“None but those who have experienced them can conceive of the enticements of science.” Mary Shelley, Frankenstein.
Rachel Falconer writes about the cyberfeminist art collective subRosa, a group using science, technology, and social activism to explore and critique the political traction of information and bio technologies on women’s bodies, lives and work.
Following a recent interview with the founding members of the collective, Hyla Willis and Faith Wilding, this article presents subRosa’s trans-disciplinary, performative practice and questions what it means to claim a feminist position in the mutating economies of biotechnology and techno-science.
Cyberfeminism Interrogates Biotechnology: subRosa’s Participatory Information Performances video.
The technological redesigning and reconfiguration of bodies and environments, enacted through the economies of the biotech industry, is an emerging feature of contemporary life. As these new ‘bits of life’ enter the biotech network, there is a slippage in our mental model of what constitutes the body, and more specifically, ‘life’ itself. As radically new biological entities are generated through the processes of molecular genetic engineering, stem cell cultivation, cloning, and transgenics, bio-artists and bio-hackers co-opt the laboratory as a site of critical cultural practice and knowledge exchange. Human embryos, trans-species and plants are constructed, commodified, and distributed across the biotech industry, forming the raw materials for bio-art, DIY biologists and open science culture. These corporeal products and practices exist within new and alien categories, transgressing the physical and cognitive boundaries set by biopunk science fiction and edging towards the possibility of a destiny driven by genetics and life sciences. With the eternal rhetoric of a high-tech humanity, and the threat of Michel Foucault’s biopolitics constantly on the horizon, today Harraway’s myth of the cyborg exists in the form of corporeal commodities travelling through the global biotech industry. Scientific research centres stock, farm, and redistribute biological resources, (often harvested from the female scientists themselves). Cells, seeds, sperm, eggs, organs and tissues float on the biotech market like pork belly and gold. Seeds are patented, and other agro-industrial elements are remediated and distributed as bits of operational data across the biotech network. We/cyborgs, are manifested as a set of technologies and scientific protocols, and, as a result, the female body in particular, is reconfigured into a global mash-up of cultural, political and ethical codes.
The increasingly pragmatic realisation of the biotech revolution has provoked a ‘cultural turn’ in science and technology studies in general, and feminist science studies in particular. Carolyn Christov-Bakargiev’s dOCUMENTA (13) proposed an interdisciplinary approach to the role of science for ‘culture at large’. Certainly, by foregrounding the heavy hitters in the field such as Donna Haraway and Vandana Shiva, dOCUMENTA (13) laid claim to addressing the global conflicts of biotechnology. However, the feminist agenda was not specifically addressed, and the key issues of the impact of biotechnologies on feminist subjectivities were only paid minimal lip service. With the exception of Shiva, the tone of dOCUMENTA (13) hinted at a positivist, emancipatory take on biotechnology and technoscience without assuming a critical position. There was very little public debate or critical analysis engaging the philosophical, ethical, and political issues of feminism and female subjectivities within the realm of biotechnology.
Notably absent from last year’s dOCUMENTA (13), the activist feminist collective subRosa’s performative, interdisciplinary projects are channelled towards embodying feminist content, practices, and agency, and laying bare the impact of new technologies on women’s sexuality and subjectivities – with a particular emphasis on the conditions of production and reproduction. Through their research-led practice and pedagogical mission, the collective analyse the implications and conditions of the constantly surveyed female body, whilst mapping new possibilities for feminist praxis. subRosa interrogate the conditions of surveillance, private property rights, and other control mechanisms the female body is subjected to by ART(Assisted Reproductive Technologies). The collective’s hybrid, interdisciplinary practice navigates the multiple identities the female body has taken on through techno-scientific development, including: the distributed body, the socially networked body, the cyborg body, the medical body, the citizen body, the soldier body and the gestating body. In contrast to the overarching and pervasive illustration of the technoscientific cultural landscape painted by dOCUMENTA(13), the current members and founders of the collective, Hyla Willis and Faith Wilding, are very clear in their critical intent. The collective choreograph and place themselves within globalized bio-scenarios in order to question the potential for resistance and activism within these constructs.
Cell Track: Mapping the Appropriation of Life Materials, subRosa, Chicago 2004.
subRosa’s overarching vision to create discursive frameworks where feminist interdisciplinary conversations and experiments can take place, is research-led and takes its cue from the canon of radical feminist art practices. Cell Track: Mapping the Appropriation of Life Materials has featured in a number of exhibitions, most recently in Soft Power. Art and Technologies in the Biopolitical Age, Vitoria-Gasteiz, Spain. This project consists of an installation and website examining the privatization and patenting of human, animal and plant genomes in the context of the history of eugenics. Cell Track highlights the disparity between the bodies that produce stem cells and the corporations that control the products generated from them. Bringing together scientists, cultural practitioners and wider publics in the construct of the gallery space, subRosa generate discourse around the patenting and licensing of DNA sequences, engineered genes, stem cell lines and transgenic organisms. The project’s participatory aim is to set up an activist, feminist embryonic stem cell research lab in order to produce non-patented stem cell lines for distribution to citizen scientists, artists and independent biotechnologists. This environment of shared knowledge production and speculative, alternative, research activity is at the heart of subRosa’s social practice.
Smart Mom, website, subRosa, 2009
Due to the pedagogical nature of subRosa’s activities, the collective’s critical stance towards IVF and ART has proven to be particularly provocative, and their scepticism towards the emancipatory language of ‘choice’ co-opted by ART, has been met with some resistance by other feminist practitioners. However, it is in this very agonism that subRosa wish to become more visible, and they welcome criticism and debate in the public discursive spaces that they create. In a recent interview, Faith Wilding and Hyla Willis both expressed their desire to generate an expanded, and deeper discussion about the wider issues involved in ART in particular and biotechnology’s effect on female identity in general. subRosa’s potential to reach wider publics and audiences is partially determined by the socio-political context of the communities in which they operate. Perhaps in reaction to this, subRosa’s focus is now shifting towards embracing the aforementioned ‘cultural turn’ in science as they address the position of feminist scientists themselves.
The imperative to reclaim feminist discourses and narratives in science is of growing concern to subRosa, as they believe that feminist agency lies in the practice of science itself. By relocating lab-work from the dominant scientific institutions to the public environment of the gallery, subRosa provide the critical space in which new feminist scientific praxis can operate, and new dialogues and discourses can be created. Their conviction that political and critical traction lies in practice as discourse, and the potential of face to face encounters, is demonstrated in their recent project for the Pittsburgh Bienal: Feminist Matter(s): Propositions and Undoings (2011). In this installation, SubRosa take Virginia Woolf’s assertion that ‘tea-table thinking’ provides an effective antidote to the male-driven ‘war-mentality brewed in boardrooms and command centers’ as their main conceit. Redeploying Woolf’s idea toward the rethinking of the traditionally male-dominated discipline of science, Wilding and Willis’ installation brings traces of the science laboratory to the intimacy and hospitality of the kitchen table, and in turn, also situates what is normally a private, feminized space in a more public domain.
Feminist Matter(s): Propositions and Undoings, opening reception, subRosa, 2011. Photo: Tom Little, Miller Gallery.
These tables stage a dialogue between one or two visitors in response to the presentation of female figures in science, both the popularly acknowledged and the underexposed. subRosa foreground women scientists past and present and reimagine an alternative, feminized history of science and technology. The installation explores feminism and participatory practices as modes of scientific research, with the aim of generating dialogue and discourse around the questioning of the dominant historical narrative of science. Specially tailored installations reside on each table, evoking lab work while celebrating the history of the women protagonists they play host to – from anarchist painter Remedios Varo to geneticist Barbara McClintock.
Feminist Matter(s): Propositions and Undoings, opening reception, subRosa, 2011. Photo: Tom Little, Miller Gallery.
subRosa’s pedagogical imperative is at once inclusive and provocative, and their role as facilitators of a discursive space outside the traditional institutions and control structures of science, is where their radical aspirations lie. Pedagogical art practices often teeter on the brink of propaganda, and subRosa are quite comfortable with the propagandistic label. Considering the economic and cultural climate in the USA with regard to the politics of reproduction, their work has been particularly well received in the context of European cultural institutions, whereas in the USA there is greater interest for the work in academic institutional settings. Perhaps this could be symptomatic of the general privileging of discourses around intersex, transgender and queer subjectivities. The dominant bias of the gatekeepers of the artworld to showcase queer practices is evident in the promotion of artists such as Ryan Trecartin and Carlos Motta on the international circuit. Curators have tended to position artists addressing the gendered ‘Other’ within a contemporary queer framework, whilst keeping feminist art practices on the peripheries of 1960s/1970s retrospective nostalgia. This tendency presents a muddying of the waters for contemporary feminist art practices such as subRosa.
This may also be part of a more general tendency to demonize and move away from feminist identities and discourses in wider society. The academic shape shifting from ‘women’s studies’ to ‘gender studies’ to ‘queer studies’ has diminished the feminist conversation and, therefore, the impact and receivership of feminist art practices. This has rendered the popular conception of ‘Queer’ as acceptable and non-aggressive. Furthermore, the term ‘Queer’ and the subsequent morphing into the verb ‘queering’, has been co-opted by transdisciplinary academic discourse, and is now an expansive, all embracing cultural term – a phenomenon that has met with a certain amount of scepticism from the queer community.
This privileging of the expansive ‘othering’ of queer rhetoric has often resulted in feminism being rejected as a radical and out-dated political identity by art practitioners themselves. This ambivalent attitude is perhaps also indicative of the wider feminist debate, in which post-feminism has splintered into fragmented, diluted groups, each policing their own identity politics with little sense of a bigger struggle. However, the collaborative, interdisciplinary environments orchestrated by subRosa signal a return to the indisputably material actuality of the female body. Through their insistence on the possibilities of feminist bench-side practices, and the forensic unpicking of the power/control structures inherent in biotechnology, subRosa expands the feminist lexicon through the empirically re-appropriated organic materiality of the body.
Eduardo Kac’s fluorescent glow in the dark rabbit, Alba and Critcial Art Ensemble’s bio-art practices are popularly cited historical examples of the artworld’s forays into biotechnology and transgenics. C-Lab and Rüdiger Trojok recently showed at Art Laboratory Berlin, August 2013.
 In his theory, Michel Foucault describes the related term “Biopower” as the governance of population through the control of the body, the mind and every aspect of human life, particularly those directly related to subjectivity. Michel Foucault The History of Sexuality Vol 1 p.140 (1976)
Haraway, Donna Jeanne ,”A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century”. Simians, Cyborgs and Women: The Reinvention of Nature. Routledge. (1991).
Shiva, Vandana The Corporate Control of Life in Documenta 13: The Book of Books (2011
 Relating to Chantal Mouffe’s conviction of the positive channelling of political conflict
Other subRosa projects which have appropriated and staged the conventions of the science industry and pedagogical investigation include Expo EmmaGenetics (2001),a faux biotech trade show, Epidermic!DIY Cell Lab, (2005), an amateur science performance and experimental lab
 Woolf, Virginia, Thoughts of Death in an Air Raid, 1940,(Penguin), 2009