Biological Imperative

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Biological Imperative
Curated by: Emma Wilcox

73 Market St
Newark, NJ 07102
June 14th, 2008 - July 26th, 2008
Opening: June 14th, 2008 7:00 PM - 10:00 PM

United States
973 353 9533
Th, Fri, Sat 12-6
This event is appropriate for children


Biological Imperative
Curated by Emma Wilcox
With full color catalog

June 14-May 17, 2008
Opening Reception June 14, 7-10 PM

Screening July 12, 3 PM
WAX, or the Discovery of Television Among the Bees

Structured around what the Tissue Culture and Art Project has called
"cultural perceptions of life," Biological Imperative freely mixes
ideas of partial personhood, the possibilities of regeneration,
multiples, fecundity, the semi-living, and the undead (things that
just won't die.) The exhibition posits linkage between disparate
references such as (but not limited to) the undying popularity of the
zombie genre, rabbit imagery, pirate radio and bioethical quandaries.

Elio Cacavalle's MyBio Dolls are educational dolls informed by
consultation with bioethicists, symbolizing possible biofutures, and
allowing children to imagine narratives for scenarios such as
human/animal organ transplants. Brandon Ballengee's drawings of
deformed frog specimens collected throughout the world also create a
sense of the unfamiliar: some frogs have too many limbs, some too few.

In Jillian McDonald's two-channel installation in the new media room,
Zombie Loop, zombie and survivor are somehow the same, referencing the
genre's implied life cycle. The endurance of radio signals in the
atmosphere links Charlesworth, Lewandowski & Mann's video work, Radio
City to the theme of the undying. The piece is a record of journey via
boat to an abandoned sea fort used by pirate radio transmissions in
the 60's. After an altercation that left one broadcaster dead, his
wife rowed to sea and played "Strangers in the Night" as a memorial.
CLM mimicked this action in 2006, playing the same song at high volume
over the open water.

The fecundity or productivity of animals, namely rabbits and bees,
inspired other works in the exhibition, such as those by Aganetha Dyck
with Richard Dyck, and David Blair. Dyck's Hive Scans are large-scale
color prints made in collaboration with bees, via a scanner introduced
into a beehive. David Blair's full-length film WAX was created over 6
years with footage shot on site at actual nuclear testing facilities
in the US, flight simulation software and archival footage. The
convoluted story concerns a beekeeper's transformation upon
discovering that his bees communicate between the living and the dead,

and raises questions as to the collective and individual value of life.

.4 of artworks in the exhibition contain rabbit content.

For more information, please contact Emma Wilcox at