Abstract

In the year 2000 the artist Eduardo Kac made TV news by declaring he had ordered the « creation » of a genetically modified bunny. In 2004 the artist Steve Kurtz was detained by the FBI on the suspiscion of bioterrorism, because of the laboratory equipment he uses in installations that demistify biotechnology. The contrast between an artist-publicist who lends a showy allure to biotech and an artist-researcher who critiques its effects serves as the departure point for an examination of the functions of science and art in a neoliberal society. Faced with trade secrets, the privatization of knowledge and ever-tightening control of laboratories, the artist-researcher can intervene to make public the research process and the consequences of commercializing a given discovery, particularly by using installations that allow the participant to manipulate both lab equipment and scientific concepts. But to do so, the artist must also interrupt the normal functioning of the neoliberal art world, where institutions supported by private sponsorship retain exclusive rights over fetishized products, destined to feed financial speculation. The article closes with a look at the work of Brandon Ballangee, an artist-researcher working in the field of ecology