10.03.-10.06.2023
"Transitional Era"
Johanniterkirche, Feldkirch, Austria.

Transluzente und schwarze Lebewesen einer neuen Gattung bevölkern die Johanniterkirche. Wie gezeichnete Skulpturen erscheinen sie seltsam schwerelos und erhaben. Die poetische Formensprache des aus der Ukraine stammenden und in Deutschland lebenden Künstlers Aljoscha spiegelt seine Auseinandersetzung mit Biologie, Zeit und Raum wider.

 

"Transitional Era"

In the quiet enclave of Johanniterkirche Feldkirch, amidst the whispers of ancient tombstones, Aljoscha's breath-taking translucent “being” emerges as a transparency of the unbelievable utopia.

The transition era we find ourselves traversing, rife with debates on bioism, biofuturism, and bioethical abolitionism, finds its monumental statement in the artist's work. Through the lens of genetics, biochemistry, and synthetic biology, Aljoscha encourages us to confront the deviations and mutations that will shape our posthuman destiny. With a visionary touch, he leads us through a journey from dystopia to utopia, where the very molecule of existence is redefined.

As one steps into the hallowed space of temple, the fusion of impossible aesthetics and science awakens, threatens and uplifts the mind. Aljoscha's installation pulsates with the promise of the unknown, hinting at the creation of new life, daring us to confront the genetic lottery that the future holds. It is in this fusion of aesthetics and ethics that Aljoscha's work becomes a manifesto for the transitional era, where paradigms of life and consciousness are rewritten.

The cornerstone of Aljoscha's vision lies in the realm of bioism, a concept that overcomes traditional biological boundaries and births new forms of life. His art, much like his ethos, is a call to the ever-expanding possibilities of the human will. In a world rife with debates about the ethical implications of genetic engineering and synthetic biology, Aljoscha stands as a bioethical abolitionist, advocating for a future where we engineer life itself.

Aljoscha's work echoes this call to ethical reflection. His exploration of mutations and deviations forces us to grapple with the ethical dimensions of our actions as we seek to transcend the limitations of our biology. It is an acknowledgment that paradise engineering is not a purely technological endeavour but a deeply ethical and philosophical one. As we delve deeper into the realm of biofuturism, we encounter the profound tension between the allure of utopia and the existential questions it raises. Just as "Paradise Engineering" prompts us to ponder the implications of a world devoid of suffering, Aljoscha's monumental work invites us to consider the complexities of existence in such a world.

It is here that Aljoscha's statement takes on a poignant significance.

„Bioism as the aesthetics of everything unpredictable and bizarre in synthetical biology produces not just a new organic-like life designs, but also is a pathway to future happiness stating that new science and philosophy of paradise engineering is an embodiment of new bioethics.” — is a declaration of the artist's intent to shape the world according to his search for new life forms. It embodies the very essence of paradise engineering — a refusal to accept the world as it is and a determination to craft a future that aligns with one's genetic ideals.

In the spirit of philosophical inquiry, Aljoscha's work encourages us to consider whether paradise engineering, as alluring as it may be, risks divorcing us from the essence of what it means to be human. The existential questions raised by existentialist thinkers come to the fore — the role of suffering and its necessity in the human experience, the tragedy of our existence, and the importance of grappling with life's inherent contradictions.

One cannot ignore the ethereal quality of Aljoscha's work. The pieces seem to breathe with an otherworldly vitality, blurring the line between the natural and the synthetic. At times, it feels as though you are gazing upon the living fossils of an as-yet-unknown living being, a glimpse into a future where diversity takes on new dimensions. The monumental scale of his installations speaks to the grandeur of the humanity to reshape our dusty world into the sparkling and vibrating super-abundance of created chances.

In a world that often seems poised on the brink of dystopia, Aljoscha offers a lifeline to the Elysium. His statement echoes through the sacred space, inviting me to contemplate the possibilities of paradise forming, creating better world from the scratch. As a harbinger of transhumanism, Aljoscha's work encourages me to reimagine our role as life creators, pushing the boundaries of what it means to be human.

It is in this journey towards the transcendent that Aljoscha's work finds its resonance. Each piece in the huge installation is a meditation on the posthuman condition, a glimpse into a future where the limitations of our biology are no longer constraints but stepping stones to the genetic sublime. The artist's sensibility over synthetical biology is evident in every tentacle and outgrow, as he navigates us through the body of the unknown superorganism.

One cannot help but be drawn into Aljoscha's exploration of the genetic possibilities. In a world where our biological makeup determines so much of our fate, the artist challenges us to question the very essence of our existence. Hundreds of his creations serve as a reminder that the future is not a static entity but a living, breathing process of desires and aspirations.

As I gazed upon the monumental pieces that seemed to defy the laws of physics, I was reminded of the artist's statement:

"Personally, I believe that in the future, in the wake of a biological revolution, we will use living furniture, dwell in living houses, and travel in space while using living environments. But the most exciting thing will be the ability of artists to create living substances, thereby constructing new, non-suffering forms of life. The artistic act will acquire the practical sense of life-forming. Art museums of the future could turn into zoological gardens, galleries into new life diversity funds, studios into biological complexity labs.

Bioism aims to spread new and endless forms of life throughout the universe.”

Indeed, Aljoscha's work is an invitation to the power of contemporary search to shape our collective destiny. His vision is not limited to the boundaries of the conventional white cubes but extends into the very core of our biology and ethics.

In a world where the line between the natural and the synthetic is becoming increasingly blurred, Aljoscha's work takes on a profound significance. His installations challenge us to confront our fears and prejudices about the unknown, urging us to embrace the diversity of new life forms that the future may hold. In this, he embodies the spirit of biofuturism, where the boundaries of what is possible are constantly expanding.

The exhibition at Johanniterkirche is a testament of bioethics to evolve kindness and inspire change. Aljoscha's work serves as a bridge between the present dystopia and the future chances, inviting us to contemplate the ethical implications of our technological advancements. It is a call to action, a reminder that we have the power to shape the destiny of our species and the planet.

As I walked through the translucent superorganism, I couldn't help but think of the words of the great writer and philosopher Albert Camus: "It takes time to live. Like any work of art, life needs to be thought about.“

In Aljoscha's work, I found a profound truth wrapped in the cloak of beauty of biological life. His creations are not just aesthetic marvels but philosophical inquiries into the nature of being itself.

One of the most striking aspects of Aljoscha's work is its ability to provoke introspection. As I gazed upon his installations, I couldn't help but wonder about the ethical implications of the new forms of life that he envisions. How will our society grapple with the challenges and opportunities that genetic engineering and synthetic biology present? These are questions that demand our attention and consideration.

In an interview with Meer Magazine, Aljoscha spoke of the intersection of art and bioethics. He emphasized the importance of engaging with these ethical questions and the responsibility that comes with creating new life forms. His thoughtful approach to these issues is evident in every piece in the show. It is a reminder that as we push the boundaries of science and technology, we must also push the boundaries of our ethical framework and freedom.

Aljoscha's work challenges us to confront the unknown with a sense of wonder and curiosity rather than fear and apprehension. It is a call to embrace the future with open arms, to see the potential for beauty and diversity in the new forms of life that may emerge. In this sense, he embodies the spirit of hope in a world often characterized by uncertainty and doubt.

In conclusion, Aljoscha's installation at Johanniterkirche is a statement to the power of freedom to provoke thought and inspire change. His visionary approach to bioism, biofuturism, and bioethical abolitionism challenges us to confront the ethical implications of our technological advancements and to envision a future where diversity and transcendence are celebrated and enjoyed. As we stand at the threshold of a new era, Aljoscha's work serves as a guiding light, reminding us that the future is not predetermined but shaped by our choices and visions. It is a call to embrace the unknown with hope and courage, to create a future that is not just a continuation of the past but a transcendent evolution of our species.

Nataliya Potupina