Gold Fish Anatomy – On the Production of Desire

Biological processes are often read through an anthropocentric prism – we understand life by the analogy of our own body, our own needs, desires, and perceptions. It is precisely here that a gap opens up between what we imagine and what actually exists. This gap is the starting point of this work. Anatomy of a “Goldfish” (or on the Production of Desires) is a kinetic sculptural installation that ventures into the field of bioart, and which, through a subtle play of movement, reality, and illusion, opens up questions about our perception of life, death, and our relationship to the natural world. The work is an intertwining of a natural ecosystem, symbolism, and the human cultural imaginary. In a cuboid section of a pond, where stereotypical lacquered metal blooming water lilies “grow”, taxidermied dead animals that live in the pond habitat are integrated using various mechanisms. Thus, taxidermied ladybugs, a dragonfly, and flies are positioned above the surface – these are attached to wires, which are in turn connected to a clock mechanism that rotates the insects by 6 degrees every second, thereby bringing them back to life. In the underwater part, stuffed goldfish are attached to a circle – those, of course, that grant three wishes in exchange for freedom, and which, with the help of a motor hidden in the lower part, slowly rotate in a circle, creating a lively illusion of swimming. At first glance, the pond teems with life, but the system is only seemingly alive – the movement that suggests vitality is in reality a mechanical deadness. In this context, the sculpture does not act as an illustration of science, but rather as a critical field where our relationships to other life forms, technology, and transience are questioned. To summarize – what are our three wishes today?