a team is important; it’s like making a movie. That’s what
have had to declare itself a genetics lab to allow the inclu-
drives the final project as it gets born. When you are deal-
sion of the fish.
ing with all of these possibilities, you find experts to col-
What I’m concentrating on now is a film about the artist
laborate with. There is a historical precedent for this. For
and activist Tania Bruguera. It is focused on a conversa-
example, Billy Klüver’s Experiments in Art and Technol-
tion between Tania and the doctor, Dr. Frank Ochberg,
ogy (E.A.T.), created in 1967, paired artists and scientists.
who named post-traumatic stress disorder and is an ex-
As for my current projects, I would like to bring The Infin-
pert on Stockholm syndrome. We went to visit him in
ity Engine (2013-14) to the United States. That’s my major
Michigan and did ten sessions back-to-back. Tania is a
work of the decade. I’m not quite finished yet but I think
great artist, and we are thinking through how her artistic
it could be ready to show soon, and it will be much more
decisions make reference to personal and familial experi-
advanced than it was at my retrospective. It was more
ences, as well as the politics of censorship and repression
resolved when it was shown at Modern Art Oxford the
in Cuba. It was a really fascinating journey. I don’t want
following summer. Every audience is different though.
to distill it by putting in reenactments or other interviews,
It was successful in England and Germany, but I would
because that’s really not what it’s about. The role of tech-
be curious to know how American audiences would re-
nology here is precarious. PTSD fractures your memory,
spond. We would be able to do things in the United States
like an erased hard drive, and there are drugs that can
that we couldn’t do in Europe; like have GMO fish, which
help, but is that what we want? The scars of life are valu-
was difficult to have under German law. ZKM would
able and help us navigate the future.
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