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<p class=MsoNormal align=center style='text-align:center'><span
style='font-size:14.0pt;font-family:"Verdana","sans-serif";color:maroon'>“The
Subway Series”<o:p></o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='font-size:14.0pt;font-family:"Verdana","sans-serif";color:maroon'>A
Joint Colloquium Between Harvard History of Science and MIT Program in Science,
Technology, and Society<o:p></o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><b><span
style='font-size:14.0pt;font-family:"Verdana","sans-serif";color:#17365D'><o:p> </o:p></span></b></p>
<p class=MsoNormal align=center style='text-align:center'><b><span
style='font-size:14.0pt;font-family:"Verdana","sans-serif";color:#000099'>Critical
Art Practice and Biomedical Citizenship <o:p></o:p></span></b></p>
<p class=MsoNormal align=center style='text-align:center'><b><span
style='font-size:14.0pt;font-family:"Verdana","sans-serif";color:#000099'>Lisa
Cartwright<o:p></o:p></span></b></p>
<p class=MsoNormal align=center style='text-align:center'><b><span
style='font-size:14.0pt;font-family:"Verdana","sans-serif";color:#000099'> University
of California, San Diego<o:p></o:p></span></b></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:navy'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-family:"Verdana","sans-serif"'>Abstract:<o:p></o:p></span></p>
<p class=MsoPlainText><span style='font-size:12.0pt;font-family:"Verdana","sans-serif"'>This
talk moves across the work of contemporary artists who engage in science
practice and collaboration as a form of social engagement and institutional critique,
bringing their work explicitly into dialog with issues of participatory
biological citizenship and public engagement in discourses of risk and
information assessment and management. Beginning with the recently revitalized
physical biological systems work of Hans Haacke from the late 1960s and moving
through the ‘tactical biopolitics’ and ‘contestational
biology’ performances of Critical Art Ensemble and Beatriz da Costa, and
concluding with a discussion of Natalie Jeremijenko’s
‘environmental health clinic,’ model, I consider the art historical
paradigm of institutional critique out of which this model of
inter-institutional practice emerged; the working arrangements across
universities, laboratories, galleries, and industry that have made these communities
of practice possible; and the example of the state’s attempt to manage
the flow of biological agents as material and intellectual property.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:navy'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:10.0pt;font-family:"Georgia","serif"'><o:p> </o:p></span></p>
<p class=MsoNormal><b><span style='font-family:"Verdana","sans-serif"'><o:p> </o:p></span></b></p>
<p class=MsoNormal align=center style='text-align:center'><b><span
style='font-family:"Verdana","sans-serif"'>Monday, April 5, 2010<o:p></o:p></span></b></p>
<p class=MsoNormal align=center style='text-align:center'><b><span
style='font-family:"Verdana","sans-serif"'>4pm<o:p></o:p></span></b></p>
<p class=MsoNormal align=center style='text-align:center'><b><span
style='font-family:"Verdana","sans-serif"'>MIT, E51-095<o:p></o:p></span></b></p>
<p class=MsoNormal><o:p> </o:p></p>
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