“The Mutability of Memories and Fates” responds to the scientific concepts of cell memory and cell fates. The exhibition presents a series of artworks resulting from artistic research of epigenetics and stem cells. The artist, Anna Dumitriu, picks up the scientific expressions of “cell memories” and “cell fates, drawing connections between scientific uses and cultural or poetical meanings of these terms playing with notions of alchemical transformation and myth-making.
Central questions the artist discusses revolve around coding of living matter or the mutability of the cell, questions of predetermined paths or what controls its constancy, flexibility, potential change, and care. It explores the desirability of a deeper understanding of cell biology and the significant impacts it will have on healthcare, disease prevention and the nature of life.
All the cells in our body have exactly the same DNA, but different cell types are very different from one another because they are expressing different genes. The study of how this works, how the cell packages DNA and what impact that has, is known as epigenetics. An important aim of epigenetics and stem cell research is to develop regenerative medicine, to extend life and perhaps to even create ‘spare parts’ for humans. From a cultural perspective this work links back to ancient mythologies and alchemy.
“I love this project and I think it is extremely rich, multi-layered and an exceptional collaboration” (Claudia Schnugg)
The “Mutability of Memories and Fates” exhibition which premiered at Alte Saline in Hallein, Austria from 5th – 20th September 2024 invited the visitor to dive into the field of cell biology and epigenetics through artworks that navigate between scientific knowledge, lab practices, and interpreting them from a cultural perspective or by alluding to real-life contexts. Thereby, the artist’s strategy is to combine cutting-edge technologies and scientific materials with traditional artistic media, feminine craft techniques, and cultural artefacts.
Anna Dumitriu has spent more than four years working in collaboration with Institute of Institute of Epigenetics and Stem Cells (IES) between 2020 and 2024 at the Helmholtz Zentrum München as their artist in residence, working hands-on in the lab, and remotely when that was not possible.
The residency was co-ordinated by Professor Maria Elena Torres-Padilla (Director of the IES), Amelie J. Kraus (Scientific Coordinator of the Epigenetics@HMGU community), and the art-science curator Dr Claudia Schnugg.
The extensive exhibition catalogue is now available as a free PDF download and in print via the contact form.
Artworks
The Mutability of Memories and Fates – video installation (2024)
Do induced pluripotent stem cells (IPSCs) still have ‘memory’ (traces of previous differentiated cells that they once were that remain in the chromatin structure of their DNA)? Pluripotent cells stem cells are a condition of stem cells that other body cells can be reversed to. Poetically speaking their fate of being a neuronal cell can be changed or removed, and their new fate might be to become a heart cell. How are cell memory and cell fates connected? Research in this field contributes to the development of regenerative medicine.
Dumitriu proposed a ground-breaking and ambitious experiment to take the exact same population of IPSCs, differentiate them into four different cell types and turn them back to IPSCs in between each stage to see what would happen. An experiment like this has never been done before, and the research collaborators considered it to be very challenging and exciting idea.
So, the cells lived four different lives, from IPSCs, they became brain cells (neuronal progenitor cells), were turned back to IPSCs, then became lung cells (alveolar epithelial cells), were turned back to IPSCs, became heart cells (cardiomyocytes that actually beat in cell culture), turned back to IPSCs, and became liver cells (hepatocytes), finally ending up as IPSCs again.
This idea of ‘transformation’ of cells echoes the aims of the alchemists, and their desire for immortality. But if we had immortal lives, what would we do with them? Would we constantly transform our selves to stave off boredom, would we be artists for 100 years, the decide to become scientists for a while, or sleep for decades like ancient vampires might?
Credit: Anna Dumitriu, in collaboration with scientists Professor Maria-Elena Torres Padilla, Federico Pecori, and Marion Genet (Institute of Epigenetics and Stem Cells, Helmholtz Zentrum Munich), and creative technologist Alex May.
Materials: Video installation
The Mutability of Memories and Fates – framed slides (2024)
This work contains microscope slides of the actual cells from “The Mutability of Memories and Fates” that have lived four different lives, alongside pen drawings, the gold leaf highlights the transformed cells. Gold was symbolically associated with immortality and eternal life in ancient Egyptian mythology and in the Middle Ages alchemists sought to transform base metals into gold, viewing it as a means to achieve the philosopher’s stone, which was believed to grant eternal life and immortality.
Credit: Anna Dumitriu, in collaboration with scientists Professor Maria-Elena Torres Padilla, Federico Pecori, and Marion Genet (Institute of Epigenetics and Stem Cells, Helmholtz Zentrum Munich).
Materials: Microscope slides with brain cells, lung cells, heart cells, liver cells, and Induced Pluripotent Stem Cells, pen drawings, gold leaf
Cellular Reprogramming Necklace (2021)
This sculpture in the form of a tangled necklace physically explores the chromatin structure of the OCT-4 gene. The OCT-4 gene is important for inducing an embryonic stem cell-like state, in effect wiping the memory of the cell (at least to a degree) and giving it the potential to become a different kind of cell. For example, the memory of a heart cell can be wiped in the lab, and it can be reprogrammed to be a brain cell.
Chromatin is a complex of DNA and proteins in our cells that packages long DNA strands into a more compact, dense shape, making it possible for the cell to control which genes are accessed and used. In eukaryotic cells (cells with nuclei) DNA is wrapped around histones and the tightness of this binding either prevents or allows the expression of genes. Heterochromatin is tightly packed and genes there are hard to access so are not expressed euchromatin, on the other hand, is loosely packed and the genes there are usually expressed.
The necklace, which brings a tangible and physical form to what is normally an abstract scientific model, is embedded with extracted chromatin from the OCT-4 gene. Copper sulphate was frequently used in the lab to help cells grow and so the artist has soaked the necklace in this other-worldly material which speaks to the alchemical processes she witnessed and participated in.
Credit: Anna Dumitriu, in collaboration with scientists Professor Maria-Elena Torres Padilla and Dr Adam Burton (Institute of Epigenetics and Stem Cells, Helmholtz Zentrum Munich) and creative technologist Alex May.
Materials: 3D printing, jewellery wire, ribbon, copper sulphate, DNA
Following the exhibition at the Deutsches Museum in Munich Germany the artist ran a workshop with researchers at the Institute of Epigenetics and Stem Cells (IES) at the Helmholtz Zentrum München Dumitriu led a workshop with researcher to create 3 versions of the piece. One necklace is on exhibition in the foyer of the Institute of Epigenetics and Stem Cells and the others have been shown in numerous exhibitions.
The Mutability of Memories and Fates – bottle with cells (2024)
This antique bottle contains the remains of actual cells from “The Mutability of Memories and Fates” that have lived four different lives, in their final form as induced pluripotent stem cells. The bottle is reminiscent of a genie’s bottle, containing mystical knowledge. It is sealed with gold sealing wax with copper sulphate-soaked ribbons. The cells in this bottle have been allowed to die, however another vial of cells is frozen, in a state of suspended animation, ready to be re-awoken, in the lab at the Institute of Epigenetics and Stem Cells, Helmholtz Zentrum Munich.
Credit: Anna Dumitriu, in collaboration with scientists Professor Maria-Elena Torres Padilla, Federico Pecori, and Marion Genet (Institute of Epigenetics and Stem Cells, Helmholtz Zentrum Munich).
Materials: Antique bottle, Induced Pluripotent Stem Cells, sealing wax
Totipotence (2023)
The DNA of a differentiated cell can be wiped in the lab to create an induced pluripotent stem cell. These cells can become almost any cell type, for example skin, or heart cells but they cannot become placenta cells. Only a ‘totipotent’ (wholly potent) cell, like a human zygote, can become any cell type whatsoever. But so far, the ability to create totipotent cells in the lab is elusive.
Dumitriu was interested in whether a bird’s egg would be considered a totipotent cell, and this artwork explores that philosophical question. A golden goose egg (alluding the to the idea of the goose that lays the golden egg, and the importance of gold in alchemy), encrusted with copper sulphate crystals (that Dumitriu used in culturing cells in the lab), sits on a handmade bird’s nest impregnated with 2-cell-like-cells. These cells sometimes appear in cell cultures and are subset of pluripotent stem cells that closely mimic the gene expression and characteristics of the 2-cell stage of embryos. Their study provides crucial insights into early embryonic development, epigenetic regulation, and the potential for advancements in stem cell therapy and regenerative medicine.
The discussion between the artist and Professor Maria Elena Torres Padilla can be found below:
“I’m sorry if this is a silly question, but are bird’s eggs totipotent? Or how does it work?” [Anna Dumitriu]
“In principle the answer is, I would say yes (e,g any egg which will generate a full organism is totipotent ) – BUT – the concept is rather used in mammalian embryology rather than in e.g. frogs, chicken/duck etc. this is where it becomes semantic/philosophical – the egg itself is already ‘partitioned’ into two parts : the yolk and the ‘embryo’ – it has already two identities, so to say – the yolk will provide the food, as we know – and only a tiny part in the yellow (the embryo, sometimes seen as ‘blood’ spot in the yellow) will actually form the embryo – this is, I would say, why the totipotent word is not used here, because there are already two identities within the ‘egg’ whereas in mammals it is one single cell (the zygote) which will further split into two before implantation (the trophectoderm and the inner cell mass), and the support of the embryo (the trophectoderm, which will form the placenta) is only emerging later from this one cell (as opposed to the other species).” [Maria Elena Torres-Padilla]
Credit: Anna Dumitriu, in collaboration with scientists Professor Maria-Elena Torres.
Materials: Handmade bird’s nest form with copper sulphate covered blow goose egg
Identity in Flux (2023)
The artist performed the fiddly process of extracting the nucleus from the surrounding egg using a nucleus which had been dyed blue to make it more visible. This technique is used by the scientists to create nuclear transfer embryos that can erase the cellular memory of the previous cell identity and allow the establishment of totipotency (a cell which can become any type of cell in the body) which give rise to all cell types in the body. This technique has a fundamental impact on regenerative medicine.
Credit: Anna Dumitriu, in collaboration with scientist Dr Eva Hörmanseder (Institute of Epigenetics and Stem Cells, Helmholtz Zentrum Munich).
Materials: Video installation
Father and Mother (2021)
This microscope image entitled “Father and Mother” shows a zygote, a totipotent cell, before the fusion of the father and mother cells. The chromatin structure of how the DNA is wrapped inside the cell. has been revealed using fluorescent markers.
Credit: Anna Dumitriu, in collaboration with scientist Dr Adam Burton (Institute of Epigenetics and Stem Cells, Helmholtz Zentrum Munich)
Materials: Microscope image
Cellular Memory (2021-24)
This fibre-based artwork references the difficulties of returning a differentiated cell to the form of a pluripotent stem cell and explores the question of whether cells have memories. Here Dumitriu makes reference to the way that wool that has been unpicked and reknitted still seems to have a ‘memory’ of the garment it previously was. In this work knitted squares have been washed, shrunk, partly unpicked and reknitted. The re-knitted parts still show the scars of the previous knitted form. Dropped stitches and snags are visibly mended by the artist using embroidery silk to hint at the way DNA can mend itself. The knitting is impregnated with induced pluripotent stem cells.
Credit: Anna Dumitriu, in collaboration with scientists Professor Maria-Elena Torres Padilla and Dr Adam Burton (Institute of Epigenetics and Stem Cells, Helmholtz Zentrum Munich) and knitters Dr Claudia Schnugg and Eleanor Hyland Stanbrook.
Materials: Wool, embroidery silk, induced pluripotent stem cells
Cell Division (2021)
This image shows cells dividing. The artist learned to pick up cells and move them around between Petri dishes using a mouth pipette, an early and nowadays rarely used technique which is still used for gently handling these delicate and precious cells due to its precision and as a sign of respect, which she likened to kissing them.
Credit: Anna Dumitriu, in collaboration with scientist Dr Adam Burton (Institute of Epigenetics and Stem Cells, Helmholtz Zentrum Munich)
Materials: Microscope image
Performance of Care (2023)
This image represents a performative laboratory-based action where artist grew, observed, and cared for Xenopus (frog) cells as they divided over several days and then was confronted by the requirement to dispose of them in a humane way.
This piece also relates to research Dumitriu undertook with the Huban Developmental Biology Initiative which led to the work “Precious Cells”. https://annadumitriu.co.uk/portfolio/precious-cells/
Credit: Anna Dumitriu, in collaboration with scientist Dr Eva Hörmanseder (Institute of Epigenetics and Stem Cells, Helmholtz Zentrum Munich).
Materials: Microscope image
Dr Clara’s Jumping Genes (2021)
These ‘jumping’ sequences of DNA, which were, until recently considered to be ‘junk’ make up more than half of the human genome and in principle, can change their position within the genome. Although this can threaten the integrity of the genome by causing insertional mutations, transposable elements have been recently described as drivers of regulatory innovations. After millions of years of colonising genomes, these “ultimate parasites” (as described by Francis Crick who famously co-discovered the structure of DNA) appear to be involved in symbiotic relationships with the host genomes, where they may offer a range of benefits to the host that we are only beginning to understand.
This work was part of “Hypersymbiotics™ Post Pandemic Edition” which takes the form of a strange apothecary box which draws together many of the artist’s past works involving emerging research in biomedicine and blends them with contemporary pseudoscientific healthcare remedies, helping us to make connections between the past and present. It asks how, as pharmacology becomes increasingly complex, can we tell fact from fiction, or newspaper headline from genuine available therapy?
Credit: Anna Dumitriu, in collaboration with scientist Dr Clara Hermant (Institute of Epigenetics and Stem Cells, Helmholtz Zentrum Munich).
Materials: metal, glass, MERVL gene DNA
Exhibitions and Outcomes
Dr Clara’s Jumping Genes are one element from Dumitriu’s major series “Hypersymbiotics”, which she has recreated for this exhibition.
A work-in-progress showcase of the Cellular Reprogramming Necklace and Cellular Memory took place at the Deutsches Museum in Munich for the 60th Anniversary of the Helmholtz Zentrum on 18th November 2021.
Works from the series are on permanent display in the foyer at the Institute of Epigenetics and Stem Cells in Munich, Germany since November 2021.
The Cellular Reprogramming Necklace was part of “BioArt Alchemy” a solo exhibition of works by Anna Dumitriu at Spazju Kreattiv in Valletta, Malta, from 16th September 2022 – 30th October 2022.
The Cellular Reprogramming Necklace and Cellular Memory were exhibited at the EPIC Conference, a joint conference by the three specialist science networks: EpiGene3Sys, ChromDesign and INC-Spain that took place from 17th to 20th October 2022 in Granada, Spain.
The Cellular Reprogramming Necklace was part of BioArt Revolution/ Revoluția BioArt, an innovative solo exhibition by Anna Dumitriu which brought together contemporary artistic approaches and modern scientific experiments to address issues of global relevance such as infection, climate change, and diversity. The show took place as part of Timișoara 2023 European Capital of Culture, from 30th September to 1st October 2023. The exhibition, which was created in collaboration with the Romanian Science Festival, took place in the stunning setting of Bastionul Maria Theresia, Galeria 2, Str. Hector, nr. 1, Timișoara, Romania.
The Cellular Reprogramming Necklace was part of BioArt Knowledge: A Solo Exhibition by Anna Dumitriu at the Yarrow Gallery in Oundle, Near Peterborough, UK, from 9th November – 6th December 2023.
The Cellular Reprogramming Necklace was part of “The Alchemist” BcmA Gallery, Berlin, Germany, 22nd January – 9th February 2024
The project was presented at LMU Biozentrum (Munich, Germany) on 12th June 2024 as part of the “Encounters in Art and Biology” Symposium.
“The Mutability of Memories and Fates” brought together all the works from the series of the same name, including new never before presented works, for the first time at Alte Saline in Hallein, Austria from 5th – 20th September 2024. The exhibition presented a series of artworks resulting from artistic research of epigenetics and stem cells. The artist, Anna Dumitriu, picks up the scientific expressions of “cell memories” and “cell fates, drawing connections between scientific uses and cultural or poetical meanings of these terms playing with notions of alchemical transformation and myth-making. There was an accompanying events programme. The exhibition was a collaboration with Schmeide, in cooperation with The Helmholtz Zentrum Munich and subnet, curated by Claudia Schnugg.
Video of the ‘in Conversation’ event and Exhibition in Hallein
Workshops
Anna Dumitriu lead an in-person workshop at the Institute of Epigenetics and Stem Cells at the Helmholz Zentrum in Munich (Germany) exploring cellular reprogramming and cell memory, as part of her art residency, on 10th August 2022
Awards
“The Mutability of Memories and Fates” was a finalist in Falling Walls 2024 (Berlin) competition in the Art and Science Category.