WhiteFeather Hunter

The historical context of body and tissue donation is deeply problematic, with patriarchal and colonial narratives. The contemporary context of molecular and genetic biology further complicates issues of bodily donation through narratives of abstraction and extraction. As practitioners working outside the conventional boundaries of scientific study learn the tools and techniques to extract and use bodily materials, they are also learning and challenging the procedures and processes. This article approaches questions of bodily donation through the edited transcript of a conversation between artists who regularly use body fluids and cellular bodily materials in their practice, moderated by Louise Mackenzie and Ilke Turkmendag as part of the Taboo–Transgression–Transcendence in Art & Science Conference held online with the support of the University of Applied Arts, Vienna, 2020. The panel challenged the ethical and conceptual assumptions made in biotechnological research and reconsidered where the boundaries of the body lie, what ‘authority’ research carries and what choices researchers make when using the bodies of others. The transcribed conversation addresses taboos of the female body, specifically menstruation, the commodification of tissue from female human bodies, human milk politics and questions biopolitical treatment of the female body.

The calamitous warnings of climate science have been latched onto by a growing roster of biotech start-up companies who propose to invent lab-generated meat alternatives to the ecologically disastrous livestock industry. They use solutionist hype to promote ‘sustainable’, ‘eco-friendly’, ‘cruelty-free’, ‘clean meat’. This moralized marketing, however, masks a continued reliance on animal agriculture. The fact remains that mammalian cells and tissues are grown in vitro using foetal calf serum, a blood-derived nutrient. Is it really possible to grow meat without banking on the bodies of nonhuman others? Might there be more tasteful material? In Bioart Kitchen: Art, Feminism and Technoscience, Lindsay Kelley asks, ‘[h]‌ow do technologies taste?’ This article proposes one answer to her prompt, centred on a technofeminist contextualization of the research-creation project, Mooncalf (2019–present). Mooncalf is a series of wet lab experiments and artistic outputs that showcase the potential viability of human menstrual serum for culturing mammalian tissue. These experiments present a direct provocation that problematizes the cellular agriculture industry as it pertains to the production of ‘clean meat’ and instead works towards a proof-of-concept ‘unclean’ meat prototype. Mooncalf is a symbolic precursor or speculative promise meant to facilitate a ‘cultural taste’ for feminist biotechnologies.