Freedom to Be Torn
It lies quiet now — a slab of flesh-colored silence. Dug into one square meter of territory of terror. A grave before the grave. No hope. No future. In eastern Ukraine, men crawl like fetuses, pulling pins with their teeth. Grenades as an escape from shock and pain. Hiding from drones. The drones hunt in groups of two or three for a single soldier. They drop explosions into trenches - guided by game-like teams. This thing - these pink fractures of a sculpture - does not mourn. It reminds us of dumb, brutal stupidity. The freedom to choose death. The right not for happiness - but to be torn.

Aequeous Aetherforms - Bioisms and Water
Floating near Lake Neuchâtel like sentient phantasms, Aequeous Aetherforms is a small, buoy-like bioism installation exploring speculative shifts in a liquid cosmos. Each translucent organism – composed of synthetic organics – echoes the morphology of imagined aqua – entities, drifting between ancient alchemical symbolism and molecular invention. Invoking the lost sciences of aequeous transmutation and the aetheric soul, the work offers a silent choreography of organic deviations suspended near water – embodying mutation, strangeness, and the poetic biology of future ecologies. A call to fluidity, divergence, and the dream of bonum humanum.


Bio of the artist:
Aljoscha, b. 1974 is a Ukrainian sculptor and painter, known for his conceptual works, based on the ideas of bioism and biofuturism and the bioethical abolitionism.
"Bioism or biofuturism represents my attempt to create new living forms and a new aesthetics of future organic life. Bioism is a way to develop art objects which express visual possibilities of synthetical biology. It is an effort to produce art based on vitality, multiplicity and complexity.
I consider each of my works as a living being. Bioism expands life to lifeless subjects.
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 using living stations. But the most exciting thing will be the ability of artists to work with living substances, thereby constructing new forms of life. The artistic act will acquire the practical sense of birth. Fantastical might be reactions of art object to its creator and surroundings. Art museums of the future could turn into zoological gardens, galleries into new life diversity funds, ateliers into biological laboratories.
Bioism aims to spread new and endless forms of life throughout the universe.
Paradise engineering is an epiphany of new bioethics."