• non – human culture producers – bioethnography

    non-human culture producers - bioethnography (Mexico City, 2019)

    One of the best ingredients of Mexican culture is food/cuisine. Many traditional dishes are prepared and served on the street. Street is not just a place of eating it is place where life and death take place. It is not just life and death of human beings. It also involves many visible and invisible non-human actors. In terms of food we have to take into consideration many bacteria participating in the process of food production or being just present in places serving food. They are invisible, so we are not thinking about them at all during eating. Maybe they are responsible for the special taste? What would it be like if we made them visible? Would they appear as a kind of strangers? The framework of the project is to make non-human culture producers visible and known. We did cultivating of bacteria from samples taken beforehand from places of street consumption located in 10 districts of Mexico City: 1. Azcapotzalco, 2. Gustavo A. Madero, 3. Miguel Hidalgo, 4. Cuauhtémoc, 5. Venustiano Carranza, 6. Álvaro Obregón, 7. Benito Juárez, 8. Coyoacán, 9. Tlalpan, 10. Xochimilco. Having inspected bacteria on petri dishes we used them to produce one of polish typical food products - sour cucumbers (one jar for every district) giving bacteria a chance to produce Mexican and Polish culture at the same time.

    In collaboration with Tadeo Valencia

    Scientific support: Dr Maria Cristina Rodriguez Sánchez, Facultad De Medicina Veterinaria y Zootecnia, UNAM, Roman Alfonso Castillo Diaz, Laboratorio De Biologiá Molecular, UNAM
  • synthetic motherhood

    (2018)
    I am pretty sure I will never be a mother, but I am curious, as probably every woman is, how my offspring could look like. Cutting edge biotechnology has helped me to predict the potential look of my children. At that point, it was only possible to predict the potential eye and hair color.
    I had my DNA determining the features mentioned above sequenced, as did the sample of 10 males. In the next step, the result of my DNA sequencing was combined with the result of each of the men, using a simple method of Mendelian crosses. The outcomes were uploaded into an open access webtool: HIrisPlex-S Eye, Hair and Skin Colour DNA Phenotyping Webtool. The tool indicated the most probable phenotypes. However, it should be pointed out that in this system some nuances cannot be reflected adequately: dark blond does not differ from light brown; green eyes are categorized as a kind of blue eyes. The prediction is not 100% precise.
    Conducting the process of the offspring visualisation, I sometimes had to make the choice myself: between dark blond and light brown when it comes to hair colour and between different variants of eye color, including shades of blue, gray and green. I used pictures of children's faces from public domain images and photoshoped them, changing the eye shape to mine. I also changed some other facial features a bit to make them look more similar to me. It should be considered as an artistic invention. The additional visual elements are classic canvases with description including the combination of the DNA sequencing and samples of possible hair colors, which had been collected and donated by my hairdresser. This set of simple elements creates a sort of a story about my biology-based imagination and about impossible possibilities...
    DNA sequencing has been done in Małopolskie Centrum Biotechnologii
  • The Last Supper

    Institute of Genetics and Biotechnology, Faculty of Biology, University of Warsaw
    March 2016 - July 2018
    Miracles might occur in various forms. Their perception depends on the point of view. Sometimes they seem quite ordinary; others seem supernatural and disturbing at the same time. A miracle, in its definition, has no rational explanation. And what escapes reason is difficult to grasp.
    Therefore, miracles can result from ignorance. Science rationalizes the world, explaining as much as it is possible. However, not everyone is a scientist. The vast majority of society uses merely extracts of knowledge to understand the world, which results in a distortion of information. Due to this superficial processing, it does not take a rocket scientist to surprise someone with a miracle.
    It is commonly assumed that a miracle is something positive, but is it sure? Why are people afraid of in vitro or GMO? There must be something wondrous about them.
    The Last Supper project juxtaposes the different meanings of a miracle.
    Yeasts genetically modified with the use of my gene served to produce beer and bread, which had been served during a symbolic supper (13.07.2018). The association with a well-known miracle is deliberate. It is a reference to one of the most common motifs in the history of art, the Biblical event in Christian tradition and The Last Supper mural painting by Leonardo da Vinci. However, in this case it is a miracle in a rather mundane sense.
    Will the food produced by the organisms that have acquired my gene have anything to do with me? Is GMO really an unacceptable miracle?
    The laboratory in which the project was carried out is specializing in evolutionary changes of mitochondrial DNA in yeast. It is headed by Prof. Paweł Golik (Institute of Genetics and Biotechnology, Faculty of Biology, University of Warsaw).
    Chief Scientific Collaborator: Jakub Piątkowski, PhD.
    Due to the lack of official consent of the Chief Sanitary Inspector for the bring the GMO product outside the laboratory, the supper had to take place at the Institute.
    Places of presentation:
    Beyond borders. Processed body - expanded brain - distributed agency, CSW Łaźnia, Gdańsk (2019)  
  • safe suicide

    (still in process)
    In the safe suicide project, its assumptions were adjusted to the rules of the place in which it was conducted. Although the main idea was quite simple, a lot of questions have arisen (I had a few opportunities to witness it during a few presentations of my project which have already taken place). As a part of my art & science research, I grew my own cells by myself (with scientific support). The experiment was conducted at first with use of immortalized B lymphocytes, later with fibroblasts.
    I
    The goal of my sterile work in the first stage was to prepare my cells for death. I took care of them in order to kill them in various experimental ways. Thus, in a way it was my multiple cellular suicide.
    The visual side of the safe suicide project was followed by a scientific context. I tried to show the plain aesthetics of biological research, respecting the common order of the surroundings where I worked. The visual core of the first part of the project were pictures of my dying cells. I used fluorescence and confocal microscopes in this phase of the work. The images were printed onto porcelain plates in the form of traditional Polish funeral pictures. I also collected the test tubes with the remains of my cells inside. The visual presentations of the project at this stage took the form of a symbolic cemetery. Performance, in this case, was based mainly on the context shift. This shift in the realm of meaning seems to be the biggest challenge for biologists, who suddenly become a part of artistic activity.
    The most debatable aspect of the first part of safe suicide is the issue of liminal life’s (cells) subjectification. Biologists work on cells derived from patients or bought from specialized companies. They do not usually work on their own biological material, which arguably allows them to maintain distance towards their laboratory work. In my case, this distance was not entirely possible because I was working with cells coming from my own body. Therefore, there was the constant question of whether the cells separated from my organism and cultivated in in vitro conditions were still a part of me. Another question is: am I performing self-destruction while killing my cells? It seems to be obvious that it is not identical, at least from the scientific point of view. However, it shows the dichotomy between the two worlds: nature and post-nature. I define post-nature world as the area of laboratories, where life is sustained in special conditions. These two worlds existing in parallel fascinate me.
    II
    In the second stage of the project I explored the process of my cellular aging (in the meaning of passing), comparing the biological material resulting from the cultivation with observations of visual changes of my skin. The changes observed at the two levels (micro and macro-level), throughout the same period of time, are absolutely incomparable to one another.
    Places of realisation:
    Institute of Genetics and Biotechnology, Faculty of Biology, University of Warsaw
    Laboratory of Confocal Microscopy, Faculty of Biology, University of Warsaw
    Laboratory of Cellular Aging, Nencki Institute of Experimental Biology, Polish Academy of Science in Warsaw
    Scientific support:
    Prof. Paweł Golik
    PhD Agata Kodroń
    PhD Magdalena Kaliszewska
    PhD Bohdan Paterczyk
    PhD Anna Bielak-Żmijewska
    PhD Agnieszka Bojko
    PhD candidate Wioleta Grabowska
    Portraits for the II part of the project: Patrycja Wojtas
    Places of presentation:
    Beyond borders. Processed body - expanded brain - distributed agency, CSW Łaźnia, Gdańsk (2019) Non-human time, exhibition, Gallery of Contemporary Art, Opole (2016) Temptation of immortality, exhibition in frame of Przemiany Festival, Copernicus Science Center (2016) Pernicious predilection, exhibition in Labirynt Gallery, Lublin (2017)
  • similarity of differences

    Ruhnu Island, Estonia/Institute of Genetics and Biotechnology, Faculty of Biology, University of Warsaw, 2016
    The goal of the project was to examine the meaning of blood. It had a bio - sociological character (as many pursuits in my career).
    The first stage took place during a 10 - day residency on Estonian Ruhnu Island where I tried to collect blood samples from the newly met people from the group of fellow residents, but also other locals. Every subject was asked for a drop of his/her blood. In order for the sample to be taken, each individual received a set for that purpose: a sealed bag with a sterile needle and a cotton pad. The examined had a leeway when it comes to choosing the spot of the puncture (though fingertip was recommended). The subjects could either perform the puncture themselves or ask the examiner for help. Once the puncture was made the subject squeezed out a drop of his/her blood and pressed the cotton pad against the spot in order to soak the pad with blood. The pad and the needle were then put back into the bag and the latter was to be sealed tightly. Before placing the needle in the bag, the subject could voluntarily sign it with his/her name or initials. Individuals who refused donating blood were asked for a brief written justification, either disclosing their identity or anonymously. The collected texts were of equal value to the donated blood.
    In the laboratory in Warsaw (the same as in the safe suicide project) an attempt at reading DNA from each blood sample and combining all samples in the test rube was conducted. The trial of DNA isolation didn't have a successful result because of the blood samples state (they were stored in too high temperature). Finally, all samples were combined symbolically in one test tube. This tube and a research diary became a basis of an artistic object that was presented on exhibitions.
    Places of presentation:
    Rocky Landscape, exhibition in Bunkier Gallery in Krakow (2016)
    Rocky Landscape, exhibition in Contemporary Art Centre in Vilnius (2016)
  • from life to death and back

    Copernicus Science Center, Warsaw 2016
    bio - aesthetic experiment with scientists participation and examining the audience reception. The part of research project: Art as a research tool.
    The main goals:
    1. to examine the human approach to necrophagic insects, the topic of biological death and circle of matter
    2. to examine the role of aestheticization in the process of changing the human perception of biological life
    scientific partners: PhD Tomasz Skalski - Jagiellonian University, Krakow PhD Arkadiusz Urbański - Adam Mickiewicz University, Poznań
  • symbiosis

    Performative bio - sociological experiment, realized in frame of Festival Experiment in a small city Zbąszyń: - terrarium as a laboratory of  human - insects (Madagaskar cockroaches) and human – human relations - simple examination of fears and borders - combining two aspects of life: biological and sociological, with the use of aestheticization - examining the audience reception with the use of surveys, observations and short interviews
  • the second life

    Ethnographic Museum in Zbąszyń, Experiment Festival, 2015 After pandemic of happiness, the second life was my second living project done outside the typical art institutions. This time it was an ethnographic museum where I moved in with the insects which are strongly prohibited in such places. All living beings could be dangerous for the exhibitions. Ethnographic museum in Zbąszyń is devoted to rural life and craft traditions in the area. All rooms are a simulation of residential interiors, a mock-up life. I tried to restore the real life by inviting insects for one week. Insects were placed in different parts of the exhibition, surprising the audience. Something deemed a danger and filth became an object of appreciation. A hierarchy has changed by this very simple trick.
  • delectatio morosa

    Miłość Gallery, Toruń 2013
    This project was a performance in a from of a 10-day living exhibition. It took place in a small private gallery Miłość in Toruń. The major point was examining the relation of human and non-human living beings. Moreover, it was linked with the topic of irrational fears and sensual perception’s limits, which are rooted in culture. Miłość gallery is situated in a former flat and consists of three rooms. These rooms symbolize three areas of exploration and meaning. The key figures of this performance were insects. I intentionally chose the species associated with filth and danger: Madagascar cockroaches and Zophobas morio maggots. My constant presence in the gallery was an important aspect of this project. I lived in one of the rooms taking care of the insects, at the same time constantly interacting with the audience. It resulted in a long-time relation between the audience, insects and me. The first room was an area of overcoming the grocery taboo and a place where a dinner at the opening took place (it was a part of the performance). Nonetheless, it was the second room that resembled a dining room. It was a clear and elegant chamber with a big table in the centre. The table symbolized a meeting place. The last room was mine, it served as a research studio.
  • postnecropolis

    Carrick on Shannon, Ireland 2013
    The project was realized during LOCIS residency in Carrick-on-Shannon, Ireland. The main topic was merging a natural circle of matter and funeral traditions. My aim was to mix two seemingly separated concepts of eternal life. Central source of my inspiration were peat bogs, typical for Ireland. Peat is an Irish natural treasure, strongly impacting the culture of this country. Peat bogs are wonderful areas with special flora and fauna. They can be also viewed as a perfect illustration of a circle of matter. I took a few photos of plants typical for Irish peat bogs. After coming back to Poland I transformed these pictures into typical Polish funeral photographies which were engraved on porcelain and placed on graves. Finally, for the exhibition LOCAL in Dock Arts Centre, I made an ephemeral instalation consisting of small graves made from peat briquettes with porcelain photographies on top.