topic

Exhibition Activations

Holobiont. Life is other!

Extended exhibition program, 5 Oct 2022–20 Jan 2023

TOPIC CONTENT:

We humans are colonized by bacteria, fungi and viruses, just as we colonize homes, cities and environments. We also serve as hosts to ideologies, media and technologies.

The concept of the holobiont, introduced in 1991 by biologist Lynn Margulis, describes us humans as a total living being permeated by the biosphere.

It explores the self-conception of individual life, links us symbiotically with other organisms via our microbiome, disturbs the division into subject and object and offends our usual concept of ego. Understanding the world as a holobiont reminds us: Life is other!

The social and psychological transformations of the pandemic and the consequences of the climate and energy crises have brought to the forefront that life is first and foremost that of agencies other than human. Simple demarcations no longer stand up to this dynamic.

‘We’ experience ‘us’ as transitory beings drifting between digital and molecular worlds and sense the twisting of boundaries within us as the possibility of a new language beyond a symbolic distance from the world. With the exhibition Holobiont. Life is Other, the Angewandte Interdisciplinary Lab presents bodies, environments, texts, media, machines and biological organisms condensed into pictorial spaces – each of which represents a narrative about another life and about the lives of others.

Curated by Judith Reichart, Lucie Strecker, Thomas Feuerstein, Jens Hauser

live performance

05 Oct 2022, 19:00

Exhibition Opening: Holobiont. Life is Other

with live performances by Maja Smrekar and Klaus Spiess/Ulla Rauter/Emanuel Gollob/Rotraud Kern and a welcome by curators and artists Judith Reichart, Lucie Strecker, Thomas Feuerstein, Jens Hauser

The concept of holobiont explores the self-conception of individual life, links us humans symbiotically with other organisms via our microbiome, disturbs the division into subject and object and offends our usual concept of ego.

Maja Smrekar performing on a weaving mashine | Image by ©

Opus et Domus by Maja Smrekar

Maja Smrekar includes her Hybrid Family in the Opus et Domus by producing yarn from her dog companion’s and her own body hair that she collected since 2017, spun into a social fabric that was deﬁned by their hybrid relationship, including artifially produced serotonine, an odoriferous mixture, combining serotonin taken from the blood of the artist with that taken from her dog. The advanced technology implemented into the installation serves to underline the contrast to the symptoms of the ever regressing society. The archetypal relationship depicted in this tableau vivant thus paraphrases a conclusion that the roots of politics are older than humanity; a thought suggesting that nowadays hybrid processes in society are solely political statements.

ECOLALIA by Klaus Spiess/Ulla Rauter/Emanuel Gollob/Rotraud Kern

The performance installation ECOLALIA makes a statement about the simultaneous loss of diversity of microbiota and languages. It shows in real time that the oral flora uses vowels differently from consonants for its growth. The flourishing of the flora, supported by artificial intelligence and a speech synthesiser, suggests new sounds for new languages.

About the exhibition:

We humans are colonized by bacteria, fungi and viruses, just as we colonize homes, cities and environments. We also serve as hosts to ideologies, media and technologies.

The concept of the holobiont, introduced in 1991 by biologist Lynn Margulis, describes us humans as a total living being permeated by the biosphere.

Part of Green Hydra by Thomas Feuerstein

Curated by Judith Reichart, Lucie Strecker, Thomas Feuerstein, Jens Hauser

With contributions by

Art Orienté Objet, Irini Athanassakis, David Berry, Julia Borovaya, Adam Brown, Juan M. Castro & Akihiro Kubota, Tagny Duff, Thomas Feuerstein, Karmen Franinovic, Ana Maria Gomez Lopez, Luis Hernan/Pei-Ying Lin/Carolina Ramirez-Figueroa, Hideo Iwasaki, Henrik Plenge Jakobsen, Eduardo Kac, Roman Kirschner, Lynn Margulis/Dorion Sagan/Bruce Clarke/David McConville, Yann Marussich, Agnes Meyer-Brandis, ORLAN, Špela Petrič, Chris Salter, Maja Smrekar, Klaus Spiess/Ulla Rauter/Emanuel Gollob, Lucie Strecker/KT Zakravsky, Tina Tarpgaard, Paul Vanouse, M R Vishnuprasad, Peter Weibel, and authors of the special issue On Micorperformativity, Performance Research: A Journal of the Performing Arts, 2020, 25 (3).

Scenography: Wolfgang Fiel, Institute for cultural policy

The exhibition was curated originally for the Magazin 4 exhibition space in Bregenz. The content was adapted and expanded for display at Angewandte Interdisciplinary Lab (AIL) in

Performance and Installation: Maja Smrekar, Co-production: Festival Click / Kulturværftet (Helsingør, Danska / Denmark) & Kapelica Gallery / ZavodKersnikova (Ljubljana). Supporters: Bikuben Foundation, Danish Arts Council, Ministry of Culture of the Republic of Slovenia, City of Ljubljana, Department of Culture. Collaborators and consultants: Lovrenc Košenina, Bojana Ažman, Michaela Selmani, Anže Sekelj, Gia Gruden Photo: Sandra Odgaard / Thinkalike

ECOLALIA: FWF PEEK AR 687 ‘Semiotic Symbiosis for the Posthuman Commons’ – A cooperation between the University of Applied Arts and the Medical University Vienna. Klaus Spiess (Project Lead) Project Staff: Ulla Rauter (Sound&Media artist), Emanuel Gollob (Human-AI interaction artist), Rotraud Kern (Choreographer), Boris Vitazek (Programmer) Collaborators and consultants: Lucie Strecker, Jens Hauser, Mark Rinnerthaler, Amrito Geiser (Dept Cell Biology and Genetics, University of Salzburg), Bozhidar Baltov, Christoph Freidhöfer, Ula Reutina. Photo: Klaus Spiess

exhibition

19 Oct 2022, 16:00

Holobiont: Tour with Curator Jens Hauser

Understanding the world as a holobiont reminds us: Life is other!

The exhibition presents bodies, environments, texts, media, machines and biological organisms condensed into pictorial spaces

We humans are colonized by bacteria, fungi and viruses, just as we colonize homes, cities and environments. We also serve as hosts to ideologies, media and technologies.

The concept of the holobiont, introduced in 1991 by biologist Lynn Margulis, describes us humans as a total living being permeated by the biosphere.

Part of Green Hydra by Thomas Feuerstein

Curated by Judith Reichart, Lucie Strecker, Thomas Feuerstein, Jens Hauser

Jens Hauser

Jens Hauser is a Paris and Copenhagen based media studies scholar and art curator focusing on the interactions between art and technology. He is currently a professor in art history at the Karlsruhe Institute of Technology (KIT), an affiliated researcher at University of Copenhagen’s Medical Museion, a postdoc researcher at the Medical University Vienna, and a distinguished affiliated faculty member at Michigan State University, where he co-directs the BRIDGE artist in residency program. At the intersection of media studies, art history and epistemology, he has developed a theory of biomediality as part of his PhD at Ruhr University Bochum, and also holds a degree in science and technology journalism from Université François Rabelais in Tours.

With contributions by

Scenography: Wolfgang Fiel, Institute for cultural policy

The exhibition was curated originally for the Magazin 4 exhibition space in Bregenz. The content was adapted and expanded for display at Angewandte Interdisciplinary Lab (AIL).

exhibition

04 Nov 2022, 17:00

Holobiont: Tour with Curator Lucie Strecker

Understanding the world as a holobiont reminds us: Life is other!

The exhibition presents bodies, environments, texts, media, machines and biological organisms condensed into pictorial spaces

Holobiont. Life is Other

Part of Green Hydra by Thomas Feuerstein

We humans are colonized by bacteria, fungi and viruses, just as we colonize homes, cities and environments. We also serve as hosts to ideologies, media and technologies.

The concept of the holobiont, introduced in 1991 by biologist Lynn Margulis, describes us humans as a total living being permeated by the biosphere.

Curated by Judith Reichart, Lucie Strecker, Thomas Feuerstein, Jens Hauser

Lucie Strecker Brains’ Shit for Shit Brains (2020) with On Microperformativity (2020), exhibition view at AIL

Lucie Strecker

works across media and performance on experimental systems in art and science. Until 2022 she worked for the Angewandte Performance Laboratory and since 2021 she is a lecturer at the Department of Art and Communicative Practice at the University of Applied Arts Vienna. In 2019-2020 she taught Experience Design at the Free University of Bozen-Bolzano. 2016- 2020 she directed the Elise-Richter PEEK project on the performativity of the biofact. Works, among others in cooperation with Klaus Spiess were shown nationally and internationally. Together they received the ZIM Performing Science Prize and a Prix Ars Electronica Honorary Mention. Lucie Strecker has published in Performance Research, The Lancet, Leonardo and with Diaphanes Verlag. Together with Jens Hauser, she published the special issue ‘On Microperformativity’, Performance Research 25(3) in 2020.

With contributions by

Scenography: Wolfgang Fiel, Institute for cultural policy

Klaus Spiess /Ulla Rauter/Emanuel Gollob ECOLAIA (2022), exhibition view at AIL

Henrik Plenge Jakobsen, Freiheit ist ein Geheimnis (2021), exhibition view at AIL

Maja Smrekar, Opus et Domus (2018), exhibition view at AIL

The exhibition was curated originally for the Magazin 4 exhibition space in Bregenz. The content was adapted and expanded for display at Angewandte Interdisciplinary Lab (AIL).

discussion

10 Nov 2022, 19:00

Towards Interspecies Performance Art

with Maja Smrekar, Fahim Amir & Lucie Strecker

As Nature becomes Biology, becomes Genetics, through which life itself becomes reprogrammable information, our understanding of the role of the animal as ‘the natural’ has changed.

Holobiont. Life is Other

As Nature becomes Biology, becomes Genetics, through which life itself becomes reprogrammable information, our understanding of the role of the animal as ‘the natural’ has changed.

Since the beginning of environmental theater in the 1960s, the animal has been considered ‘the real’, which penetrates culture. Now, with the introduction of new biotechnologies, it has also come to incorporate technology.

These circumstances are reflected in the current exhibition Holobiont. Life is Other at Angewandte Interdisciplinary Lab, where artists explore the thresholds of species and their symbiotic relationships in performative settings. Maya Smrekar, for example, investigates in her working cycle K 9_topology human/dog/wolf co-evolution, co-habitation as well as the possibility to create a hybrid of the human, rethinking the social and ideological boundaries of selfhood.

Maja Smrekar, Opus et Domus, Photo: Sandra Odgaard / Thinkalike

During the evening of Towards Interspecies Performance Art, Maja Smrekar will first present part of her K-9_topology: Opus et Domus and later enter into dialogue with the philosopher, artist and curator Fahim Amir. In his recent book, Schwein und Zeit, Fahim Amir is challenging human exceptionalism and common categorizations of species by asking:

Are animals victims of human domination or heroes of resistance? Is nature pristine and defenseless, or sentient and devious? Is being human really a prerequisite for being political?

The dialogue between the invited guests, moderated by Lucie Strecker, co-curator of Holobont. Life is Other, will give the audience the opportunity to review perceptions, question terminologies and analyze perspectives on current explorations of interspecies performance art.

(Please note: Maja Smrekar will be present online)

Welcome: Elisabeth Falkensteiner, Curator and Co-Head of AIL

live performance

24 Nov 2022, 18:00

Language as Biomedial Intervention

Series of Ecosemiotic Perspectives on Language – Part of the exhibition Holobiont. Life is Other

The artistic works presented in this talk fuse language with living matter, allow language – supported by artificial intelligence – to act as a biomimetic labour force, and shift the function of language as communication to language as actual biomedial intervention.

Holobiont. Life is Other

Laser Talks

Vienna Art Week

Join via Zoom

Institute for Inconspicuous Languages: Reading Lips | Image by ©

Institute for Inconspicuous Languages: Reading Lips, © Špela Petrič

Languages traditionally describe or performatively enact phenomena of the living world; poetics has long treated words as quasi-living subjects. But in the posthuman era, sign systems may even be considered living entities in and of themselves.

The artistic works presented in this LASER talk fuse language with living matter, allow language – supported by artificial intelligence – to act as a biomimetic labour force, and shift the function of language as communication to language as actual biomedial intervention.

The presented works demonstrate how articulation, voice and sounds reorganise themselves in the process, how nature and language attempt to short-circuit each other to the exclusion of the human brain, and how human language is suited – not only metaphorically – to coexist with non-human beings.

Finally, the question emerges:

May such embodiments of language contribute to the development and increase in complexity of its semantics? Or do they rather hinder its ability to form symbols?

Contributors (lectures and performances):

Jens Hauser

is a German Paris based researcher, currently a professor in art history at the Karlsruhe Institute of Technology (KIT). At the intersection of media studies, art history and epistemology he has developed an aesthetic and epistemological theory of biomediality and microperformativity.

Thomas Feuerstein

is an Austrian artist who aims to transpose metaphors into ‘metabols’. His processual sculpture PANCREAS transforms books into glucose in order to nourish human brain cells, whereas in his work POEM exhaled air from exhibition visitors condenses into water, which is further processed into distilled liquor, offered to be drunk by visitors.

Špela Petrič

is a Ljubljana and Amsterdam based new media artist who holds a PhD in biology. In her work Institute for Inconspicuous Languages: Reading Lips the LipNet artificial neural network and a human interpreter for the deaf attempt to read the microscopic ‘lips’ (leaf pores) of the inchplant (_Tradescantia zebrina_) in a desire to negotiate a common linguistic code between humans and plants.

Klaus Spiess, Emanuel Golloband Ulla Rauter

form an Austrian Art and Science collective funded by the Austrian Science Fund. In their artwork Ecolalia they employ Deep-Learning to enrich both the latent space of unknown phonemes and the environmental latent space of oral microbiota.

Rotraud Kern

is an Austrian performer and choreographer, she is a founding member of a vocal ensemble and teaches voice and body and will perform within Ecolalia.

Lucie Strecker

is a German Vienna based artist and director, who creates the specific scenographies for this LASER series, emphasizing their hybrid and microperformative as well as transacademic character.

This Event is Part 1 (together with Vienna Art Week, in the frame of the exhibition Holobiont)
Part 2 Alphabet pleasures – when signs mate will follow in spring 2023
Part 3 Semiopollution and Semiocapitalism will follow in spring 2023

A cooperation between the Medical University of Vienna and LASER (Leonardo Art & Science Evening Rendevouz) and AIL — part of the exhibition Holobiont. Life is Other

About the LASER (Leonardo Art & Science Evening Rendevouz) Series

Funded by PEEK AR 687 Semiotic Sympoiesis for the Posthuman Commons and the Angewandte Interdisciplinary Laboratory

Photo: Špela Petrič

book presentation

20 Jan 2023, 18:30

Finissage: Holobiont. Life is Other

David Berry, Thomas Feuerstein, Karmen Franinović, Jens Hauser, Roman Kirschner, Gerald Nestler, Klaus Spiess, Maja Smrekar, Lucie Strecker and K.T. Zakravsky discuss the significance of microperformativity in their artistic practices.

Get together and guided tour: 17:30 / Panel discussion and journal presentation: 18:30

Download Finissage Program

Yann Marussich, Bleu Remix, 2007, detail from the performance at Casino Luxembourg – Forum d’art contemporain, as part of the exhibition sk-interfaces. Exploding Borders in Art, Technology and Society. Courtesy of the artist. Photo © Axel Heise

For the finissage of Holobiont. Life is Other the contributions by international authors of the special volume of the journal Performance Research 25 (3), ‘On Microperformativity’ will be presented and discussed.

In the context of the exhibition, a multimedia wall newspaper presented artistic and theoretical contributions on the potential of microscopic physiological, chemical or biotechnological processes, taken from the journal.

The aim of this issue is to explore both the epistemological and aesthetic potential of the notion of microperformativity.

The term microperformativity denotes a current trend in theories of performativity and performative artistic practices to destabilize human scales (both spatial and temporal) as the dominant plane of reference and to emphasize biological and technological micro-aspects that relate the invisibility of the microscopic to the intangibility of the macroscopic. Investigations into microperformativity redefine what art, philosophy, and the technosciences now consider ‘body’ at a time when performance art is moving toward a generalized and ubiquitous performativity in art.

Microperformative positions ask how artistic methods can critically engage with technologies that manipulate life at the microscopic and molecular levels, merging around bio- and digital media.

This issue includes contributions on biotechnological performances, physiological processes and microgestures, traditional rituals and craft techniques, microperformativity from the perspective of the natural sciences, and artistic engagements with algorithmic finance and high frequency trading.

The concept oscillates with the title of the exhibition Holobiont as a pioneering approach by biologist Lynn Margulis: We are all holobionts – organisms entirely permeated by the biosphere, symbiotically interconnected with other organisms. This concept calls into question the self-understanding of individual life and the division into subject and object: Life is Other!

Orginaly published in 2020 during the Covid pandemic, the special volume ‘On Microperformativity’ has been reissued for the exhibition and will be presented and discussed publicly for the first time.

Program

17:30

Get together and exhibition tour with Thomas Feuerstein, Jens Hauser and Lucie Strecker

18:30

Panel discussion and journal presentation with contributors, artists and researchers David Berry, Thomas Feuerstein, Karmen Franinović, Jens Hauser, Roman Kirschner, Gerald Nestler, Klaus Spiess, Maja Smrekar, Lucie Strecker and K.T. Zakravsky

About the exhibition:

We humans are colonized by bacteria, fungi and viruses, just as we colonize homes, cities and environments. We also serve as hosts to ideologies, media and technologies.

The concept of the holobiont, introduced in 1991 by biologist Lynn Margulis, describes us humans as a total living being permeated by the biosphere.

Part of Green Hydra by Thomas Feuerstein

Curated by Judith Reichart, Lucie Strecker, Thomas Feuerstein, Jens Hauser

With contributions by

Scenography: Wolfgang Fiel, Institute for cultural policy

The exhibition was curated originally for the Magazin 4 exhibition space in Bregenz. The content was adapted and expanded for display at Angewandte Interdisciplinary Lab (AIL) in

Performance Research 25 (3), On Microperformativity, edited by Jens Hauser and Lucie Strecker, Routledge, 2020.

image

Exhibition View: Holobiont. Life is Other

Presentation of bodies, environments, texts, media, machines and biological organisms condensed into pictorial spaces / Oct 2022–Jan 2023

Curated by Judith Reichart, Lucie Strecker, Thomas Feuerstein, Jens Hauser

Exhibition view, please note the following presentation does only show parts of the artworks from the exhibition.

On Microperformativity, Wall paper based on the Journal Performance Research 25 (3), edited by Jens Hauser and Lucie Strecker with two monitors.

In the context of the exhibition, a multimedia wall newspaper presented artistic and theoretical contributions on the potential of microscopic physiological, chemical or biotechnological processes, taken from the journal ‘On Microperformativity’.

Microperformative positions ask how artistic methods can critically engage with technologies that manipulate life at the microscopic and molecular levels, merging around bio- and digital media. For this finissage the contributions by international authors of the special volume of the journal Performance Research 25 (3), ‘On Microperformativity’ were presented and discussed. The term microperformativity denotes a current trend in theories of performativity and performative artistic practices to destabilize human scales (both spatial and temporal) as the dominant plane of reference and to emphasize biological and technological micro-aspects that relate the invisibility of the microscopic to the intangibility of the macroscopic. Investigations into microperformativity redefine what art, philosophy, and the technosciences now consider ‘body’ at a time when performance art is moving toward a generalized and ubiquitous performativity in art.

Lucie Strecker – Brains’ Shit for Shit Brains (2020) / With literary text by KT Zakravsky

Brain's Shit for Shit Brains speculates on the importance of microbial diversity in sociopolitical contexts. Not only biobanks have recently been advertising the shit of celebrities, but pharmacological and medical research is also investigating the importance of microorganisms in the stool and their influence on mental and cognitive functions via the so-called microbiota-gut-brain axis.

Lucie Strecker designed a shooting gallery in which a microbial suppository becomes the grand prize. Porcelain anuses are the targets, placed in a coordinate system of social positions according to the French sociologist and anthropologist Pierre Bourdieu.

Lucie Strecker collected stool samples from people from different socio-political spaces and extracted microbes from them. They were preserved as a ‘pharmakon.’ The pharmakon is ambivalent in its effect: as magic and power it can be – simultaneously or consecutively – healing and damaging. For this installation, the literary artist KT Zakravsky wrote a literary game manual.

Henrik Plenge Jakobsen – Freiheit ist ein Geheimnis (2021). Teaching installation with a blackboard, bench, mylar curtains, stones from the Rickbach, Hörbranz.

The installation by Henrik Plenge Jakobson is an imaginative lesson with rocks from the lake waiting for their teacher to appear so she can begin her lesson on where the concept of freedom is hidden. It will likely be a complex session about existence and its relationship to the environment, and where exactly the cracks of emancipation can be found within that relationship.

ECOLALIA by Klaus Spiess / Ulla Rauter / Emanuel Gollob / Rotraud Kern (2022)

'The performance installation ECOLALIA uses artificial intelligence to uncover the complex balance between the needs of our oral microbiome and a future language. Our lab data show that the tonal, vibrating voice that unfolds primarily in singing and moaning stimulates microbes to grow, while the noise of alphabetic speech, as amplified by whispering, stresses oral microbes and causes them to die.’ — ECOLALIA makes a statement about the simultaneous loss of diversity of microbiota and languages. It shows in real time that the oral flora uses vowels differently from consonants for its growth. The flourishing of the flora, supported by artificial intelligence and a speech synthesiser, suggests new sounds for new languages.

Thomas Feuerstein, GREEN HYDRA (2021). Hydras (many-headed Hydra viridissima), green algae (Chlorella vulgaris), glass, plastic, pump technology, refrigerator

HYDRA (2021) by Thomas Feuerstein is a mouth-blown glass sculpture in the form of a many-headed hydra, inside of which freshwater polyps – called Hydra viridissima – are cultivated. The hydras live in a chamber of the sculpture filled with water and enter into symbiosis with chlorella algae. Through their transparent bodies, the chlorophyll of the microalgae glows and colors them green. Both creatures mutually complement their animal and plant metabolism and use light and plankton as a source of energy and food. – Symbiotic communities have gained metaphorical prominence in recent years in the debate over new models of society.

Maja Smrekar, Opus et Domus (2018). Glass house, metal spinning wheel, serotonin, dog hair, human hair, microfluidic lab system, hot plate

Maja Smrekar includes her Hybrid Family in the Opus et Domus by producing yarn from her dog companion’s and her own body hair that she collected since 2017, spun into a social fabric that was deﬁned by their hybrid relationship, including artifially produced serotonine, an odoriferous mixture, combining serotonin taken from the blood of the artist with that taken from her dog. The advanced technology implemented into the installation serves to underline the contrast to the symptoms of the ever regressing society. The archetypal relationship depicted in this tableau vivant thus paraphrases a conclusion that the roots of politics are older than humanity; a thought suggesting that nowadays hybrid processes in society are solely political statements.

Close Reading – David Berry/Lucie Strecker (2021). Microphone stand, perforated plate, glass petri dishes, nutrient medium, PH index, Journal of Performance Research 25(3).

Close Reading by David Berry/Lucie Strecker (2021) — In literary studies, close reading refers to the careful interpretation of a passage of text, a precise reading that traces all textual details, nuances of meaning, and linguistic effects, focusing on the text as an object. Such an approach places great emphasis on the specific as opposed to the general, paying close attention to individual words, syntax, and the order of sentences and words.
As an installation, Close Reading is an invitation to visitors to select a short passage from the journal, read it aloud, and ‘discuss’ the Petri dish which is placed in the microphone stand with their breath and the microbes in it. The petri dish is closed and the quote is written on the lid. From that moment on, the individual microorganisms continue to grow on the nutrient medium over the period of the exhibition.

‘We’ experience ‘us’ as transitory beings drifting between digital and molecular worlds and sense the twisting of boundaries within us as the possibility of a new language beyond a symbolic distance from the world. With the exhibition Holobiont. Life is Other, the Angewandte Interdisciplinary Lab presents bodies, environments, texts, media, machines and biological organisms condensed into pictorial spaces – each of which represents a narrative about another life and about the lives of others.

More about the exhibition

With contributions by

Art Orienté Objet, Irini Athanassakis, David Berry, Julia Borovaya, Adam Brown, Juan M. Castro & Akihiro Kubota, Tagny Duff, Thomas Feuerstein, Karmen Franinovic, Ana Maria Gomez Lopez, Luis Hernan/Pei-Ying Lin/Carolina Ramirez-Figueroa, Hideo Iwasaki, Henrik Plenge Jakobsen, Eduardo Kac, Roman Kirschner, Lynn Margulis/Dorion Sagan/Bruce Clarke/David McConville, Yann Marussich, Agnes Meyer-Brandis, ORLAN, Špela Petrič, Chris Salter, Maja Smrekar, Klaus Spiess/Ulla Rauter/Emanuel Gollob, Lucie Strecker/KT Zakravsky, Tina Tarpgaard, Paul Vanouse, M R Vishnuprasad, Peter Weibel, and authors of the special issue On Micorperformativity, Performance Research: A Journal of the Performing Arts, 2020, 25 (3).

Scenography: Wolfgang Fiel, Institute for cultural policy

The exhibition was curated originally for the Magazin 4 exhibition space in Bregenz. The content was adapted and expanded for display at Angewandte Interdisciplinary Lab (AIL).

All photos: Lea Dörl