Agenda 2030

Tatiana Kourochkina Kolonina is a curator and producer of art related to science. She served as a jury member for the ‘Art and Science’ category of the Barcelona CREA 2020 Awards. Kourochkina co-founded Quo Artis, the art and science foundation she currently presides over in Barcelona, and has been a columnist for Retina Tendencias magazine (El País). She specialized in landscape architecture at the University of Architecture in Venice, and her work is currently focused on landscape research applied to biodiversity and urban ecology. Throughout her career, she has participated in various international projects, often distinguished by the integration of gender perspectives.

How did your personal and professional journey lead you to the intersection of art and science? How did this interest arise?

For me, it has been a very personal journey that began in childhood. I was born in Moscow as the only child in a family of scientists—my parents and also my aunts and uncles, who didn’t have children. My mother moved to Moscow to study and had me during her first year of university. In a way, she discovered the city with me, taking me to all the museums and theaters. By the time I was seven, I already had a considerable number of postcards with reproductions of paintings—a whole suitcase! I played with these postcards, classifying them using the scientific method: by author, by theme, by the presence of certain colors… I wanted to be a zoologist, like my aunt and uncle. Furthermore, I gave these reproductions names in a made-up Latin. Then, the communist system collapsed, preventing me from becoming a scientist, as there were no jobs for them anymore. I first studied history, and after graduating, I left Russia. I emigrated to England and later to Catalonia.

The shift happened while I was working in contemporary art (I owned a gallery in Barcelona). That’s when I discovered bio-art, a branch of art that works with living organisms. Suddenly, everything clicked in my mind and fell into place. In 2012, I organized my first bio-art exhibition with artist Eduardo Kac, and from that point onward, I began working exclusively in this field. In 2015, I closed the gallery and registered the foundation Quo Artis with the goal of promoting collaborations between professionals in the fields of art and science and elevating the value of both professions.

What is the significance of this intersection in an increasingly technological and globalized world? What themes do you think are currently transforming the relationship between art, science, and society?

We are living in a time of unprecedented acceleration and technological advancements. I am deeply struck by the thought that, in a few years, nearly a quarter of the world’s population will belong to Generation Alpha, meaning those born after 2010, following the introduction of the iPad. What kind of citizens, voters, employees, and stewards of the planet will they become? It’s difficult to predict, but we know for sure that digital natives have shorter attention spans and that technology and social media have fostered a pursuit of instant gratification in them.

On the other hand, artists and scientists are capable of maintaining focused attention and centering on a single idea for months or even years. This is one of the most compelling reasons to encourage young people to train in these professions. Additionally, artists make a humanistic use of technology, employing it as a tool for co-creation or as a language to communicate profound ideas and offer new ways of seeing things. In the realm of art and science, globalization has had a positive impact, enabling projects to become international and fostering collaborations between individuals working in artistic and scientific research across different cultures and disciplines, thus broadening the scope and impact of their proposals.

The climate and ecological emergency is bringing together professionals from the arts and sciences to seek possible solutions. Similarly, in the realm of art and science, there are works critical of technology that address its ecological cost. I would recommend everyone explore the detailed map Genealogy of Power and Technology by artist and researcher duo Kate Crawford and Vladan Joler, authors of the acclaimed atlas Anatomy of an Artificial Intelligence System.

Your work is closely tied to urban biodiversity and ecology. What does it specifically entail?

The thematic focus of Quo Artis and my work as a curator and producer is the convergence of art and ecology—both urban and ecosystem-wide—as well as highlighting the loss of biodiversity.

We usually partner with similar organizations to form consortia and develop projects that typically last at least two years. These projects address specific topics in depth and seek joint funding. Throughout their development, we organize exhibitions and workshops, hold multidisciplinary symposia, and publish books and catalogs, which are also available for download on our website.

Human activities and an economic model based on relentless growth have severely impacted other living beings, both animals and plants. With the help of artists, we give a voice to endangered or even extinct organisms, developing strategies to foster empathy for them. Beyond collaborating with natural scientists, such as biologists, we involve experts in social sciences, particularly economists. The combination of scientific and statistical knowledge with artistic language and perspective is a powerful tool to convey the message that humans are part of an interdependent system, the balance of which we are destabilizing.

What role can art play in environmental research and activism?

Artists are rarely swayed by lobbying efforts. On the contrary, they are often the ones, alongside activists, who expose such practices. For instance, Venezuelan photographer Mathieu Asselin conducted an exhaustive investigation into the products and advertising of the chemical giant Monsanto, often regarded as an “untouchable agent.” It is regrettable that in Europe (and worldwide), the use of glyphosate—a product of this American multinational now owned by Bayer—is still permitted. This chemical contaminates soil and water, affecting human health and other living beings.

Such contributions are essential to fostering eco-literacy and raising awareness of these issues. Beyond denunciation, artists imagine alternative, more optimistic and hopeful scenarios. And what we imagine can indeed become reality. In Western societies marked by overabundance, artists also remind us of the importance of inner and cultural wealth, helping us avoid falling into the trap of consumerism, which breeds constant frustration and dissatisfaction.

As for Quo Artis, we cannot be considered activists, although I personally admire and respect them. Our mission is to inform, encourage critical thinking, and propose alternative models for a better future. We invite individuals to take personal responsibility for self-improvement, which in turn contributes to improving the world. In a highly competitive society, the art-and-science sector to which we belong fosters collaboration and solidarity.

How do you see the future of collaboration between art and science in addressing environmental challenges?

For example, we are currently leading a European cooperation project on art and agriculture, Tilling Roots & Seeds. Together with professors from the Fine Arts and Pharmacology faculties at the University of Barcelona, the scientific team at the Barcelona Botanical Institute, and other European partners, we have spent four years addressing biodiversity loss in the botanical world. One of the main causes of this loss is industrial agriculture. Supported by local foundations like Ferrer Sustainability, Contorn Urbà, and Fundació Catalunya La Pedrera, we invite artists to collaborate with regenerative agriculture farmers. We conduct free public workshops and produce art pieces on food sovereignty and the future of agriculture. By the way, that future involves imminent changes as droughts become increasingly extreme. The project’s final results will be showcased this September in Austria at Ars Electronica, a must-attend festival for those interested in the intersection of art, science, technology, and their societal impact.

In the urban context of this sector, there are also fascinating initiatives like Tectum Garden, a spin-off from the Autonomous University of Barcelona (UAB), which is another local project partner. They specialize in hydroponic and social agriculture. Urban gardens, where neighbors cultivate their plots, socialize, and share knowledge, are also noteworthy. These activities not only benefit direct participants but are crucial for biodiversity, soil health restoration, and mitigating high temperatures.

In the 1960s and 70s, with happenings and performances, art became increasingly fluid, hybrid, and inseparable from many aspects of life. With pioneers like Ana Mendieta and Agnes Denes, many artists began expressing their love for the Earth while denouncing the agricultural industry’s speculative practices. I feel fortunate to be part of this movement, both through my work at Quo Artis and as a citizen. For years, I have cultivated a small garden on my apartment terrace. I share it with birds, letting lettuce, parsley, and wild rocket grow to seed, attracting various bird species. It’s gratifying to know that the city isn’t just for humans and that I can contribute, even on a small scale, to the well-being of other living beings.

Do you believe female creators and researchers receive enough visibility in the art-and-science field?

Women are well-represented in the art-and-science field. This presence arises naturally, not due to quotas. This is the ideal situation and one we should strive for in all sectors, especially in industry and politics.

The art-and-science nexus is a field where technology is applied in a gentle, peaceful way. It’s a technology that helps us learn, care for, and protect. Conversely, the “commercial” realm of technology often involves control, domination, destruction, and increased consumption. I understand why many people feel uneasy about promoting such technologies. This highlights our century’s main issue: the lack of a feminine perspective in all fields. Quotas should be introduced here to create space for a feminine approach—a caring, respectful attitude—which men who align with ecofeminist ideas can also embrace. This isn’t about boasting a high percentage of women but about fostering positive change in the sector.

What could be improved in this regard?

We can’t ignore the structural and cultural challenges that persist in related sectors, particularly STEM (Science, Technology, Engineering, and Mathematics), where female participation remains low due to factors like gender stereotypes, a lack of contemporary role models, and barriers in perceived abilities from an early age. The current gender gap in STEM highlights how stereotypes, such as the notion that science is “for boys,” become ingrained early on. Despite often outperforming boys in scientific and mathematical subjects, girls tend to underestimate their abilities and struggle to envision themselves in scientific or technological careers due to a lack of accessible, relatable female role models.

In this context, art and science provide an alternative and promising model. This field, being collaborative and creative by nature, can break traditional stereotypes associated with STEM disciplines. Through interdisciplinary projects, art and science professionals can help showcase women’s work and present more inclusive models for future generations. However, it’s crucial for initiatives in this field to be well-funded and for the work of female creators and researchers to be widely disseminated to inspire girls and young women.

Barcelona is renowned for its commitment to innovation. What do you think initiatives like the Barcelona CREA Grants can contribute to the art-and-science sector?

The CREA grants are highly regarded by Barcelona’s artistic community because they have enabled the creation of high-quality works that might not have materialized otherwise. In 2020, I had the honor of serving on the jury for the Art and Science category, and I would like to offer some suggestions for future editions.

First, I believe the jury should consist of an odd number of members, as we were two, making tie-breaking decisions challenging. Additionally, this category combined research and production centers with individual artists. It might be beneficial to divide it into two subcategories: one for organizations and another for individuals. It’s difficult for an artist to compete with entities like the Barcelona Supercomputing Center, for example. If these changes have already been implemented, my congratulations. Beyond these details, I consider the CREA grants a fantastic initiative.

What advantages and challenges does this city face in promoting scientific art?

Barcelona is privileged in many ways, and the scientific art field is no exception. The city is home to prominent research centers in various fields, staffed by scientists with a curiosity about their surroundings and an openness to interdisciplinary collaboration. Institutions like ICFO, ICM, IRB Barcelona, and BSC, among others, stand out in this landscape. Furthermore, prestigious universities like UB and UAB actively participate in multidisciplinary programs co-funded by the European Commission, such as S+T+ARTS, which lead to high-quality, innovative initiatives.

What types of projects in the ‘Art and Science’ field do you consider most innovative or necessary in Barcelona’s current context?

One standout example is the MUSAE project, in which UB was part of the consortium. This project brought together professionals from the artistic, scientific, and business sectors to design the future of the food industry, a sector undergoing profound transformation. In this context, it is crucial for responsible consumers to pay attention and stay informed about upcoming changes.

Additionally, the level of training among artists residing in Barcelona is remarkably high. This talent, combined with scientific excellence, creates excellent conditions for fruitful collaborations. Institutions like CCCB have contributed to this dialogue between art and science, incorporating artworks and exhibitions based on scientific disciplines such as quantum physics, biology, and computational sciences for years.

This has fostered an informed audience capable of appreciating this type of art not only as an aesthetic expression but also as a source of knowledge and an invitation to reflect. It is essential for Barcelona to firmly support this field—not only to strengthen its citizens’ cultural and scientific levels but also to attract a segment of visitors interested in knowledge and innovation beyond mass entertainment. I would love to see a center dedicated specifically to art and science, backed by substantial investment, reflecting the importance of the art-and-science dialogue as a driver of cultural, social, and economic development for our city.

Finally, what advice would you give to new generations of artists, scientists, and researchers who want to work together?

To artists, I would encourage them to be proactive and determined, leaving shyness aside. If they have questions or proposals for scientists, they should not hesitate to contact them and present their ideas. Curious and open-minded individuals are likely to respond. If they don’t, someone else will surely be willing to listen. Some of the best transdisciplinary collaborations I’ve seen began because an artist reached out to a research center or directly contacted a specific scientist.

To those organizing artist residencies at research centers, I’d highlight something fundamental: artists live from their practices and artistic expertise. Therefore, their participation in these residencies or other center initiatives must be valued and fairly compensated. Recognizing their work is not only fair but essential for creating stable collaboration environments.

To scientists interested in working with artists, I would point out something simple yet not always obvious: the art world also has its own protocols, even if they are unwritten. These rules are subtle and based on specific sensitivity and experience. It’s crucial to listen to the artistic sector on aspects like the execution of the artwork, its future dissemination, and the potential integration of more artists into the project. Mutual respect is key to ensuring the success of any interdisciplinary collaboration.