The graphic with purple background shows as a cutout luminous small robot gyroscopes move on a dark background. Above it in pale green is the title "BioMedia".
The Age of Media with Life-like Behavior
Sat, December 18, 2021 – Sun, August 28, 2022

Who or what defines on what is alive and what is intelligent? Can artificial forms of life be empathetic? What does the cooperation of human beings and artificial agents look like? What ethical questions arise? The exhibition »BioMedia« invites visitors to learn about and discuss possible forms of cohabitation between organic and artificial forms of life.

For centuries, humans have attempted to create machines that simulate life — from 16th century animatronics to pre-cinematic moving image devices. The 19th century was the dawning of the age of wheel-based motion machines, for example with bicycles, cars, and trains. This wheel-based technology gave way to the moving image, cinematography, the illusion of motion in the 20th century. An image that could actually imitate movement was a radical step towards the simulation of life, because up until this point, from painting to photography, images characteristically had been of a static nature.

With the development of color and sound cinema, that is, »the movie«, we came close to an imitation of life: people, animals, and objects can be captured or animated by camera technology with »high fidelity« to their locomotive action, their movements, conversations, and expressions. The transition from moving machine to moving image is visually evident.

Programflyer »BioMedia«

Exhibition brochure


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Meanwhile, in the 21st century, the idea of media simulating life becomes even more realistic: real motion and an input–output relation, which we call participatory interactivity, are very much like a living organism which responds and adjusts to actions by living beings or the environment. Beginning with the simulation of motion and progressing to kinetic art and cybernetic theory, the simulation of life and life systems through artificial intelligence and generative technologies have led 21st century humanity to reckon with machines on an existential level.

This became possible in three steps: virtuality, variability, and viability. Building on each new development, the virtuality of photographic images set the stage for virtual electronic systems to produce, process, and store digital images. The virtuality of media storage in electronic systems enables the variability and versatility of image content, which in turn introduces viability of behavior of the images.

Media systems transgress the simulation of motion and simulate many aspects of living organisms, of life, from intelligence to empathy. It is this phenomenon – media which exhibit life-like actions – that we call biomimetic media or BioMedia.

The exhibition investigates different forms of artificial agents and environments, as well as their behavior and interactions with other entities within contemporary hybrid ecosystems. Some of these agents are purely digital, computer-generated and computer-simulated systems that evolve on a screen, while others include complex adaptive robots that have a physical presence in space and can manifest biomimesis as search mechanisms, swarm intelligence, self-preservation, and so on. Nevertheless, they imitate, demonstrate, and simulate life-like behavior by responding to stimuli in unpredictable ways. The artificial agents shown in this exhibition raise questions about self-sustaining nonorganic life by presenting their ability to interact with each other and with humans and nonhumans alike, as two-dimensional images, three-dimensional objects, and multidimensional quantum models. In this exhibition, we explore these dynamic systems at the intersection of art and science – both in terms of their possible applications in real life and in their quality to fuel our imagination.

»BioMedia« provides insights into possible modes of cohabitation with artificial life forms and investigates the future of our entanglements with technological assemblages. The existence of organic life and artificial agents are not mutually exclusive. Instead, »BioMedia« proposes to imagine our relationship with artificial agents in multiple strands of interdependency. New methodologies and ideologies need to be investigated to answer the question of how we can enhance and sustain life in an alliance of human and more-than-human technological entities against the backdrop of the profound ecological crisis, mass extinction, and human-made climate catastrophe.

Utilizing a biophilic approach which embraces the diversity of life on the planet, this exhibition proposes to include not only carbon-based life, but also inorganic life forms in the network of the natural ecosystem and social relationships, thus questioning taxonomies developed in the natural sciences and the siloing of different branches of sciences and arts. The sympoetic community of the future will welcome artificial beings as part of a system of networks, relationships, and links between different disciplines in order to tackle urgent issues and foster new solutions. Artificial agents might also take on the roles of guides, regulators, cocreators, companions, and caregivers in these communities. At a time when there is an existential threat to our living planet, seeking new concepts and definitions of life has become more than just a philosophical undertaking; it has become a responsibility to life itself.

bMEDIA - Virtual Exhibition of »BioMedia«

bMEDIA is a digital platform and part of the exhibition »BioMedia. The Age of Media with Life-like Behavior«.


Digital platform of the exhibition »BioMedia«. You can see an animated node-like green object on a purple background.

::vtol::, Kees Aafjes, Refik Anadol, Artificial Nature (Haru Ji & Graham Wakefield), Giselle Beiguelman, Torsten Belschner, Samuel Bianchini, Frank Bierlein, Michel Bret, Ludger Brümmer, Daniel Canogar, Aristarkh Chernyshev, CITA – Centre for Information Technology and Architecture at the Royal Danish Academy of Fine Arts, Edmond Couchot, Stephanie Dinkins, Melissa Dubbin & Aaron S. Davidson, Anna Dumitriu, Jake Elwes, Justine Emard, Cécile B. Evans, Bernardo Fontes, Edo Fouilloux, Yves Gellie, Alexandra Daisy Ginsberg, Libby Heaney, Stephan Henrich, Katrin Hochschuh & Adam Donovan, Yannick Hofmann, Gökhan S. Hotamisligil, Yasha Jain, Daria Jelonek, Nikolai Konstantinow, Bernd Lintermann, Christian Mio Loclair, Matthew Lutz, Hasan Mashni, Alex May, Bruno Moreschi, Mélodie Mousset, Alessia Nigretti, Gordon Pask, Špela Petrič, Sascha Pohflepp, Nina Rajcic & SensiLab, random international, Anna Ridler, Birk Schmithüsen, Alexander Schubert, Jeffrey Shaw, Maria Smigielska & Pierre Cutellic, Christa Sommerer & Laurent Mignonneau, Karl SimsJakob Kudsk Steensen, Martinus Suijkerbuijk, Maija Tammi, Universal Everything, Harm van den Dorpel, Jeroen van der Most, Peter van der Putten, Günter Weseler, Marco Zampella, Moph Zielke, Fabien Zocco.

Research projects
Beyond Matter, École polytechnique fédérale de Lausanne (EPFL), Festo SE & Co. KG, FZI Research Center for Information Technology, IBM Deutschland GmbH,, KIT – Karlsruhe Institute of Technology


Peter Weibel (curator)
Sarah Donderer (curator)
Daria Mille (curator)

Exhibition Team
Oliver Selim-Boualam (scenography)
Janine Burger (mediation)
Alexandra Hermann (mediation)
Yannick Hofmann (curator, scientific advisor)
Felix Pausch (Technical project manager)
Leonie Rök (Technical project management)
Paul Schaffer (mediation) 
Thomas Schwab (Technical project management)
Beatrice Zaidenberg (curatorial assistance) 

Project Assistance
Tatjana Borodin, Zachary Feldman, Maren Feller, Noel Haufs, Teresa Retzer, Daria Shypitsyna

Graphic Design
The Rodina 

Head of Museum and Exhibition Technology
Martin Mangold

Set-up team
Andreas Arndt, Claudius Böhm, Mirco Frass, Leonard Friess, Rainer Gabler, Gregor Gaissmaier, Christofer Gutmann, Ronald Haas, Daniel Heiss, Christof Hierholzer, Werner Hutzenlaub, Martin Häberle, Simon Klumpp, Gisbert Laaber, Christian Nainggolan, Felix Pausch, Marco Preitschopf, Martin Schläfke, Marc Schütze, Artinate, Essential Art Solutions, Richfelder

Special thanks to
Giulia Bini, Anett Holzheid

Organization / Institution
ZKM | Center for Art and Media Karlsruhe

Accompanying program

Some artworks were realized with the kind support of

Cooperation Partners