronic Arts Department at Rensselaer Polytechnic Institute (Troy, New York, USA).


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I. LABORATORY: science and technology

Svetlana Borinskaya. Genomics and Biotechnology: Science at the Beginning of the Third Millennium.

Mikhail Gelfand. Computational Genomics: from the Wet Lab to Computer and Back.

Irina Grigorjan, Vsevolod Makeev. Biochips and Industrial Biology.

Valery Shumakov, Alexander Tonevitsky. Xenotransplantation as a Scientific and Ethic Problem.

Abraham Iojrish. Legal Aspects of Gene Engineering.

Pavel Tishchenko. Genomics: New Science in the New Cultural Situation.
II. FORUM: society and genomic culture

Eugene Thacker. Darwin's Waiting Room.

Critical Art Ensemble. The Promissory Rhetoric of Biotechnology in the Public Sphere.

SubRosa. Sex and Gender in the Biotech Century.

Ricardo Dominguez. Nano-Fest Destiny 3.0: Fragments from the Post-Biotech Era.

Birgit Richard. Clones and Doppelgangers. Multiplications and Reproductions of the Self in Film.

Sven Druehl. Chimaera Phylogeny: From Antiquity to the Present.
III. TOPOLOGY: from biopolitics to bioaesthetics

Boris Groys. Art in the Age of Biopolitics.

Stephen Wilson. Art and Science as Cultural Acts.

Melentie Pandilovski. On the Phenomenology of Consciousness, Technology, and Genetic Culture.

Roy Ascott. Interactive Art: Doorway to the Post-Biological Culture.
IV. INTERACTION CODE: artificial life

Mark Bedau. Artificial Life Illuminates Human Hyper-creativity.

Louis Bec. Artificial Life under Tension.

Alan Dorin. Virtual Animals in Virtual Environments.

Christa Sommerer, Laurent Mignonneau. The Application of Artificial Life to Interactive Computer Installations.
V. MODERN THEATRE: ars genetica

George Gessert. A History of Art Involving DNA.

Kathleen Rogers. The Imagination of Matter.

Brandon Ballengee. The Origins of Artificial Selection.

Marta de Menezes. The Laboratory as an Art Studio.

Adam Zaretsky. Workhorse Zoo Art and Bioethics Quiz.
VI. IMAGE TECHNOLOGY: ars chimaera

Joe Davis. Monsters, Maps, Signals and Codes.

David Kremers. The Delbruck Paradox. Version 3.0.

Eduardo Kac. GFP Bunny.

Dmitry Bulatov. Ars Chimaera.

Valery Podoroga. Rene Descartes and Ars Chimaera.
VII. METABOLA: tissue culture and art

Ionat Zurr. Complicating Notions of Life - Semi-Living Entities.

Oron Catts. Fragments of Designed Life - the Wet Palette of Tissue Engineering.

Dmitry Prigov. Speaking of Unutterable.

Wet art gallery





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