On the occasion of the exhibition Cell Vitality, Hubert Mayer first gives an introduction to genetic engineering and then discusses a project of art-related science.
Byrd explores the power of art through many facets, commonly through social criticism and environmental commentary. The conversation explores how Byrd’s art frames narratives into a palatable space and perspective for the viewer.
The interview traces Swaantje Güntzel’s artistic development from 2017 until now.
In the aerial performance "THAW", from Legs on the Wall Collective (2021), three heroines fight against the loss of their ice environment.
This interview traces Eva Verena Müller's development as a scientist and actor.
: Resulting from her collaboration with the research alliance Cells in Motion, Cordula Hesselbarth has designed a multimedia wall-installation for the foyer of a research building at the University of Münster.
In 2022, the Upper Austrian State Museum Francisco Carolinum is hosting the exhibition "Visionär" ("Visionary") about Herbert W. Franke, one of the most important border-crossers between science and art.
Environmental artist Dan Power shares his insights on the power of art as a subconscious influencer of environment through his work.
In this interview, Thomas Gartmann's article Studies in the Arts: An Artistic-Scientific Doctorate is explored in greater depth.
Our newest member to the w/k editorial team introduces herself: the art historian and scholar of Visual Cultural Studies, Anne Hemkendreis.
The artist BOHIE discusses her work in the public art formats of street art, murals and fine art murals, and the messages they convey.
This article introduces w/k's new series on street art and science, explains how it belongs within the journal, defines key terms and discusses their context, and explores the expected artistic and scientific scope and framework.
Two of the series belong to the category science-related art, whilst the other two are assigned to art-related science.
In the first part of the interview, we take a closer look at what Christian Kosmas Mayer has got up to as artist-in-residence at the Schaufler Lab@TU Dresden.
Paul Diestel's sculptures deal with transformation processes of plants and animals.
In this interview circus artist Martin Riedel and technology artist and programmer UliK discuss their productive collaborative work at the intersection of performance art and technology.
Ines Theileis and David Ziegler discuss the vision and possibilities of the Science Variety Show to bring art and science together.
In this interview, Aparna Rao discusses her approach to technology, the nature of her many collaborations with technologists and her interest in combining high-tech and high-art.
Till Bödeker explains the concept and the scientific references of his work THINK OUTSIDE THE BOX.
The exhibition ART INSPIRATION SCIENCE Thomas Schönauer—The Engineering Artist took place at Haus der Universität (House of the University) in Düsseldorf. Its main focus was on Schönauer’s collaborative work with scientists, engineers and companies, in which he aims to extract or utilise new materials for artistic practice. Schönauer collaborates with the Henkel corporation as well as with the Institut für Textiltechnik (Institute for Textile Technology) at the RWTH Aachen University.
In 2017, science-related artists and border crossers, dealing with the topic “Art and Science”, were invited to participate in an exhibition at Haus der Universität about Karl Otto Götz as an artist, as well as a scientist.
Karin Götz describes with hitherto unprecedented detail how Götz arrived at his 'Visual Aesthetic Sensitivity Test' (VAST) and what he sought to achieve with it.
This interview complements 'K. O. Götz as psychologist' in which Karin Götz explains the Visual Aesthetic Sensitivity Test (VAST).
The artist Ursula Damm and the neuroscientist Birgit Brüggemeier talk about interspecies communication between humans and flies.
Sensitized early on to the existential dangers and threats of modern technology, Helmut Schweizer follows an artistic and intellectual path that breathes the ancient spirit of techné, the affinity of science, technology and art.
Angelika Boeck is a visual artist who received her doctorate in Ireland - a border crosser between art and science.
Numerous projects of the 58th Venice Biennale are dedicated to science-related themes.
malatsion's science-related installation Genese/genesen reflects her interest in modern biology and the ethical issues it raises.
Turning from research biology to visual art - Silvia Stocchetto`s work combines realistic and fantastic elements, crossing the border between science and art.
In the second part of his interview, Dr Ira Seidenstein shares his thoughts on the cultural and intermedial appeal of the clown character.
Markus Schrenk explains the conceptual background of his artwork Polygons.
Many of Hugo Boguslawski's artistic works have a connection to biology, which is related to his biology studies. The preoccupation with fossilized organisms plays a central role.
Cordula Hesselbarth is an artist and science illustrator. In Part I of the interview, her concept of science-related art is worked out in all its aspects. Part II will be published in the first half of 2019.
In his 'Word Art' project, Ralf Borlinghaus is interested in taking up the original connection between the written and the pictorial and reinterpreting it.
The exhibition Zwischen Wissenschaft und Kunst: Düsseldorfer Akzente (Between Science and Art: Düsseldorf Accents) took place from 23.11. to 4.12.2016 at the Kunstakademie.gallery.
In the first part of his interview, he explains his approach to research, his understanding of clowning, and the ways he teaches his students to discover the elasticity of their own imagination, and the creativity and performative powers a clown needs on stage.
In her collages, Düsseldorf artist Barbara Herbert critically examines topics such ascorporeality, sensuality, classical and contemporary body images.
The 57th Venice Biennale presents a broad range of projects related to science and art.
A conversation with Irene Daum and Peter Tepe | Section: Interviews Part II (Back to Part I) You also collaborate with architects and are a member of the Bund der Architekten (BDA – Association…
Text: Swaantje Güntzel | Section: Articles by artists My work focuses on mankind’s dysfunctional relationship to nature. Through a process of observing our everyday behaviour towards nature, dissociating it from its context…
In his colourful paintings, the German-Japanese painter Ryo Kato addresses the destruction of nature by humans.
Mischa Kuball: “The idea [of New Pott] was born of my (so-called German) contribution to the 34th Sao Paolo Biennale in 1998 which was curated by Paulo Herkenhoff under the general theme of anthropophagy with reference to the homonym manifesto by Oswald de Audrade from 1927. This manifesto tried to give an answer to the European dominance in the domain of the arts, the Parisian art world pretending that Brazilian artists were copying European modernism. The manifesto replied: No, we will not copy, but guzzle and digest you!”
In conversation with Irene Daum and Peter Tepe the sculptor and painter Thomas Schönauer presents himself as an artist-philosopher. In some of his works he has adopted a science-related approach. In other projects he has collaborated with scientists and engineers.
On August 19th 2017, Karl Otto Götz died at the age of 103. In the time since then, many obituaries have been published, through which his artistic achievements have been widely acknowledged. I will try to discuss my personal contact with Götz, searching through my not-always-perfectly-reliable memory.
malatsion: "Science has influenced quite a few of my works as a source of inspiration. You can classify these works as science-related art. Right after my switch to the academy, my interest in science was for a while pushed into the background. It was only in 2008 that it re-emerged. Science is for me above all a source of images which helps me create installation works that remind their viewers of places such as the laboratory or of scientific methods such as the experiment."
Gerhard Daum falls into the category of a science-related artist. He bases his work on mathematics, above all on Euclidian geometry, trigonometry and analysis. His approach is experimental, probing different techniques of mathematical construction and then reducing the constructional matrix, while continuously observing the aesthetic effect.
The famous painter Karl Otto Götz, one of the most prominent artists of Art Informel, also worked as an empirical scientist in the 1960s and 1970s.
Mischa Kuball: "I do not perceive myself as a double-competent cross-over worker between science and art, but rather as an artist who is working transdisciplinary. As an artist, I contribute to certain scientific research projects. Particularly, there are cooperation projects with the neurosciences neuropsychology and neurophysiology." …
The terms Space Art or Astronomical Art (I prefer the latter) are used for pictorial representations of aspects of the cosmos or the universe. Obviously, Astronomical Art also allows to represent utopias, but always on the basis of the current state of research in natural science. “Beam me up, Scotty” remains Science Fiction. It has to do with science and cultural history, with technology and last but not least with Man, who has always felt the urge to leave planet Earth and to explore the universe. …
Markus Schrenk's True Copy artwork raises questions: What is a copy? When is this copy a real copy? How do (real) copies relate to their originals?
In 1754, the Anatomical Collections of the University of Erlangen-Nuremberg were established for the purpose of providing teaching material for classes held at the Anatomical Institute. In the meantime, the collection is also accessible to non-specialists twice a year. Yet, due to the extraction of the specimen from its original context and its solidification into an object, a layman will never be able to perceive a specimen with the rational logic that is appropriate to the observation of scientific models. The object thus takes on the appearance of a shadow of the living, reminding us of our own mortality in a disturbing yet monstrous way.
According to the terminology of the online journal, I am on the border between science and art: on one hand I am a working artist, and on the other, active in the sciences as a participant in a master’s program. I would like to describe the stages of development leading to this state.
A border crosser between science and art is what the online journal calls an individual working both scientifically and artistically in the field of fine arts. I belong to this group, too. (…) I will introduce the reader to some of my artistic works created since 2013. For this purpose, I will select some representative examples from several series and explain their prevailing peculiarities.
These exhibitions have taken place every two years on the premises of the Anatomical Institute. Amongst the invited guests were physicians who actively pursue art and artists with an active interest in medicine. The self-taught in the field of art encountered the self-taught in the field of medicine. On these occasions, ambitious dilettantes came face to face with professionals, each party certainly fostering a sense of discomfort in the other.
Artist interview
Meral Alma, although you are still studying at the Düsseldorf Art Academy under Siegfried Anzinger, as a painter over the last three years you have managed to position yourself remarkably well in the art market. Seven solo exhibitions, participation in over twenty group exhibitions, two-time winner of the talent award of the Düsseldorf Art Academy.