Does science fiction have its roots in Asian mythology? Melbourne Science Gallery exhibition suggests

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Her large installation The Red Silk of Destiny Inspired by a legend in many Asian cultures that a red silk thread ties two people who are destined to be together, Sputniko! created a “shrine” out of red silk, but not just any silk. Working with a professor at the University of Tokyo, the silk used in the panels came from genetically modified silkworms that contain oxytocin, the “social bonding love hormone.”

The work is also accompanied by a video created by and starring Sputniko! The Red Thread of Fate – Huan’s Secret Love It tells the story of a scientist who genetically modifies silkworms so that the silk they produce makes her secret crush fall in love with her. The song in the video was written and sung by Sputniko!

“The works are inspired by the mythological concept of the red thread that connects destined lovers in Chinese, Japanese and Korean culture,” Ozaki said. “The thin red thread symbolizes the fragility and passion of love.”

Japanese multimedia artist, designer and singer-songwriter Sputniko!Credit: Arai Mami

After reading research papers on bioengineering, she discovered the work of Professor Hideki Seto, who genetically modified silkworms using genes from bioluminescent jellyfish and corals to produce silk that glows red and green. (The work is beautiful on its own, but the flowers embroidered on the panels glow when viewed through special yellow glasses provided next to the installation.)

“The installation features embroidered silk fabrics made from genetically modified silkworms that we worked with Sezutsu to produce red silk containing oxytocin,” she said. “With this work, I wanted to provoke thoughts about love and bonding, and imagine a future where biotechnology creates creatures that we thought only existed in mythology.”

After just a few months, the silkworms had produced a completely new creature that had previously existed only in Asian mythology, according to Ozaki, who says the silkworms are still producing silk in the lab.

Sputnik! Installation at Science Gallery Melbourne<i>The red silk of destiny</i>. ” loading=”lazy” src=”https://static.ffx.io/images/$zoom_0.08%2C$multiply_0.7725%2C$ratio_1.5%2C$width_756%2C$x_0%2C$y_0/ t_crop_custom/q_86%2Cf_auto/c5a241bd81f28a6ed39e061fe2eff4fb3984d6b7″ height=”390″ width=”584″ srcset=”https://static.ffx.io/images/$zoom_0.08%2C$multiply_0.7725%2C$ratio_1.5%2C$width_756%2C$x_0%2C$y_0/t_crop_custom/q_86%2Cf_auto/ c5a241bd81f28a6ed39e061fe2eff4fb3984d6b7, https://static.ffx.io/images/$zoom_0.08%2C$multiply_1.545%2C$ratio_1.5%2C$width_756%2C$x_0%2C$y_0/t_crop_custom/q_62%2Cf_auto/c5a241bd81f28a6ed39e061fe2eff4fb3984d6 b7 2x” /></picture></div><figcaption class=

Ozaki’s other works include Sushi Burger Yukari, A robot was designed to serve sushi on a revolving conveyor belt, satirizing the Japanese practice of using naked women to serve sushi, and Menstrual machinea wearable machine designed to simulate the pain and bleeding of a five-day menstrual period.

“My work bridges technology and art because I have always been fascinated by how technological advancements shape our society and impact our daily lives,” she said. “My goal is to create thought-provoking work that challenges conventional views and sparks conversation about the future.”

Many of the works in the play also subvert myths about women, e.g. Namahage in Tokyo Namahage, by Etsuko Ichihara, reimagines the Japanese folklore demon Namahage, who traditionally threatens lazy children. In a video installation reimagined by Ichihara (whose costumes she designed for the video are also on view), Namahage becomes a futuristic creature that hunts down and punishes adults who make derogatory comments about women online by invading their brains.

Film installation by Wemba-Wemba and Gunditjmara artist Paola Balla Mok Morupu Yakuwa The same effect is true with Aboriginal legends.

This is the work of Paola Balla<i>Mok Mok Murrup Yakuwa</i>stills. ” loading=”lazy” src=”https://static.ffx.io/images/$zoom_0.216%2C$multiply_0.7725%2C$ratio_1.5%2C$width_756%2C$x_0%2C$y_0/ t_crop_custom/q_86%2Cf_auto/556f8fdbf7418397b71100914e1a6e30cf70f1b3″ height=”390″ width=”584″ srcset=”https://static.ffx.io/images/$zoom_0.216%2C$multiply_0.7725%2C$ratio_1.5%2C$width_756%2C$x_0%2C$y_0/t_crop_custom/q_86%2Cf_auto/ 556f8fdbf7418397b71100914e1a6e30cf70f1b3, https://static.ffx.io/images/$zoom_0.216%2C$multiply_1.545%2C$ratio_1.5%2C$width_756%2C$x_0%2C$y_0/t_crop_custom/q_62%2Cf_auto/556f8fdbf7418397b71100914e1a6e30cf 70f1b3 2x” /></picture></div><figcaption class=

First commission for the 2023 Rising Festival Shadow Spirit In the exhibition, the work transforms the Wemba-Wemba character Mok Mok (pronounced “mook mook”) from a scary old woman whose singing scared away babies and children to a supreme goddess and protector.

“Ghost stories and spirits are a big part of black life, and Mok Mok was a big part of my childhood,” Bala said. “But I wasn’t scared of her, even though she was scary. I was more fascinated by her because she was a female entity that scared men. I was told she was a female entity that could punish men who broke the law.”

Bala’s film is set in a tent-like structure made of bush-dyed cloth, where Mokmok, played by her mother, is not a scary ghost but is instead promoted as a “fierce and fearless black feminist”.

“What fascinated me was that her independence made her formidable,” Bara said, “and I wanted to use that idea and bring her to the present.”

Melbourne co-curator Tilly Boleyn said the entire exhibition was about “using science and technology to bring these myths, philosophies and stories into the present day”.

In many works, the narrative around women is reframed and “places them in positions of powerful protectors or just pure villains.”

Science Fiction: The Transformation of Mythology It will be on display at Melbourne Science Gallery until February 2025. sciencegallery.org

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