Victimless Leather (2004) is an art piece that represents a leather jacket without killing any animals. It is a prototype of a stitch-less jacket, grown from cell cultures into a layer of tissue supported by a coat shaped polymer layer. [1] [2] "Victimless Leather" was created created as a sub-project of the Tissue Culture & Art Project, (also part of SymbioticA) from the University of Western Australia and showcased at the Museum of Modern Art in New York. [3] [4] The artwork, a miniature jacket made from living mouse stem cells in an incubator, was designed to challenge perceptions of life and human responsibility toward manipulated living systems. This artistic grown garment is intended to confront people with the moral implications of wearing parts of dead animals for protective and aesthetic reasons and confronts notions of relationships with manipulated living systems. However, due to rapid cell growth, the exhibit was eventually "killed" by cutting off its nutrients, aligning with the creators' intent to remind viewers of the responsibility towards manipulated life. [5]
The SymbioticA website explains what it is, "an artistic laboratory dedicated to the research, learning, critique and hands-on engagement with the life sciences.". [6] The artists work with tissue, constructing and growing complex organisms that can live outside the body, making the new objects semi-living. Their projects are meant to question life, identity and the relationship between humans and other living beings and environments. They are also interested in the ethics around partial life and the possibilities around this type of technology in the future. [7]
These are some of the sub-projects that are also part of the TC&A project, in addition to Victimless Leather:
NoArk – NoArk is a collection of cells and tissue from many different organisms, growing together inside a "vessel", a reference to Noah's Ark. The project website states that NoArk is "a tangible as well as symbolic ‘craft’ for observing and understanding a biology that combines the familiar with the other". [8]
Worry Dolls – Seven modern versions of the Guatemalan Worry doll were hand-crafted of degradable polymers and surgical sutures and seeded with skin, muscle and bone tissue. The tissue was then allowed to grow inside a bioreactor, replacing the polymers as it degrades, thus creating seven semi-living dolls. [9]
Disembodied Cuisine – Along with Victimless Leather, this is part of the "Victimless Utopia". The idea for this project was to take cells from a frog and grow them into something possible to eat, displaying it next to the still living frog the food came from. This problematizes the whole meat industry – how we kill animals to eat them. Growing tissue outside of the body of the animal is a way to "make" meat while the animal stays healthy and living. [10]
Extra Ear – ¼ Scale – Using human tissue, a quarter-scale replica of artist Stelarc's ear was grown. The project wanted to confront the cultural perceptions of life now that we are able to manipulate living systems, and also discuss the notions of the wholeness of the body. [11]
The Pig Wings Project – This project bases its ideas on xenotransplantation and genetically modifying pigs so their organs can be transplanted to humans. The artists used tissue engineering and stem cell technologies to grow pig bone tissue, forming three different sets of wings. One set shaped as bat wings ("evil"), one as bird wings ("good") and one as pterosaurs wings ("neutral"). [12]
An aim for the "Victimless Leather" project is to explore and provoke scientific truths, using conceptual art projects to encourage better understanding of cultural ideas around scientific knowledge. The project website point out how clothing has always been used to protect the fragile skin of humans, but lately have evolved into a fabricated object used as a tool to show one's identity. Based on this, clothing can be explored as a tangible example of the relationship between humans and others, and how humans treat others. As the artists put it: "This particular project will deconstruct our cultural meaning of clothes as a second skin by materialising it and displaying it as an art object." [1]
The intention to grow artificial leather without killing an animal is meant as a contribution to a cultural discussion between art, science and society. Making this jacket presents a possibility of wearing leather that is not part of a dead animal. The projects are presented in Workshops and exhibitions throughout the world to address ethical questions related to bioscience and technology. The artists want the project to be seen in this cultural context, not a commercial one. [13]
Their intention is not to create a consumer product, but to offer a starting point for the cultural discussion points mentioned above. As with most of the TC&A projects the artists are concerned with the relationship between humans and other living systems, both natural and scientific made or manipulated. [1]
The artists wanted to make a leather-like material using living tissue, and ended up making it in the shape of a stitchless jacket. The artists based the jacket on a biodegradable polymer, coated it with 3T3 mouse cells to form connective tissue and topped it up with human bone cells in order to create a stronger skin layer.
To create the victimless leather, the team needed an artificial environment where semi-living entities are grown, so it is grown inside a bioreactor that acts as a surrogate body. The bioreactor used in this project was custom made, based on an organ perfusion pump designed by Alexis Carrel and Charles Lindbergh. It has an automatic dripping system which feeds the cells. [1] The artists assumed that when the polymer degraded, an integrated jacket would appear. The resulting jacket was tiny, about 2 inches high and 1,4 inches wide and would just fit a mouse. [14]
To idealize the "victimless" of the jacket, immortalized cell lines or cells that divide and multiply forever once they are removed from an animal or human host forming a renewable resource, have been used in the project. The 3T3 mouse cells all come from a mouse who lived in the 1970s. [15]
The research and development of “Victimless Leather” has been conducted in SymbioticA: the Art and Science Collaborative Research Laboratory, School of Anatomy and Human Biology at the University of Western Australia and in consultation with Professor Arunasalam Dharmarajan from the School of Anatomy and Human Biology as well as Verigen, a Perth-based company that specializes in tissue engineered cartilage for clinical applications. Western Australia state made the investment in the project through ArtsWa in Association with the Lotteries Commission. [16]
Year | Location | Venue | About |
---|---|---|---|
2013 | Sydney, Australia | Powerhouse Museum | Victimless Leather as part of the exhibition "Semipermeable (+)". |
2010 | Tokyo, Japan | Mori Museum | Victimless Leather as part of the exhibition "Medicine and Art: Imagining a Future for Life and Love". |
2009 | Luxemburg | Victimless Leather. Part of the exhibition "Sk-interface". | |
2008 | Buffalo, USA | CEPA Gallery | NoArk II and Victimless Leather. |
2008 | The Netherlands | The National Glass Museum | Victimless Leather. Part of the exhibition "SkinDeep". |
2008 | Dublin, Ireland | Science Gallery | Victimless Leather. Part of the exhibition "TechnoThreads". |
2008 | Liverpool, UK | Victimless Leather. Part of the exhibition "Sk-interface". | |
2008 | New York, USA | MoMA | Victimless Leather. Part of the exhibition “Design and the Elastic Mind” |
2007 | UK | Tyne & Wear Museum | Victimless Leather. Part of the exhibition "Our Cyborg Future?". |
2006 | Toronto, Canada | Ontario Science Centre | Victimless Leather. |
2004 | Perth, Australia | John Curtin Gallery | Victimless Leather. Part of the exhibition "The Space Between". |
From a list of selected TC&A exhibitions. [17]
The victimless leather was featured in the exhibition “Design and the Elastic Mind” at The Museum of Modern Art in New York City, United States. February 24 – May 12, 2008 [18] The project was scheduled to grow continuously until May 12 when the exhibition ended. There were some problems though, when the leather started expanding too quickly, clogging tubes inside the bioreactor. The exhibition leader therefore decided to unplug the project before the end of the exhibition – in a way, killing it. [19]
Because the artificial leather is made semi-living, the project might be seen as speculative and provocative to some people – questioning whether it is better to kill semi-living beings rather than living beings. "One of the most common and somewhat surprising comments we heard was that people were disturbed by our ethics of using living cells to grow living fabric, while the use of leather obtained from animals seems to be accepted without any concern for the well-being of the animals from which the skin has been removed." artist Ionat Zurr uttered after showing the jacket to the public on "The Space Between" exhibition [20] in Australia. [14]
Oron Catts was born in Helsinki, Finland in 1967, and is currently residing in Perth, Australia where he has been employed at the University of Western Australia since 1996. [21] He works as an artistic director of SymbioticA, which he is also co-founder of. He is founder of the Tissue Culture & Art Project. From 2000–2001 he was a Research Fellow at the Tissue Engineering and Organ Fabrication Laboratory at Harvard Medical School. [22] He has also worked with numerous other bio-medical laboratories in several different countries. [21]
Ionat Zurr was born in London, UK in 1970, and is currently residing in Perth, Australia. Since 1996 she has been employed at the University of Western Australia, where she also did her PhD titled "Growing Semi-Living Art" under the Faculty of Architecture, Landscape and Visual Arts . Zurr specialises in video production and biological and digital imaging. [23] She works as an assistant professor and academic coordinator at SymbioticA [24] and is co-founder of the Tissue Culture & Art Project. From 2000–2001 she was a research fellow at the Tissue Engineering and Organ Fabrication Laboratory at Harvard Medical School. [22]
The project also focuses on human consumption, highlighting that there are victims on every level of it, and that the boundaries between harm and benefit often are blurred. The French actress Brigitte Bardot strongly opposed hunting of animals for vanity and the commercial purpose of the skin. From an indigenous point of view, the context must be[ according to whom? ] seen different. An Inuit hunts the seal and uses the whole body of the animal as a basic resource for his survival. [25]
Similar to ethics like this, is the interest for artificial meat production due to reactions against the livestock sector because of health and environmental problems. A 2006 UN Food and Agriculture Organization FAO report pointed out the livestock sector as one of the most significant contributors to the most serious environmental problems like soil degradation and water pollution. And because of methane, it spews out more greenhouse gases into the atmosphere than transportation. [26]
Biopolymers are natural polymers produced by the cells of living organisms. Like other polymers, biopolymers consist of monomeric units that are covalently bonded in chains to form larger molecules. There are three main classes of biopolymers, classified according to the monomers used and the structure of the biopolymer formed: polynucleotides, polypeptides, and polysaccharides. The Polynucleotides, RNA and DNA, are long polymers of nucleotides. Polypeptides include proteins and shorter polymers of amino acids; some major examples include collagen, actin, and fibrin. Polysaccharides are linear or branched chains of sugar carbohydrates; examples include starch, cellulose, and alginate. Other examples of biopolymers include natural rubbers, suberin and lignin, cutin and cutan, melanin, and polyhydroxyalkanoates (PHAs).
Parchment is a writing material made from specially prepared untanned skins of animals—primarily sheep, calves, and goats. It has been used as a writing medium for over two millennia. Vellum is a finer quality parchment made from the skins of young animals such as lambs and young calves.
An embryo is the initial stage of development for a multicellular organism. In organisms that reproduce sexually, embryonic development is the part of the life cycle that begins just after fertilization of the female egg cell by the male sperm cell. The resulting fusion of these two cells produces a single-celled zygote that undergoes many cell divisions that produce cells known as blastomeres. The blastomeres are arranged as a solid ball that when reaching a certain size, called a morula, takes in fluid to create a cavity called a blastocoel. The structure is then termed a blastula, or a blastocyst in mammals.
In biology, tissue is an assembly of similar cells and their extracellular matrix from the same embryonic origin that together carry out a specific function. Tissues occupy a biological organizational level between cells and a complete organ. Accordingly, organs are formed by the functional grouping together of multiple tissues.
Tissue engineering is a biomedical engineering discipline that uses a combination of cells, engineering, materials methods, and suitable biochemical and physicochemical factors to restore, maintain, improve, or replace different types of biological tissues. Tissue engineering often involves the use of cells placed on tissue scaffolds in the formation of new viable tissue for a medical purpose, but is not limited to applications involving cells and tissue scaffolds. While it was once categorized as a sub-field of biomaterials, having grown in scope and importance, it can is considered as a field of its own.
Tissue culture is the growth of tissues or cells in an artificial medium separate from the parent organism. This technique is also called micropropagation. This is typically facilitated via use of a liquid, semi-solid, or solid growth medium, such as broth or agar. Tissue culture commonly refers to the culture of animal cells and tissues, with the more specific term plant tissue culture being used for plants. The term "tissue culture" was coined by American pathologist Montrose Thomas Burrows. This is possible only in certain conditions. It also requires more attention. It can be done only in genetic labs with various chemicals.
Cultured meat, also known as cultivated meat among other names, is a form of cellular agriculture where meat is produced by culturing animal cells in vitro. Cultured meat is produced using tissue engineering techniques pioneered in regenerative medicine. Jason Matheny popularized the concept in the early 2000s after he co-authored a paper on cultured meat production and created New Harvest, the world's first non-profit organization dedicated to in-vitro meat research. Cultured meat has the potential to address the environmental impact of meat production, animal welfare, food security and human health, in addition to its potential mitigation of climate change.
A bioreactor refers to any manufactured device or system that supports a biologically active environment. In one case, a bioreactor is a vessel in which a chemical process is carried out which involves organisms or biochemically active substances derived from such organisms. This process can either be aerobic or anaerobic. These bioreactors are commonly cylindrical, ranging in size from litres to cubic metres, and are often made of stainless steel. It may also refer to a device or system designed to grow cells or tissues in the context of cell culture. These devices are being developed for use in tissue engineering or biochemical/bioprocess engineering.
Hyaluronic acid, also called hyaluronan, is an anionic, nonsulfated glycosaminoglycan distributed widely throughout connective, epithelial, and neural tissues. It is unique among glycosaminoglycans as it is non-sulfated, forms in the plasma membrane instead of the Golgi apparatus, and can be very large: human synovial HA averages about 7 million Da per molecule, or about 20,000 disaccharide monomers, while other sources mention 3–4 million Da.
Organ printing utilizes techniques similar to conventional 3D printing where a computer model is fed into a printer that lays down successive layers of plastics or wax until a 3D object is produced. In the case of organ printing, the material being used by the printer is a biocompatible plastic. The biocompatible plastic forms a scaffold that acts as the skeleton for the organ that is being printed. As the plastic is being laid down, it is also seeded with human cells from the patient's organ that is being printed for. After printing, the organ is transferred to an incubation chamber to give the cells time to grow. After a sufficient amount of time, the organ is implanted into the patient.
BioArt is an art practice where artists work with biology, live tissues, bacteria, living organisms, and life processes. Using scientific processes and practices such as biology and life science practices, microscopy, and biotechnology the artworks are produced in laboratories, galleries, or artists' studios. The scope of BioArt is a range considered by some artists to be strictly limited to "living forms", while other artists include art that uses the imagery of contemporary medicine and biological research, or require that it address a controversy or blind spot posed by the very character of the life sciences.
A microcarrier is a support matrix that allows for the growth of adherent cells in bioreactors. Instead of on a flat surface, cells are cultured on the surface of spherical microcarriers so that each particle carries several hundred cells, and therefore expansion capacity can be multiplied several times over. It provides a straightforward way to scale up culture systems for industrial production of cell or protein-based therapies, or for research purposes.
A fibrin scaffold is a network of protein that holds together and supports a variety of living tissues. It is produced naturally by the body after injury, but also can be engineered as a tissue substitute to speed healing. The scaffold consists of naturally occurring biomaterials composed of a cross-linked fibrin network and has a broad use in biomedical applications.
Gordana Vunjak-NovakovicFRSC is a Serbian American biomedical engineer and university professor. She is a University Professor at Columbia University, as well as the Mikati Foundation Professor of Biomedical Engineering and Medical Sciences. She also heads the laboratory for Stem Cells and Tissue Engineering at Columbia University. She is part of the faculty at the Irving Comprehensive Cancer Center and the Center for Human Development, both found at Columbia University. She is also an honorary professor at the Faculty of Technology and Metallurgy at the University of Belgrade, an honorary professor at the University of Novi Sad, and an adjunct professor at the Department of Biomedical Engineering at Tufts University.
SymbioticA is an artistic research lab at the University of Western Australia's School of Anatomy and Human Biology. The lab looks at biology and the life sciences from an artistic point of view and has been used to research, develop and execute a number of contemporary art & science and bioart projects.
The in vivo bioreactor is a tissue engineering paradigm that uses bioreactor methodology to grow neotissue in vivo that augments or replaces malfunctioning native tissue. Tissue engineering principles are used to construct a confined, artificial bioreactor space in vivo that hosts a tissue scaffold and key biomolecules necessary for neotissue growth. Said space often requires inoculation with pluripotent or specific stem cells to encourage initial growth, and access to a blood source. A blood source allows for recruitment of stem cells from the body alongside nutrient delivery for continual growth. This delivery of cells and nutrients to the bioreactor eventually results in the formation of a neotissue product.
Kathryn High is an American interdisciplinary artist, curator, and scholar known for her work in BioArt, video art and performance art.
Oron Catts is an Australian artist and researcher currently residing in Perth, Western Australia where he has been employed at the University of Western Australia since 1996. He works as an artistic director of SymbioticA, which he also co-founded. Together with Ionat Zurr he founded the Tissue Culture & Art Project. From 2000–2001 he was a Research Fellow at the Tissue Engineering and Organ Fabrication Laboratory at Harvard Medical School. He has also worked with numerous other bio-medical laboratories in several different countries.
Tissue engineered heart valves (TEHV) offer a new and advancing proposed treatment of creating a living heart valve for people who are in need of either a full or partial heart valve replacement. Currently, there are over a quarter of a million prosthetic heart valves implanted annually, and the number of patients requiring replacement surgeries is only suspected to rise and even triple over the next fifty years. While current treatments offered such as mechanical valves or biological valves are not deleterious to one's health, they both have their own limitations in that mechanical valves necessitate the lifelong use of anticoagulants while biological valves are susceptible to structural degradation and reoperation. Thus, in situ (in its original position or place) tissue engineering of heart valves serves as a novel approach that explores the use creating a living heart valve composed of the host's own cells that is capable of growing, adapting, and interacting within the human body's biological system.
Dr. Ionat Zurr is an Australian artist, researcher and curator. She is also a lecturer for the University of Western Australia (UWA), and has been a visiting tutor in Design Interactions for the Royal College of Art. Zurr, together with Oron Catts, founded the Tissue Culture & Art Project in 1996, they were both guest artists at CERN in 2019. Zurr worked for more than 20 years at SymbioticA, UWA's Centre of Excellence in Biological Arts, and is a pioneer of making art with living, engineered tissue.