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03 May-09 Sep 2007; Laura Cinti - 12 Sep 2007
Centro Andaluz de Arte Contemporáneo, © c-lab 2007

Bios 4
is one of the first exhibition of its kind in Spain and perhaps also one of the first times for biotech related works to be displayed in a museum setting as opposed to gallery.

Centro Andaluz de Arte Contemporáneo, © c-lab 2007 Centro Andaluz de Arte Contemporáneo, © c-lab 2007

The name of the exhibition Bios 4 takes its name playfully in continuation of Biosphere 1, which is the earth our planet, Biosphere 2, was an artificial closed ecosystem built in Arizona around 1987-1989 in order to investigate space colonization, Bios 3, was an enclosed ecosystem at a biophysic institute in Siberia used for habitational experiments in the 1970 and 1980s. Another playful connotation is the computer term BIOS - Basic Input and Output System.

the martian rose (2007), Bios 4, © c-lab 2007

The Martian Rose had its first viewing. This is an installation by c-lab and plays with romantic and destructive ideas surrounding life on Mars. The rose shown had been exposed to martian conditions for six hours.

Marta de Menezes :: Decon: Deconstruction, Decontamination, Decomposition (2007), Bios 4, © c-lab 2007

Another work having its first viewing was Martha de Menezes' colour eating bacteria which referenced Mondrian's works. One the left is the control whilst on the right bacteria is feeding on colour pigments and deteriorating the colours.

Amy Youngs :: Digestive Table (2006), Bios 4, © c-lab 2007

Amy Youngs showed her compost worm installation, taking a casual and humorous look on homely aspects of biology. An infrared camera monitors worms making their way through the compost and the screen on top allows the audience to view them.

Philip Ross :: Junior Return (2005), Bios 4, © c-lab 2007

Philip Ross showed a series of survival capsules for plants in the work Junior Return.

Andy Gracie :: Fish, Plant, Rack (2004), Bios 4, © c-lab 2007

Andy Gracie added telepresence to the exhibition by providing an interface installation between a fish, plants and a rack.

George Gessert :: Natural Selection (1994 - ), Bios 4, © c-lab 2007

A selection tree and its visual outcomes was displayed by George Gessert in Natural Selection. Particularly for this diagram veins were a central aesthetic criteria.

Norman T White :: First Tighten Up on the Drums (1969), Bios 4, © c-lab 2007

Norman T. White showed an early electronic work which had its first viewing in 1969. A series of digital circuits generate a moving light display on a bank of miniature neon bulbs using rule-based interactions.

Mark Cypher :: Biophilia (2005), Bios 4, © c-lab 2007

Mark Cypher's biophilia allowed audience to interact with generated  organic forms based upon the distortion of shadow.

Ursula Damm :: Double Helix Swing (2006) , Bios 4, © c-lab 2007

Ursual Damm's installation had both a sonic and visual presence that traced swarm patterns.

Bill Vorn :: Hysterical Machines (2006), Bios 4, © c-lab 2007

by Bill Vorn featured two robots that reacted hysterically when audience approached.


Other References: Centro Andaluz de Arte Contemporáneo
Bios 4
Agnes Denes
Amy Youngs
Andrew Kötting, Giles Lane, Mark Lythgoe
Andy Gracie
Andy Lomas
Aniko Meszaros
Antony Hall
Arquitecturas Genéticas
Aviva Rahmani
Beatriz da Costa (with Cina Hazegh & Kevin Ponto)
Bestiario (Santiago Ortiz, Jose Aguirre, Carolina Valejo, Andrés Ortiz)
Betty Beaumont
Bill Vorn
Bioteknica (Shawn Bailey & Jennifer Willet)
Brandon Ballangé
Catherine Wagner
Cynthia Verspaget & Adam Fiannaca
Dmitry Bulatov
Driessens & Verstappen
Eduardo Kac
France Cadet
Biopresence (Georg Tremmel, Shiho Fukuhara)
George Gessert
Heather Ackroyd, Dan Harvey
Joe Davis
Justine Cooper
Kathy High
Ken Rinaldo
Laura Cinti, Howard Boland (c-lab)
Mark Cypher
Marta de Menezes
Mateusz Herczka
Natalie Jeremijenko
Nell Tenhaaf
Norman T. White
Paul Vanouse
Paula Gaetano
Peter Gena
Philip Ross
Polona Tratnik
Sonya Rapoport
Theo Jansen
Ursula Damm
Victoria Vesna & James Gimzewski
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