Joshua Portway (UK) and Lise Autogena (DK) have worked together since the early 90’s, developing largescale multimedia installations, site-specific works and performances. Using video, custom-built technologies and largescale data visualisations, their projects include: Growing Cities Like Plants (the regulatory system of plant growth applied to city planning - (Sainsbury Plant Laboratory/Cambridge University, 2016). Most Blue Skies (locating and visualising the bluest sky in the world (Domaine de Chamarande, Paris 2012, Arts Catalyst, 2011,Tensta Kunsthal, 2010, Nikolaj Kunsthal/COP15, 2009, Gwangju Biennial, 2006). Black Shoals; Dark Matter - stock market Planetarium (Somerset House, ArtScience Museum Singapore, 2016; Nikolaj Kunsthal, 2004; Tate Britain, 2000). Superorganism - a simulated ant mill (Anthropocene Monument - Les Abattoirs Museum of Modern and Contemporary Art, Globale: Exo-Evolution, ZKM 2015), ‘Kuannersuit; Kvanefjeld’ - exploring uranium mining as a means towards Greenland’s independence (Perpetual Uncertainty - Bildmuseet, Sweden 2016, Z33 House for Contemporary Art, Belgium 2017, Malmo Kunstmuseum 2018, Nuclear Art and Archives 2016, ‘Conflict

Minerals’ Arts Catalyst 2017, ‘Slow Violence’ Charlottenborg 2016, ‘This Rare Earth’ Artefact Festival/STUK 2017, The International Uranium Film Festival, Berlin/Brazil 2018).

In 2013 Autogena and Portway developed Foghorn Requiem, a concert for a disappearing sound, performed by Souter Lighthouse foghorn, 3 brass bands and 50 ships on the North Sea. Lise Autogena is a Fellow of the Arts Foundation and The National Endowment of Science, Technology and The Arts. She is a Professor of Cross-Disciplinary Art at the Cultural, Communication and Computing Research Institute

(C3RI) at Sheffield Hallam University, UK.

Courtesy of JRC Summer School 2018 documentation.