A Brief History of The Arts Catalyst

1 Introduction

This small publication marks the 20th anniversary year of The Arts Catalyst. It celebrates some of the 120 artists’ projects that we have commissioned over those two decades.

Based in , The Arts Catalyst is one of  Our new commissions, exhibitions the UK’s most distinctive arts organisations, and events in 2013 attracted over distinguished by ambitious artists’ projects that engage with the ideas and impact of science. We 57,000 UK visitors. are acknowledged internationally as a pioneer in this field and a leader in experimental art, known  In 2013 our previous commissions for our curatorial flair, scale of ambition, and were internationally presented to a critical acuity. For most of our 20 years, the reach of around 30,000 people. programme has been curated and produced by the (founding) director with curator Rob La Frenais,  We have facilitated projects and producer Gillean Dickie, and The Arts Catalyst staff presented our commissions in 27 team and associates. countries and all continents, including at major art events such as Our primary focus is new artists’ commissions, and documenta. presented as exhibitions, events and participatory projects, that are accessible, stimulating and artistically relevant. We aim to produce provocative,  Our projects receive widespread playful, risk-taking projects that spark dynamic national and international media conversations about our changing world. This is coverage, reaching millions of people. underpinned by research and dialogue between In the last year we had features in The artists and world-class scientists and researchers. Guardian, The Times, Financial Times, Time Out, Wall Street Journal, Wired, The Arts Catalyst has a deep commitment to artists New Scientist, Art Monthly, Blueprint, and artistic process. We work with artists at pivotal Dazed & Confused to name a few stages in their careers, providing opportunities for as well as extensive radio and them to develop bold projects in unusual contexts. TV coverage. Past projects have involved flying teams of artists and scientists in zero gravity in Russia, recreating historical bio-warfare experiments off the coast of   Our website receives over 50,000 , setting up live scientific experiments as unique hits per year. art installations, siting futuristic art-science labs in remote landscapes, and enabling artists’ access to restricted scientific establishments.

Upcoming projects develop enduring themes around deep time, autonomous research, bioethics, and the global commons (oceans, poles, atmosphere and outer space), working with both established and emerging artists to create inspiring and thought- provoking new art experiences.

Nicola Triscott, Director

2 3 Key facts Key Projects/contents Poetic Cosmos of Ice Diamond Ice Lab: the Breath Torsten Laushman Ice Blink Tomas Saraceno Artists Airshows Primate 2013 Simon Faithful 2007 2004, 2007, 2012 Space Soon Cinema 2006 20 Artists commissions 2013–2015 Rachel Mayeri Aleksandra Mir (P. 22-23) N55 & Neal White 2011 Jerry Dammers Special Arctic Perspective (P. 31) Data Landscapes AKA Orchestra (P. 14-17) Initiative London Fieldworks 2011 Marko Peljhan (P. 29) Michelle Griffiths Matthew Biederman … and guests … 2010–Ongoing 2006 Kosmica Interspecies Bipolar Satellite Stories 2011–Ongoing Anne Brodie Joanna Griffin (P. 18–19) Weather Permitting Astro Black 2008 (P.28) 2005 Morphologies Flow Motion 2005

AIR & CLIMATE Republic of the M.I.R. Moon Microgravity Makrolab POLAR STUDIES 2011–2014 Interdisciplinary Marko Peljhan Bower Birds Research 2002 Sally Hampson 2000–2004 (P. 24-25) 2005 (P. 31) A INTERSPECIES SPACE (P. 10-13) Consilience Jan Fabre 2000

Seaclipse Parallel Universe Anne Bean & Collaborators Ansuman Biswas, The Arts Catalyst Paul Wong 2000 2010–2011 1994–2014 1997 ECOLOGY Window of Opportunity PHYSICS Ken Campbell AND 1996 PHILOSOPHY Truth Serum BIOSCIENCE 2007–2010 Neal White 2008 Talking of the Sex of Angels Nikky Smedley Company 1996 Prof. AA Singleton-Guinness, MIND & BODY Endo Ecto Jack Klaff Marching Plague TECHNOLOGY, Phillip Warnell 1994 Critical Art SECRECY, 2006 Ensemble INFRASTRUCTURE 2006 BIOTECHNOLOGY M-Blem: SEFT-1 (P. 20-21) ENERGY the train project Los Ferronautas HeHe 2013–2014 2012 Konfirm Jon Adams Clean Rooms 2013 Gina Czarnecki Body Visual Neal White 1996 Critical Art Ensemble Dark Places Brandon Ballengée Neal White & 2002 (P. 6-7) Labyrinth of Living Office of Experiments Exhibits The Neighbour Victoria Halford & Steve Beard Beatriz Da Costa SymbioticA Bioart Lab Aaron Williamson Ashok Sukumaran Brian Catling Steve Rowell 2004 2009 Katherine Araniello 2010 Sinéad O‛Donnell 2011 Nuclear Culture Transformism 2013–2014 Melanie Jackson Overt Research Project critical excursions Revital Cohen Office of Experiments 2013 Fracking Futures Atomic 2009–2012 HeHe Synthesis Lab 1998–1999 Nuclear 2013 2011 Lab Easy Chris Oakley MadLab Kypros Kyprianou & (P. 26-27) (P. 31) 2013 (P. 8-9) Simon Hollington 2008 (P. 31)

4 5 Project: Body Visual

Artists:  , Donald Rodney, Letizia Galli

Year: 1996

Locations: Barbican Gallery then toured nationally and internationally

‘Body Visual’ was one of The Arts Catalyst’s first major projects, which commissioned Helen Chadwick, Letizia Galli and Donald Rodney to collaborate with medical scientists to develop new work, resulting in a touring exhibition.

Helen Chadwick undertook a residency at the Assisted Conception Unit, Kings College Hospital, producing her series of works ‘Unnatural Selection’, which notably she considered her most serious body of work. Closely working with scientists and doctors, Chadwick gained a special insight into the science of human fertility and processes behind assisted conception. Her microphotographs of human embryos—which were specifically donated to her art by couples undergoing IVF—are placed in jewel-like arrangements interspersed with other images from the natural world, such as dandelion clocks, evoking the fragile poten- tial of these human stilled lives.

Letitia Galli’s works were informed by the latest findings (at the time) in the field of neurology, and in particular reflected the -ef fects of the neurotransmitter dopamine on obsessive states such as drug addiction and falling in love.

Donald Rodney’s photographic triptych ‘Flesh of my Flesh’ was a deeply personal statement on medical science, reflecting his feelings about what he considered to be discriminatory attitudes of certain medical personnel during his long-term treatment for sickle-cell anaemia.

Portrait of Helen Chadwick at the Assisted Conception Unit, Kings College Hospital. Image: Edward Woodman

Helen Chadwick Nebula, 1996 Microphotographs. Image: Jonathan Hill/ Folly Pictures

6 7 Project: Atomic

Artists: James Acord, mark Aerial Waller, carey Young

Year: 1998–1999

Locations: Imperial College Gallery, London, and then toured nationally and internationally including to Kluze Fortress, Slovenia

‘Atomic’ was a series of three artists’ commissions, resulting in a touring exhibition that explored the cultural and economic legacy of harnessing the power of the atom.

It placed controversial American nuclear sculptor James Acord — the only private individual in the world to hold a licence to handle radioactive materials — who had moved to live on the Hanford Nuclear Reservation in the USA, into the heart of British science, Imperial College London, where he created a series of reliquaries to the nuclear age.

The Arts Catalyst also gave Carey Young her first commission for which she travelled to Russia to photograph the still radioactive legacy of the former USSR space and nuclear programmes, and negotiated access for Mark Aerial Waller to Oldbury Nuclear Power Station to film his short thriller ‘Glow Boys’, featuring the legendary Mark E. Smith from The Fall, which parodied contemporary perceptions and fear of nuclear technology.

James Acord at his studio Above: based at the Hanford Carey Young Nuclear Reservation, USA Venus Probe, 1998 Image: Arthur S. Aubrey C-Print

Centre: Mark Aerial Waller Glow Boys, 1998 Production Still Courtesy of Rodeo

Below: James Acord Nuclear Reliquary, 1998 Mixed Media

8 9 Project: m icrogravity Interdisciplinary Research (M.I.R.)

Artists & Scientists: Anna Alchuk, Ansuman Biswas & Jem Finer, Alexei Blinov, Dr Anthony Bull, Ewen Chardronnet, Kitsou Dubois & co., Vadim Fishkin, Dr Kevin Fong, Dr Rebecca Forth, Flow Motion, Stefan Gec, Imperial College Biody- namics Group, Andrew Kotting, Yuri Leiderman, Trevor Mathison, Evgeni Nesterov, The Otolith Group & Richard Couzins, Marko Peljhan, Mikhail Ryklin, Marcel.li Antunez Roca, Mike Stubbs, Andrey & Julia Velikanov, Neal White, Morag Wightman, Louise K Wilson, Dragan Zivadinov

Years: 2000–2004

Locations: Gagarin Cosmonaut Training Centre, Star City, Russia. , Bordeaux, France.

One of the most fascinating aspects of manned space flight is the state of zero gravity: astronauts and objects floating in air.

The Arts Catalyst’s pioneering zero gravity programme enabled over 50 artists, musicians, scientists and philosophers to access weightless conditions on parabolic flights, as well as other space facilities such as the giant centrifuge, at the Gagarin Cosmonaut Training Centre in Star City, heart of the Russian space pro- Above: gramme, and at the European Space Agency. Prior to these flights Kitsou Dubois (2000–2004), the aesthetic possibilities of zero gravity had barely Trajectoire Fluide, 2000 been explored, due to its exclusiveness. Production still

Outcomes of these “flying laboratories” included 16 artist Centre: commissions that continue to be presented in galleries, Ansuman Biswas & Jem and festivals around the world, and two scientific papers. Finer Zero Genie, 2001 These include nominees the Otolith Group’s first ever Production still commission, the film Otolith 1; a collaboration between dancer Kitsou Dubois and the Biodynamics research group at Imperial Below: College London; and Jem Finer & Ansuman Biswas’ Zero Genie, The Otolith Group in which the artists playfully attempt to ride flying carpets and Otolith I, 2003 smoke a hookah. Production still Courtesy The Otolith Group Some of the flights were organised in cooperation with Projekt and LUX, London Atol, V2 Institute for the Unstable Media, Leonardo-OLATS & Moscow’s TV Gallery. 10 11 Group photo of the participants on the MIR Flight 001, 2001

12 13 Project: Artists Airshows

Artists: a nne Bean, Ben Blakeborough, Miles Chalcraft, Rachel Chapman, Adam Dant, , Alec Finlay, Flow Motion, Stefan Gec, Usman Haque, HeHe, Luke Jerram, Zina Kaye, Sonia Khurana, Tim Knowles, London Fieldworks, Ruth Maclennan, Susanne Norregard Nielsen, Janette , Esther Polak and Ivar van Bekkum, Marko Peljhan, Tomas Saraceno, Camila Sposati, Louise K Wilson

Years: A rtists Airshow (2004), 2nd International Artists Airshow (2007), The Great Glen Above: Below: Anne Bean Loch Ruthven as ‘Wall Artists Airshow (2010) Sky Writing, 2004 wind — lake version’, Image: James Leadbitter performed by Esther Polak Locations: Former Royal Aeronautical and Ivar van Bekkum. 2010 Image: Kristian Buus Engineering Workshops, Farnborough, Hants; Gunpowder Park, Essex; HICA, Loch Ruthven, Inverness-shire

The Arts Catalyst’s ground breaking artist airshows encouraged artists to work with ideas of flight, aeronautical culture, and the air as a medium, and gave audiences unique, unusual and rewarding participatory art experiences.

The first airshow took place at the former Royal Aircraft Establishment workshops in Farnborough, a deserted research facility in which covert projects had been developed during WWII and the Cold War. During the day, hundreds of people watched the launching of artists’ flying objects, rockets and UAVs, and experienced installations and experiments through the abandoned wind tunnels, test tanks and flight simulators.

The 2nd International Artists Airshow reflected the explosive nature of Gunpowder Park, formerly a munitions testing ground. Using engineering and technical expertise, artists attempted to realise the dream of flight with experiments including a spectacular one-person flying platform, a trained eagle documenting the movements of the audience below, and a large-scale pyrotechnic work that attempted to block out the sun.

The Great Glen Artists Airshow was a two-day event at Loch Ruthven, in the Scottish Highlands. Artists investigated wind currents and the flight paths of birds, gave poetry readings and GPS balloon performances, facilitated participatory flying of ‘suprematist kites’, and rendered a vast smoke drawing, tracing the contours of the fell landscape.

14 15 This page:

Simon Faithfull Escape Vehicle no.6, 2004 Image: James Leadbitter & stills from live video relay.

Next page, above:

Camila Sposati Yellow Vanishing Point, 2010 Image: Kristian Buus

Next page, below: Ben Blakebrough Winged Self, 2007 Image: Chis Welch 16 17 Project: Space Soon: Art and Human Spaceflight

Artists: Laurie Anderson, Alan Bean Jerry Dammers’ Spatial a.K.A. Orchestra, Kodwo eshun, Alexei Federchenko, Michelle Griffiths, London Fieldworks, Aleksandra Mir, N55 & Neal White, Semiconductor, Jane & Louise Wilson

Year: 2006

Location: Roundhouse, London, UK

For an intense week, The Arts Catalyst took over London’s Round- for ‘Space Soon’, an exhibition of spectacular large-scale durational installations, accompanied by live events, reflecting on humanity’s relentless quest to leave the Earth.

The huge interior of the Roundhouse venue (a former engine shed) was transformed into a rocket factory for a gigantic rocket going nowhere, ‘Gravity’ by Aleksandra Mir, a monumental, ephemeral 22-metre high constructed from junk. In the Roundhouse car park, Danish architects N55 and artist Neal White installed their inhabited ‘Space Station on Earth’ and set out to investigate planet Earth, while in the vaults London Fieldworks’ ‘SpaceBaby’ was a live experiment and installation exploring the effects of long-term sleep pattern disruption (a hazard of space travel) with scientists from University of Leicester’s Department of Genetics.

Events included talks by Apollo astronaut turned artist Alan Bean (the fourth man on the Moon), and artist Laurie Anderson on her experience as NASA’s artist-in-residence; Michelle Griffiths’ performance-installation ‘Lunar Capsule’; film screenings; the premiere of Jerry Dammers’ remarkable Spatial AKA Orchestra; a symposium on the future of the Moon, and a concert curated Left:Aleksandra Mir by radio station Resonance FM. A series of creative projects for Gravity, 2007 young people took place in the lead up to the event. Image: Marcus J Leith

This page, below: N55/ Neal White Space on Earth Station, 2006 Image: Marcus Leith

This page, right: London Fieldworks Space Baby, 2006 Image: Kristian Buus

18 19 Project: marching Plague

Artists: Critical Art Ensemble

Year: 2006

Locations: Filmed on the Isle of Lewis, Outer Hebrides, Scotland. Subsequent screenings nationally and internationally, including ICA, AV Festival and Whitney Biennial

US arts collective Critical Art Ensemble are known internationally for their tactical media actions and critical texts, often focused on controversial scientific or technological developments.

‘Marching Plague’ was a performance and film, commissioned and produced by The Arts Catalyst, centring on a re-enactment of a secret germ warfare experiment carried out by British government scientists sixty years ago off the coast of the Isle of Lewis in Scotland. The original 1952 series of experiments, codenamed Operation Cauldron, was part of Britain’s nascent biological warfare programme, and exposed nearly 3,500 guinea pigs and 83 mon- keys to deadly germs such as bubonic plague. Operation Cauldron concluded that the germs were just as unreliable and unmanageable over water as they were found to be on the land.

Critical Art Ensemble’s film juxtaposes archival footage of the original sea trials alongside the artists’ DIY re-creation of one of the experiments, using harmless biological simulants to investigate whether microbes can be sprayed effectively over the sea at living targets—guinea pigs (in this case, looked after by members of the Scottish Society for the Prevention of Cruelty to Animals)—a mile away. Through the film, Critical Art Ensemble aim to address and dispel some of the public fear of “bioterrorism”, which they claim has been provoked and exploited by governments to initiate biological warfare programmes, diverting funds from valuable research in global public health and emergent infectious disease.

Thirty guinea pigs and an animal protection supervisor wait to be sprayed with harmless bac- teria―Bacillus subtilis and Serratia marcescens ―as part of Criticial Art Ensemble’s DIY re-enactment of Operation Cauldron.

Royal British Navy Critical Art Ensemble Operation Cauldron, 1952 Marching Plague, 2006 20 21 Project: Poetic Cosmos of the Breath

Artist: Tomas Saraceno

Year: 2007

Location: Gunpowder Park, essex, UK

Tomas Saraceno’s ‘Poetic Cosmos of the Breath’ was the public launch of the artist’s large inflatable experimental solar dome, which was inspired by the dome created by Dominic Michaelis in 1975 for the film Hu-Man.

Commissioned by The Arts Catalyst, Saraceno’s dome was launched at dawn on 22 September 2007 at Gunpowder Park, Essex, and at that point was the artist’s first major outdoor project in the UK. At sunrise, members of the public gathered to watch the launch. The dome—made of translucent sheeting and iridescent foil—was laid out on the ground, held down by sandbags. Applying the principles of solar heated air balloons and utilising the change of temperature at dawn to create a greenhouse effect, the audience witnessed—and assisted—the artist and his team to waft air under the sheeting. Slowly, the giant dome filled with air, lifted off the ground and expanded as the sun rose, the colours of the foil spectacularly shimmering in the dawn light.

In 2013, ‘Poetic Cosmos of the Breath’ was re-presented by the artist at a temporary sculpture park in Hong Kong.

Tomas Saraceno Poetic Cosmos of the Breath, 2007

Images: This page: Adriana Marques Left Page: David Cottridge

22 23 Project: Moon Goose Analogue: Lunar Migration Bird Facility

Artist: Agnes Meyer-Brandis

Year: 2011–2014

Location: First presented in the thematic exhibition ‘Republic of the Moon’ at FACT, . Subsequent presentations include exhibitions in the UK, (London and Newcastle), Belgium, , , , and USA.

Agnes Meyer-Brandis’s poetic-scientific investigations weave fact, imagination, storytelling and myth; past, present and future. In ‘Moon Goose Analogue: Lunar Migration Bird Facility’, a major commission by The Arts Catalyst, the artist develops an ongoing narrative based on the book The Man in the Moone, written by the English bishop Francis Godwin in 1603, in which the protagonist flies to the Moon in a chariot towed by ‘moon geese’.

Meyer-Brandis re-imagines this story for the 21st century by hand-rearing eleven moon geese from birth as future astronauts on a farm in Pollinaria, Italy. She gives the goslings astronauts’ names, imprints them on herself as goose-mother, trains them to swim and fly, teaches them about orbital mechanics and the dangers of space debris, and takes them on expeditions. The commission manifests as a film, series of Agnes Meyer-Brandis photographs, models, vitrines of the geese egg shells, Moon Goose Analogue: Lunar and a control room in which visitors can interact with the Migration Bird Facility, 2011 moon geese via a live feed from their remote moon Production stills analogue habitat in Pollinaria.

Above: Agnes Meyer-Brandis Moon Goose Analogue: Lunar Migration Bird Facility, 2011 Production stills

Centre / Below: Moon Goose Analogue: Lunar Migration Bird Facility at the Bargehouse, London, 2014 Image: Delfanne 24 25 Project: Fracking Futures

Artists: HeHe

Year: 2013

Location: FACT, Liverpool, UK

‘Fracking Futures’ by Paris-based artist duo HeHe (Helen Evans and Heiko Hansen) was a largescale, technically ambitious dynamic installation, co-commissioned by The Arts Catalyst and FACT, Liverpool.

HeHe transformed FACT’s main gallery into a micro-scale fracking landscape, recreating with precise detail the sounds, tremors and risks of a hydraulic fracturing operation—complete with noisy drilling, pounding subwoofers simulating tectonic tremors, sporadic fireballs bursting from the earth, and oily emissions discharging into a murky lake of waste water.

Mischievous yet provocative, ‘Fracking Futures’ drew attention to the polarised debates surrounding this controversial gas extraction technique, that on the one hand regard fracking as a valuable way to obtain new energy sources and achieve economic growth, and on the other are alarmed by its potential environmental dangers and disruptions.

Refraining from making a particular stand, HeHe’s installation opened a discursive space for this pertinent local issue (Northwest has vast reserves of underground shale gas), as well as playfully highlighting pressures on public arts organisations to generate new sources of income.

This page and opposite: HeHe Fracking Futures, 2013 Image: FACT

26 27 Experience & Learning

Our experience and learning programme offers people, from many backgrounds, the opportunity to explore ideas, develop skills and create new work, thematically crossing art and science.

We run labs, workshops and field trips for both artists and the general public, opening up rarefied fields of knowledge. For example, ‘Lab Easy’ with Mad Lab offered hands-on workshops in DIY biology: from culturing bioluminescent bacteria to Tiki-style DNA extraction. We even took the lab to Deptford Market!

We offer a dynamic range of workshops and participatory projects for families and young people, from one-off workshops to extended projects such as ‘East of Eden’, in which - over an 18-month period—artist Lucy Stockton-Smith with Sandwich Technology School designed, built and utilised two geodesic domes in the school grounds to explore the benefits of organic gardening versus hi-tec agriculture.

We enjoy bringing together experts and the public, in relaxed social environments, to explore new ideas and alternative perspectives in science and culture. Our hugely popular Kosmica series—a regular London-based salon event exploring the art, science and culture of outer space—has gone global, with Kosmicas in Paris, Hasselt and .

Above: Participatory workshop Satellite Stories led by artist Joanna Griffin at the Mullard Space Science Laboratory, Surrey, 2008.

Centre: Cellular Gastronomy– An Alternative Sunday Lunch, a Lab Easy workshop where participants learnt skills in the art of fermentation, 2013.

Nahum Mantra and Anais Below: Tondeur’s performative ritual East of Eden by artist Lucy A Case for Levania as part of Stockton-Smith Sandwich- Kosmica Mexico City, 2013. Technology School, 2004–6. 28 29 Research

Underpinning The Arts Catalyst’s commissions and exhibitions programme is our extensive research strand. The Arts Catalyst team researches, lectures and publishes internationally on subjects including art and ecology, and cultural aspects of space exploration, nuclear energy and polar research.

From our ground breaking artistic and scientific experiments in zero gravity, we were invited by the European Space Agency (ESA) to develop a cultural policy for the International Space Station.

Through our long-standing interest in the polar regions, including projects such as Bipolar and the Arctic Perspective Initiative, we were commissioned by the British Council in 2013 to curate the international touring exhibition ‘Ice Lab: New Architecture and Science in Antarctica’. Our SymbioticA BioArt workshops and Synthesis (synthetic biology) laboratory were pioneering initiatives in the rapidly growing interest among artists in contemporary bioscience.

We facilitate long-term residencies for artists at world-class science institutions, as well as multidisciplinary research projects, such as Makrolab, conceptualised by artist Marko Peljhan, a nomadic sustainable art/science laboratory that can host teams of researchers working and living alongside each other in remote environments.

We organise talks, critical discussions, and major thematic conferences, held in partnership with organisations including the and the Royal Institution.

This Page: Scientist and penguin in Antarctica perusing Ice Lab exhibition publication, 2014.

Right page, top to bottom: Arctic Perspective Initiative (API) makeshift media lab in Arctic Canada, 2009. Image credit: Matthew Biederman

Makrolab in Perthshire, Scotland, 2002 Image credit: Tim Knowles

Production still of Melanie Jackson’s The Urpflanze (Part 2), 2012 commissioned by The Arts Catalyst as a direct result from the artist participating in the Synthesis laboratory.

30 31 Partnership is key to work of The Arts Catalyst. We collaborate The Arts Catalyst warmly thanks the following with world class galleries and museums, universities, arts organisations, who have supported and worked organisations, science agencies, research centres and festivals. with us over the past twenty years:

Ars Electronica Lighthouse, Brighton Ambika P3, London A Foundation, London Lighthouse, Arts Council England AND Festival Lilian Baylis Theatre, London Artist Links Brazil Artquest London Zoo Arts & Humanities Research Board Atholl Estate Lorna, Iceland AT&T Autism Research Centre, Lux, London Brazilian Ministry of Culture University of Cambridge, MadLab, British Council AV Festival, Newcastle-upon-Tyne Matts Gallery, London British Telecom Baltic, Gateshead Mullard Space Science Laboratory, UCL Calouste Gulbenkian Foundation Barbican, London of Science and Industry, Manchester City of Dortmund Bournemouth University, Media School National Centre for Biological Sciences, City of Ljubljana British Antarctic Survey Bangalore, India COPUS British Embassy, Moscow Natural History Museum, London Creative Partnerships British Library Old Operating Theatre, London Daiwa Foundation Canada House, London The Open University Economic and Social Research Council Cell Project Space, London P3, London Embassy of Mexico, London Central Laser Facilty, STFC Rutherford Appleton The Place, London Engineering and Physical Sciences Research Council Laboratory, Oxford Projekt Atol, Slovenia European Commission Culture Programme Centre for Astrophysics and Planetary Science, Queen Mary University of London European Commission Seventh Framework Programme University of Resonance FM Goethe Institute Centre for Mountain Studies, Perth College Roehampton University, London Henry Moore Foundation Cheltenham Science Festival Roundhouse, London Heritage Lottery Fund CNES (French Space Agency) Royal Aeronautical Engineering Workshops, Higher Education Active Community Fund Cornerhouse, Manchester Farnborough Highland Council CREAM, University of Westminster Royal Holloway, University of London Highland Culture Fund DadaFest The Royal Institution London Highlands and Islands Enterprise Delta Utec Royal Society of the Arts, London Leverhulme Trust Art Festival San Francisco Arts Commission Gallery London Film & Video Edinburgh Zoo SCAN Development Agency Ellipse, France Science Museum, London Ministry of Culture of the Republic of Slovenia European Space Agency Science Museum, London Mobitel European Space Research & Technology Centre, Scott Polar Research Institute, Cambridge Mondriaan Foundation Netherlands Sevenoaks Wildfowl Reserve, Kent National Institute of Fine Arts (INBA), Mexico FACT, Liverpool Shape NESTA Farnborough Air Sciences Trust Slade School of Art, UCL Nevis Partnerships Film & Video Umbrella Soho Theatre, London Open University Flat Time House, London Paul Hamlyn Foundation Gagarin Cosmonaut Training Centre, Star City, SPACE, London Pfizer Russia SpaceArtOne, France Science & Technology Facilities Council Gallery Oldham, Manchester Srishti School of Art, Design & Media, Scottish Arts Council Goldsmiths College, London Bangalore Sir Rattan Tata Trust HICA, Scotland St Barts Hospital, London Wellcome Trust HMKV, Dortmund, Germany Stills, Ediburgh Horniman Museum, London Storey Art Gallery, Lancaster Hull Time Based Arts super/collider 2014 team: Hunterian Museum, London SymbioticaA, University of Western Australia Staff team: Nicola Triscott, Rob La Frenais, Gillean Dickie, Jo Fells, Claudia Lastra, Sandra Ross ICA, London S-Air, Sapporo, Japan Doctoral researchers: Lisa Haskel, Jareh Das IMERA, Mediterranean Institute of , London Associates: Nahum Mantra, Ele Carpenter, Z Amber Richter, Annabel Huxley, Katrin Davison Advanced Studies Tramway, Glasgow Board: Elizabeth Lynch, Ansuman Biswas, Lucie Green, Dave Jago, , Chris Welch Imperial College of Science, Technology & transmediale, Medicine, London University College London, Department of Indian Institute of Science, Bangalore, India Geography International Astronautical Federation University College London, Department of John Hansard Gallery, Southampton Molecular Biology John Moore University, Liverpool University College London, Department of Kings College, London Science & Technology Studies Kings College Hospital, London University of Leicester, Department of Genetics Laboratorio Arte Alameda, Mexico University of Newcastle, Intersections La Maison de la Photographie, Paris V2, Rotterdam Landscape + Arts Network Services, Waag Society, Gunpowder Park Yard Gallery, Nottingham La Societe de Curiosities, Paris Yorkshire Sculpture Park Leonardo/OLATS, France/US 32Z33, Hasselt, Belgium “The Arts Catalyst is one of the most exciting organisations Commissioned Artists: I have worked with. Their events are some of the best I have ever been to. Viva The Arts Catalyst!!!!”

Tomas Saraceno, 2014

James Acord Jack Klaff Jon Adams Tim Knowles Marcus Ahlers Andrew Kotting Support Us Laurie Anderson Torsten Lauschmann Marceli Antunez Roca Yuri Leiderman Katherine Araniello London Fieldworks The Arts Catalyst is an educational not-for-profit Lise Autogena & Joshua Portway Los Ferronautas (Iván Puig Domene & charity. In the past 20 years, we have delivered Brandon Ballengée Andres Padilla Domene) over 120 artists’ projects that experimentally and Anne Bean Ruth Maclennan Steve Beard & Victoria Halford Nathalie Magnan critically engage with science and technology. We Andy Bichlbaum Trevor Mathison are leaders in our field with an enviable track record Matthew Biederman Rachel Mayeri for producing ambitious and ground-breaking Ansuman Biswas Alistair McClymont Ben Blakebrough Agnes Meyer-Brandis projects. Through our work we open up to artists Anne Brodie Aleksandra Mir and the general public areas of knowledge and Ken Campbell Kira O’Reilly investigation that are generally perceived as Brian Catling Sinéad O’Donnell Oron Catts Chris Oakley scientific or technological. Helen Chadwick Office of Experiments Miles Chalcraft The Otolith Group We are acknowledged by Arts Council England as an Rachel Chapman Lucy Panesar important leading cultural organisation and in Ewen Chardronnet recognition receive an annual grant to support our Marko Peljhan Revital Cohen & Tuur Van Balen Benedict Phillips work as part of their National Portfolio of directly Tom Corby, Jonathan Mackenzie + Gavin Baily Esther Polak & Ivar van Bekkum funded arts organisations. In 2013 this grant was Richard Couzins Nicolas Primat £267,000, and our annual budget is £400–500,000. Critical Art Ensemble Simon Robertshaw Gina Czarnecki Steve Rowell To deliver our work, we therefore need to raise up to Beatriz Da Costa Tomas Saraceno 50% of our funds each year from trading, individual Jerry Dammers’ Spatial AKA Orchestra Semiconductor donors, grant-making bodies and companies. Adam Dant Nikky Smedley Kitsou Dubois Snæbjörnsdóttir | Wilson If you would like to be part of our future by Anna Dumitriu Camila Sposati Jan Fabre Lucy Stockton-Smith supporting The Arts Catalyst financially, then we Simon Faithfull Mike Stubbs would like to hear from you. Together we can make Jem Finer Ashok Sukumaran sure that we continue to deliver provocative, Alec Finlay Jon Thomson & Alison Craighead Vadim Fishkin Kate Tierney playful, risk-taking art projects that spark dynamic Flow Motion Andrey & Julia Velikanov conversations about our changing world for the Letizia Galli Mark Aerial Waller benefit of society. For a discussion about how you Stefan Gec WE COLONISED THE MOON (Hagen Andy Gracie Betzwieser & Sue Corke) would like to support The Arts Catalyst’s work, Joanna Griffin Weather Permitting please contact Nicola Triscott: Michelle Griffiths Neal White [email protected] Antony Hall Morag Wightman Sally Hampson Aaron Williamson +44 (0)20 7633 0435 HeHe Jane & Louise Wilson Simon Hollington & Kypros Kyprianou Paul Wong Melanie Jackson YoHa Luke Jerram Carey Young Zina Kaye Adam Zaretsky Designed by Åbäke The Arts Catalyst (Ltd) Sonia Khurana with Margherita Huntley Registered Charity Printed by xtraprint No 1042433 Type faces: Tahoma Company Limited (Matthew Carter 1994) by Guarantee, Comic Sans (Vincent Registered in England Connare 1994) No 2982223

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