Heather Dewey-Hagborg mixes biotechnology and art

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Heather Dewey-Hagborg mixes biotechnology and art
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Heather Dewey-Hagborg’s work feels urgent precisely because it uses the technologies that the art critiques

THE VIALS are small and twisted, resembling worms or caterpillars; inside them, a liquid glows pink. It is a “lentivirus vector, hybridised with vesicular stomatitis and a plasmid containing genes for red fluorescent protein and oxytocin expression”—in other words, a love potion.

But Ms Dewey-Hagborg is not didactic, showing the positive, weird and beautiful possibilities of new technologies as well as their dangers. When Chelsea Manning was in prison, she and Ms Dewey-Hagborg corresponded. Ms Manning sent clippings of her hair and swabs from her cheek which were processed as genomic data and analysed by an algorithm. That produced 30 likenesses of Ms Manning, whose image was repressed at the time, which Ms Dewey-Hagborg turned into 3D portraits.

Ms Dewey-Hagborg says that “T3511” was a way of considering the complexities of direct-to-consumer genetic-testing services such as 23andme and ancestry.com. “They’re increasingly a way people are connecting to each other,” she says. “That can be a beautiful thing. It can be a scary thing. It’s definitely scary that it creates this much bigger police database. Suddenly there’s a great potential here for state misuse of DNA.

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