To Notice is to Remember online screening

posted by Milla Millasnoore on 7 June 2025

To Notice is to Remember
Bioart Society members screening
ONLINE EDITION
7-15 June 2025

Coinciding with the opening week of the Helsinki Biennale and Frame Contemporary Art Finland’s Teurastamo art space tour, Bioart Society is hosting a moving image screening event at SOLU Space on Saturday 7th June 2025. The films are also available for online viewing on this page during 7-15 June 2025. Scroll down to access the films.

The screening showcases a collection of short films and moving image works by Bioart Society members. The programme highlights a plurality of mediums and matters being dealt with across our membership, each offering a lens attuned to the quietly urgent and the often overlooked. From the microscopic and the bodily to the marco-scale of climate change, the films invite viewers to slow down, be surprised and observe. What emerges is a collective call to attend more closely to the worlds within and around us.

The screening features works by Annette Arlander, Camille Auer, Tarsh Bates and Sue Hauri-Downing, Leah Beeferman, Burn City Pipers (Kaisu Koski and Nick Dunn), Lucy Davis, Sara Ilveskorpi, Ziggy Lever and Eamon Edmundson Wells, Tina Mariane Krogh Madsen, Christelle Mas, Sirja Moberg, Ellenor Rose Nish, Margherita Pevere, Agnieszka Pokrywka, Leena Pukki, Johanna Rotko, and Maria Ångerman.

Photo on top: Still from the video work "A Flagellate Searching for Love" by Leena Pukki.

Sirja Moberg, Kuonarjohka, 2023
5 min
Language: NA. Subtitles: none

Sirja Moberg’s film Kuonarjohka works with trace fossil rocks in a fell of Kuonarjohka in Sápmi nature during Bioart Society's Field_Notes: Traces, 2021. The trace fossil rocks contain fossilized traces made by the early life forms of our planet hundreds of millions of years ago. Moberg made charcoal frottage drawings out of the fossils and presented them to her camera in a windy tundra landscape. In the video, the elements of deep time hidden in the landscape blend together: the drawing merges into the ancient soil of the fell. She recorded the sound inside the rooms of a demolition art house in Tornio two years later, interacting with the decaying structures and objects.

Credits: Bioart Society, Field_Notes: Traces, field laboratory 2021. Taike 2021.

Sirja Moberg (b.1989, FI) is a Helsinki-based visual artist. Moberg works with experimental photography, bioart, installation, sculpture and video. She has a focus on long-term projects combining art, scientific methods and artistic research. At the core of her work is animistic nature connection and examining the invisible nature, such as soil, as a combination of magical and interdisciplinary viewpoints. Her recent solo exhibitions have been seen in gallery spaces in Finland and Norway. She has participated in numerous group exhibitions in galleries and museums since 2011. Moberg holds a Master of Arts degree from Aalto University’s Master’s program in Photography.

Annette Arlander, Day and Night with a Mountain Birch (brief), 2021
13 min
Language: NA. Subtitles: none

Annette Arlander’s performance with the mountain birch took place every two hours from 6 June 2021 at 3.45 pm to 7 June at 3.45 pm on the shore of Lake Kilpis during her ArsBioarctica residency there. In that same place she had performed Day and Night with Malla between noon 7 June 2014 and noon 8 June 2014 during a previous residency. This time Arlander did not sit on the rock, but stood holding on to a small birch as part of the project Meetings with Remarkable and Unremarkable Trees 2020-2021 See also: https://www.av-arkki.fi/works/day-and-night-with-malla-1-2/ and https://www.researchcatalogue.net/view/761326/761327

Credits: Ars Bioarctica residency, project support from Finnish Cultural Foundation.

Annette Arlander, DA, is an artist, researcher and a pedagogue, former professor in performance art and theory and professor in artistic research at University of the Arts Helsinki, as well as at Stockholm University of the Arts. Her research interests include artistic research, performance-as-research, and the environment. Her artwork moves between the traditions of performance art, media art and environmental art.

Leena Pukki, A Flagellate Searching for Love, 2024
10 min
Language: Finnish. Subtitles: Finnish and English

Swarm Cell Is Looking for Love captures slime mold moving along symbols of love, diagrams of reproductive cells and signs of genders. Themes are searching for love, relationships, sex and reproduction. The film explores the mechanism of falling in love, and love and sexual "chemistry". It is thought that these areas of life occur at the cellular level. What really happens when a very charming cellular formation hits? Is love a biological process based on finding suitable cells?

Credits: Poem, directing, cinematography, edit: Leena Pukki. Music and sound design: Jenni Venäläinen. Voiceover: Teo Ala-Ruona, Jussi-Pekka Koivisto, Iiris Laisi, Timo Mäkynen. Voiceover recording and sound mix: Jarkko Kela. Color: Anssi Korhonen. Poem translation to english: Matias Loikala. Subtitles: Ilkka Pitkänen. Funding: Avek Audiovisual Centre, Arts Promotion Centre Finland.

Leena Pukki (b. 1984) is a visual artist who is interested in interspecies relations, history, alternative realities, colors, and single cell organisms. Her techniques vary from media art to large-scale wall paintings, bio art and installation. Pukki graduated with a master's degree in art from Aalto University's School of Arts and Design in 2015 and as a visual artist from Lahti Art Institute in 2007. She is based in Cairo, Egypt and Helsinki, Finland. Pukki's works have been shown at the Venice Biennale, Kunsthalle Helsinki, Pori and Lappeenranta art museums, and at film festivals in Sweden, Norway, Germany, Indonesia, Canada, and Ukraine.

Burn City Pipers (Kaisu Koski & Nick Dunn), Exit Song, 2024
4 min
Language: English. Subtitles: English

Exit Song embraces one of the most misunderstood nocturnal creatures, the rat. It is a requiem to a rat-like creature Bramble Cay Melomys, the first mammal recorded to become extinct as a result of anthropogenic climate change in 2016. The music video includes speculative-performative interventions for and with real and imaginary rats, drawing from the Medieval legend of the Pied Piper of Hamelin. The legend is considered a multi-layered and early version of nonhuman displacement engineered by humans, and stigmatizing another species.

Credits: Music production by Lea Jurida. Funders: Research England, Sheffield Hallam University, Lancaster University.

Burn City Pipers is an electro-acoustic post-punk duo by Kaisu Koski and Nick Dunn. They create songs, music videos and sound poems for the more-than-human justice. They are working on their first album, Exit Songs, dedicated to endangered and extinct nonhuman animals in anthropogenic climate change. Kaisu is a cross-disciplinary artist with a background in performance, film, and biological materials. She is an Associate Professor of Art and Design at Sheffield Hallam University. Nick is Executive Director of Imagination, the design-led research lab at Lancaster University where is also Professor of Urban Design. He is the founding Director of the Dark Design Lab, exploring the impacts of nocturnal activity on humans and nonhumans.

Christelle Mas, Oceanaia
5 min
Language: NA. Subtitles: English captions

Art Game Oceanaia - Bloom of Synthesis is an Artistic ecosystem simulation set in a futuristic ocean planet setting blending visual art, science, and technology, designed for two formats: Exhibition version featuring interactive touchscreens, videos, and projections and a Personal version that people can run on their computers to interact with the ecosystem at their leisure. The game aims to simulate believable and at the same time futuristic and sustainable marine ecosystems. Through its needs-based behavioral simulation, it offers a glimpse into what well-being could look like for beings living in the far future. The project is multidisciplinary, combining visual arts, digital media, and scientific data. It integrates photography, video game design, and scientific exploration. Website: https://oceanaia.com/

Credits: Game designer: Olli Uikkanen (collaborator)

Christelle Mas (b. 1984, Paris) is a French-Finnish photographer and mixed media artist whose work explores the intersection of technology, science, and speculative futures. Her practice merges artistic and scientific methodologies to imagine post-human landscapes and interspecies co-existence through photography, installations, video, and interactive media. Mas holds degrees in fine arts and philosophy of art from the Sorbonne. She has exhibited widely across Europe and her works are included in several museum and private collections. A member of Bioart Society and M-Cult, she is currently developing interactive digital projects through the CULTURHUB online residency and major upcoming exhibitions in Finland and abroad.

Maria Ångerman, Even a Dead Star Can Be a Lighthouse, 2025
11 min
Language: English. Subtitles: English

Video password: fucus

Maria Ångerman’s experimental short film explores marine plants’ coping mechanisms in circumstances of eutrification and depleting oxygen levels at the edge of the Baltic Archipelago Sea. Informed by evolutionary theories of symbiosis and marine beings’ plasticity, it speculates how the plants might morph with other species in order to survive in the new living conditions.

Credits: Directing, camera and editing by Maria Ångerman. Sound mix by Sergio González Cuervo. Kindly supported by Svenska Kulturfonden and Svenska Litteratursällskapet.

Maria Ångerman is a visual artist and filmmaker. Her practice explores the complexity of the human relationship with the natural world and the concept of nature with an interest for liminality, embodiment and hapticity. Whether through immersive moving images or various photographic processes, her work navigates a delicate space between documentary fact and poetic fiction. In 2014, she earned her master's degree from the Netherlands Film Academy. Her work has been widely screened and exhibited across Europe, as well as in Brazil, Mexico and Senegal.

Tina Mariane Krogh Madsen, Hidden Agency, 2023
17 min
Language: NA. Subtitles: none

Hidden Agency is a speculative narrative which extends across places and their multiple and inherent temporalities. It uncovers potential relations, and explores the sonic environment connected to matter, amplifying what is unheard, and staging what could be. Rocks and roots collide, movements of beings through the forest floor. Trees are used for paper and paper sounds like ice and snow when touched. In Hidden Agency these sounds become unheard, remembrance, resonance. The recorded materials (sounds and videos) are captured and edited by Tina Mariane Krogh Madsen from 2020-2023, and originate from Reykjavík (IS), Hyrynsalmi (FI), Skuløya (NO), and Aalborg (DK).

Credits: Tina Mariane Krogh Madsen, production funded by Aalborg Kommune for Madsen's solo exhibition The Metabolism of the Earth in XM3 space for contemporary art in Aalborg, Denmark in May 2023.

Tina Mariane Krogh Madsen is an artist, researcher and theorist who works in the intersection between performance art, sound, open technology, and matter. Madsen is currently a doctoral candidate at Aalto University School of Arts, Design and Architecture (FI), researching environmental performance art and geological affect in the context of contemporary urgencies. Madsen additionally holds a MA in Art History from Aarhus University (DK), is the founder and curator of performance protocols, a nomadic platform for instruction-based art and collaborative processes, as well as a certified Deep Listening facilitator from the Center for Deep Listening, Rensselaer Polytech Institute (US).

The Observatory Project (Ziggy Lever & Eamon Edmundson Wells), Not-Measuring ARC, 2024
5 min
Language: NA. Subtitles: none

In late 2024, thirty-three participants were invited to visit The Acoustics and Vibration Research Centre (ARC) for a tour led by researchers Dr Andrew Hall, Yousif Badri, and Dr George Dodd. ARC’s anechoic chamber is the quietest room in Aotearoa New Zealand — a room suspended on springs and "decoupled" from the rest of the building. In the reverberation chambers, there are no parallel surfaces. Not-Measurements of the sonic field were taken by the Observatory Project. Numbers were read and recorded: frequencies, decibels, distances, and reflections. “Metamaterial” filters dampened frequencies of 2000 kHz. Sub-bass frequencies pressurised the chambers.

Credits: The Observatory Project (Eamon Edmundson-Wells and Ziggy Lever). With special thanks to Gian Schmid, Dr Andrew Hall, Yousif Badri and Dr George Dodd from the Acoustics Testing Laboratory, and to the Audio Foundation.

Formed in 2017 after encountering gravitational wave sonifications, The Observatory Project is the collaborative research-led project of Eamon Edmundson-Wells and Ziggy lever that explores making relation to scientific processes. This project operates at the intersection of art and science, by using sound, video, custom made electronics, and sculptural installation as a means to diagram, interpret, and imagine scientific processes of observation. To facilitate this research The Observatory Project designed and built the Adaptable Sound Interferometry Equipment (A SINE), a series of modular sound generating sculptures that spans across perspex housed devices and large steel cabinets. Recent research includes sea-cliff interferometry, ‘not-measuring’, provisional making in observatories, and documentation of machine calibrations.

Johanna Rotko, RIHMASTO / RHIZOME, 2025
3 min
Language: NA. Subtitles: none

This video contains seven videos: three yeastograms and three kōjigrams photo sequences, and one oncomgram photo sequence. The photographs are from 2022 to 2025. The artistic research process has been ongoing since 2014.

Credits: Video works by Johanna Rotko. Music by Epidemic Sound. Grants that have enabled these videos: The Arts Promotion Centre Finland, Kone Foundation and Päijät-Häme Regional Fund.

Johanna Rotko is a visual artist who creates images with living materials. The main characters in her works are beneficial microbes such as yeast and kōji mould, which are usually used to ferment various foods. In Rotko’s works, she deals with power relations, transience, the disappearance of matter, change, and time through bio art and photography, as well as through beneficial microbes and species that will grow in the images. She has been working together with beneficial microbes since 2014.

Camille Auer, Seepage, 2020
33 min
Language: NA. Subtitles: None

The outer limits of a body are porous. Touching a table, at the contact point, you can’t tell which exact atom belongs to the toucher and which to the touched. We continuously seep into our surroundings and they seep into us. Time is a border, a boundary we lean on to. It bends around us, future seeping into past, past into future, presence a fluctuating surface between, rippled with memory and dreams. This is an ASMR-video about presence and caring for the surfaces of a human. Binaural sound will bring you close and take you far.

Credits: Video by Camille Auer. Filmed and recorded in Mustarinda, Iceland and Turku. Supported by Arts Promotion Centre Finland (Taike).

Camille Auer is such a fucking bitch. No. She's a poet. A writer. She has been an artist. She has worked with moving image and sound, performance, installation, words and concepts. She emerges when someone is being transphobic, to be a bitch. Camille Auer once abandoned her art career for three years to study birds and ornithological literature to figure out what kind of biases humans have in their knowledge of birds. Turns out, many. Then she, of course, made an artwork about it. Because when you're in the art game, you're in the art game. Fuck.

Ellenor Rose Nish, clouds, 2024
7 min
Language: Finnish. Subtitles: English

i am a cloud. the clouds become the cryosphere. snow falls from clouds to the cryosphere and melts on a warm body. a cloud dances on the frozen ocean.

Ellenor Rose Nish (b. Nhulunbuy, Australia, 1997) is an artist with a science-based practice led by botany and Earth sciences. She completed a Bachelor of Biology at the Australian National University. Her artistic research contributes to the world in important ways, for example, by preserving biological diversity into the deep future and deepening the relationship between nature and people. She works in a way that fosters softness and care.

Tarsh Bates & Sue Hauri-Downing, There's no future in ice, 2024
8 min
Language: NA. Subtitles: none

"There’s no future in ice" is a collaborative project which traces the agencies of volatile chemicals through ecologies. Here, Bates & Hauri-Downing focus on the fragile olfactory relationships between lichen, water, reindeer and anthropogenic climate change. The Arctic is a vortex for climate change, warming four times faster than anywhere else. Rapid, unpredictable, and extreme weather events are increasing, freezing lichen in ice, trapping the lichen odorants and reducing the ability of reindeer to smell their food. These videos are acts of noticing performed on Ubmeje Sápmi, the lands of the Sámi people in Northern Sweden, rituals of culpability, responsibility and solastalgia.

Credits: Created by Tarsh Bates & Susan Hauri-Downing during a residency with Umeå Institute of Design and UmArts 2024. Umeå University. Supported by Västerbottens museum and funded by UmArts, UID & Department of Molecular Biology, Umeå University, and the Department of Local Government, Sport and Cultural Industries, Western Australia.

Based in Whadjuk Nyungar Boodja / Southwestern Australia, Susan Hauri-Downing works at the intersections of social work and artistic methodologies. Her art practice focuses on bio-cultural diversity, ecological grief and loss and interspecies relationships. Based in Ubmeje Sápmi / Northern Sweden, Tarsh Bates is a transdisciplinary artist/researcher/educator interested in the aesthetics of interspecies relationships and queer ecologies. They collaborate on the Scents of Solastalgia project, which examines the significance of olfactory landscapes to the rapidly changing, multi-species experiences of place through a series of eco-sensory residencies, workshops and artworks.

Leah Beeferman, These moments of transfer, 2024
10 min
Language: NA. Subtitles: none

“These moments of transfer” has two interwoven elements: the sounds made by scientific equipment at the Hyytiälä Forest Station in Finland and the Barbados Cloud Observatory in Barbados, and the landscape and skyscape that this equipment observes and measures. The title comes from the transfer of greenhouse gases between forest and atmosphere that is studied at Hyytiälä but alludes to the transfer — or translation — that occurs from the forest or the clouds to scientific and photographic representations of them. The sound in the first half of the video comes from the equipment at Hyytiälä and, in the second, from the equipment in Barbados.

Credits: Thank you to Ulla Taipale and Timo Vesala from the Hyytiälä Forest Station in Finland and Friedhelm Jansen and Björn Stevens from the Barbados Cloud Observatory in Barbados.

Leah Beeferman makes digital prints, image objects, videos, texts, and sounds. Her work explores and abstracts the shifting relationships between measurement, uncertainty, and images as they relate to landscape and weather at a variety of scales. She has had solo exhibitions at Penumbra, New York; Peeler Art Center, Indiana; Rawson Projects, New York; Sorbus, Helsinki; CO-OPt, Texas; Arcade on Stadium, Utah. Recent group exhibitions: Helsinki Art Museum; Foyer LA, Los Angeles; and Smack Mellon, Brooklyn. In 2016 she received a Fulbright Grant to Finland. Beeferman now lives in Providence, USA, where she teaches at the Rhode Island School of Design.

Sara Ilveskorpi, The Eye That Sees All, 2023
20 min
Language: Finnish. Subtitles: none

The Eye That Sees All was filmed during a one year period at the Heinola Bird Sanctuary, a home for injured birds. The work aims for a diverse perspective on empathy and care. It challenges the ethical issues in our relationship with more than humans. The genre of the video is an experimental documentary. It does not contain an actual narrative, although it goes through the bird's life cycle in the sanctuary.

Credits: Sound design by Antti Tolvi. Composition by Antti Tolvi and Marja Ahti. Funded by Heinola Art Museum and Finnish Cultural Foundation.

Sara Ilveskorpi is a visual artist, researcher, art educator and agroecologist, who explores self-sufficiency and deep ecology as practice. Her work focuses on reciprocity and resilience as well as encounters with multispecies in a time of sustainability crisis. She holds an MA from Aalto University, Department of Art and Design and BA in visual arts from the Turku Academy of Arts. She is currently studying towards a Doctor of Arts degree in Aalto University’s School of Arts, Design and Architecture, Department of Art and Media. Her artistic work is often rooted on lens-based techniques and learning and using different materials and techniques. Lately she has been making video art but also clay sculptures. In her art, she tries to re-negotiate the relationship between human animals and nature.

Margherita Pevere, Lament, 2024
12 min
Language: NA. Subtitles: none

Through a striking aesthetic coupled with rigorous transdisciplinary research, Lament (2024) delves into overlooked stories and post-wildfire ecologies. It considers wildfires beyond the spectacular moment and rather in their less-spoken-about aftermath, where soil, communities and ecosystems are exposed to both erosion and regeneration. Lament reflects on the ecological roles of wildfires, but also the anthropogenic shifts in the so-called “fire regimes” that lead to extreme wildfire events. Lament features an installation; a performance accompanied by cello and live electronics; and a community engagement programme. The artwork was awarded the COAL Prize 2024 Transformative Territories Mention.

Credits: Concept, performance, installation, bio-protocols, costume and glassware design by Margherita Pevere. Music composed and performed by Ivan Penov. Scientific advisor: Diana Viera & JRC. Research advisor: Céline Charveriat & Pro(to)topia Consulting. Conservation advisor: Lucía Iglesias Blanco & Nature Conservation Unit (DG for Environment, European Commission). Project management by Jurica Mlinarec. Costume making by Lena Böckann. Glassblowing by Jason Hitchcock & Berlin Flameworking Studio, Berlin. Photography by Romane Iskaria. Video by Daniele Lucchini. Realised with the support of NaturArchy – Resonances Project at the Joint Research Centre of the European Commission

Known internationally for her otherworldly work with living matter, ecology and biotechnology, Margherita Pevere is an artist and researcher addressing taboos like death, sex and vulnerability. Her practice embraces object-making, installation, performance, and writing, which she waves seamlessly thanks to her transdisciplinary background.Her project Lament on wildfire ecologies was awarded the COAL Prize / Transformative territories mention (2024) and she was nominated for the Falling Walls Awards / Category Art and Science (2023) for the body of work around her concept ‘arts of vulnerability’. Her doctorate in artistic research (Aalto University) focused on bioart and queer and feminist studies.

Leena Pukki, The Time of a Slime Mold, 2021
10 min
Language: Finnish. Subtitles: Finnish & English

The movement of slime mold is combined with pattern subjects selected from Karelian thread blankets. The poem heard in the background expresses themes of time, circulation, and decomposing.

Credits: Poem, script, cinematography, editing, producing by Leena Pukki. Composing and sound design by Jenni Venäläinen. Voice over by Ritva Sorvali, Jenni Venäläinen, Leena Pukki. Sound mix by Lauri Kallio.Color and titles by Panu Johansson. Poem translation to english by Maire Saaritsa. Funding: Finnish Cultural Foundation & Mustarinda.

Agnieszka Pokrywka, The Invisible Colonies (trailer)
4 min
Language: English. Subtitles: English

The Invisible Colonies is a speculative documentary blending real footage from a Mars-analog station in Utah, US with a fictional story of an astronaut stranded on a distant planet, longing for a lost Earth. In isolation, the astronaut forms a bond with cyanobacteria—ancient microbes brought from Earth—that help them to reflect on the meaning of one’s roots—ancestral, cultural, and ecological—in the midst of destruction. This trailer features a scene where the astronaut speaks with their younger self, reflecting on the nature of cyanobacteria. The Invisible Colonies is set to premiere in early 2026.

Credits: Produced by Super Eclectic. Directed by Aga Pokrywka. Supported by Kone Foundation, Arts Promotion Centre Finland.

Aga Pokrywka is a Polish-born, Finnish-based multidisciplinary artist and fermentation wizardess. With a science and art background, she works with film, sound, text, and collaborative practices to build eclectic narratives. She is fascinated by how we can comprehend the unnoticed and capture it with our senses. Aga is the director of Ferment Radio, a podcast series on bacterial and social fermentation, co-founder at Super Eclectic, a creative studio on a mission to inspire action on the most critical issues of our time, and a member of The Centre for the Social Study of Microbes at the University of Helsinki.