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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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