Sneha Solanki

Sneha Solanki (born 1973, Leicester) is an artist and educator. Her practice includes citizen science, performance, sound and installation.[1][2][3]

Sneha Solanki
Born1973
OccupationArtist and educater
Home townWhitley Bay
Websitehttp://www.electronicartist.net/

Early life

Born to parents from an Indian heritage in Leicester – her father was born in Kenya and her mother in Navsari, Gujarat, India. Initially Solanki's father was refused entry into the UK despite holding a British passport and born under British imperial rule in Kenya. He was later admitted into the UK. Both maternal and paternal grandparents lived and work under British colonial rule in India, Iraq, Kenya and Mauritius. Her parents in the UK both worked in Leicestershire regional manufacturing industries. Solanki has two siblings, an older brother and a younger sister. Solanki lived in Leicester until her later teens when she moved to Loughborough, UK to study art, she then moved to Newcastle upon Tyne, UK, Groningen, NL and to Dundee, UK to further her education.[4]

Career

Solanki holds a BA Hons Fine Art, Northumbria University and a MSc in electronic imaging, Duncan of Jordanstone College of Art and Design, University of Dundee, UK.

Solanki is an artist working in digital/technological materiality with live, unstable and emergent forms encompassing art, science and technology.[2] Early advocate of ‘user’ rather than ‘consumer’ of technology Sneha introduced digital arts programs into museums, specifically the Discovery Museum, Newcastle upon Tyne and the Baltic Art Gallery, Gateshead working with young people, women's, and girl's groups on digital imaging, video, net-radio/ streaming media and hand-coding.

Continuing with this thread in her practice, Solanki founded and co-directed Polytechnic,[5] an organisation working with a hands-on, open and distributed approach to art & technology where she produced, curated and led a range of national and international activity between 2002 and 2012 (see projects below)

Solanki also teaches at Newcastle University as a visiting lecturer.

Projects
  • Sneha Solanki acted as Ecologies programme curator with Ghost Trace Stellar, Open Music Archive,[6] Spectral Ecologies with Martin Howse[7] and the Bio Art Lab, 2010; Grow your own Media Lab with Access Space,[8] Sheffield UK and the open source Cube Cola Lab with Kayle Brandon and Kate Rich[9]
  • Solanki also worked in collaboration with artist Kate Rich (Bureau of Inverse Technology & Feral Trade) for a number of years as Hostexe and supermodem, producing audio hospitality events and the first net-casting/net-radio project Flat of Culture (2001) in Newcastle upon Tyne.[10]
  • Her seminal work The_Lovers[11] has been shown in the Salon of the Museum of Contemporary Art, Belgrade, The Museum of Contemporary Art of Voivodina, Novi Sad, Brown University Watson Institute, Boston, USA and the Post & Tele Museum, Copenhagen, Denmark.[12][13][12][14]
  • Her later artworks include ‘Field Recordings’[15] - a spectral tour of military communications, ‘Analogue is not Digital’- the death of analogue television and 'Super-natural'[1][16] a synthetic biology artwork which makes a connection between two points in time, the peak in witchcraft from the cusp of the enlightenment period in Western history and the emergent molecular technologies in our current time. Sneha synthesized 'Tituba' a slave and the central protagonist from the Salem witchcraft trials into a new and unique chemically engineered bio-synthetic entity. 'Tituba' was designed as a sensor from circular plasmid vectors and inserts, she was ligated, digested, cloned initially into e-coli DH5 ∂ and then finally transformed into the AmyE gene of Bacillus Subtilis 168 with a two-component regulatory system for sending and receiving signals. She excretes fluorescent protein under stress and is only visible under blue ultra-violet light, otherwise she is invisible. The organism Tituba' is currently in deep cryo freeze at −80 °C, Centre for Cell Biology, Newcastle University, UK.[17]
  • Acoustic.space #7. RIXC & MPLab, Riga, LV. 2008. pg. 260 – 261.[18]
  • Reclaiming the Nostalgia of kitchen science – exhibition and work in publication Open_sauces, ed M. Kuzmanovic, Foam, BE. 2010. pg. 42–43.[19]
  • Dead History, Live Art? Spectacle, Subjectivity and Subversion in Visual Culture since the 1960s. In: Interaction/Participation: Disembodied performance in new media art. Jonathan Harris (ed.) Tate Liverpool Critical Forum, Volume 9. Liverpool: Liverpool University Press & Tate Liverpool. 2007. pg. 251.[20]
  • The Virtual Artaud: Computer Virus As Performance Art. J. Farman in ‘Techknowledgies: New Imaginaries in the Humanities, Arts, and TechnoSciences’. M. Valentis (ed) Cambridge Scholars Press. 2007, pg. 160 – 161.[21]
  • Infection as Communication. A. Ludovico. Neural, Issue 22 English edition. 2005, pg. 37.[22]
  • Collaboration with Kate Rich here but as supermodem (we also worked as hostexe)[23][24]
gollark: Even Minoteaur 6 had redirects, hackily.
gollark: No, those are bad.
gollark: I had assumed that you valued your sanity too much to use Go.
gollark: I have now added the capability for pages to have multiple names, like in 7, to 8.
gollark: Minoteaur advances *ever further*.

References
  1. "Sneha Solanki: Super-natural ‹ Events & Exhibitions ‹ AV Festival 2012: As Slow As Possible ‹ Programme ‹ AV Festival". Avfestival.co.uk. 2 March 2012. Retrieved 18 October 2016.
  2. "connecting principle | Sneha Solanki". Research.ncl.ac.uk. Retrieved 18 October 2016.
  3. Dunn, Judith (26 June 2000). "High Tech Pen Pals at Café Project". Shields Gazette.
  4. "Sneha Solanki". ISIS Arts. Archived from the original on 12 October 2016. Retrieved 18 October 2016.
  5. "The Poly | Dominic Smith". Dominicsmith.info. 31 January 2014. Retrieved 18 October 2016.
  6. "Ghost Trace Stellar - Open Music Archive Projects". Openmusicarchive.org. Retrieved 18 October 2016.
  7. "micro research - Martin Howse [London/Berlin]". 1010.co.uk. Retrieved 18 October 2016.
  8. "Access Space Homepage". Access-space.org. Retrieved 18 October 2016.
  9. "Cube-Cola". Cube-Cola. Retrieved 18 October 2016.
  10. "Archived copy". Archived from the original on 12 March 2016. Retrieved 5 March 2016.CS1 maint: archived copy as title (link)
  11. "The Lovers". Electronicartist.net. Retrieved 18 October 2016.
  12. "Kulturbüro". Digitalcraft.org. Retrieved 18 October 2016.
  13. Jackson, Melanie (2012). Super-natural. AV Festival.
  14. "EMAC Professor Kim Knight to Kick Off 'Viruses, Vectors and Values' Lecture Series - News Center - The University of Texas at Dallas". Utdallas.edu. 28 October 2015. Retrieved 18 October 2016.
  15. "Art + Communications 2008". Rixc.lv. Retrieved 18 October 2016.
  16. "Archived copy". Archived from the original on 28 May 2014. Retrieved 4 March 2016.CS1 maint: archived copy as title (link)
  17. "Sneha Solanki and Duncan Speakman". Amino.org.uk. Retrieved 18 October 2016.
  18. "RIXC". Rixc.lv. Retrieved 18 October 2016.
  19. "open_sauces:open_sauces_2008 [the libarynth]". Lib.fo.am. Retrieved 18 October 2016.
  20. "Dead History, Live Art? – Liverpool University Press". Liverpooluniversitypress.co.uk. 1 December 2007. Retrieved 18 October 2016.
  21. "Cambridge Scholars Publishing. TechKnowledgies". Cambridgescholars.com. Retrieved 18 October 2016.
  22. "Infection as communication | Neural". Neural.it. 1 June 2002. Retrieved 18 October 2016.
  23. "REAL-TIME POLITICAL ART OUT OF THE DIGITAL UNDERGROUND / Armin Medosch (Manu Luksch & Mukul Patel Ambient Information Systems)". Ambienttv.net. Retrieved 18 October 2016.
  24. "Broadbandit Highway". AmbientTV.net. Retrieved 18 October 2016.
  25. "os_reader_p4 [the libarynth]". Libarynth.org. 19 November 2008. Retrieved 18 October 2016.
  26. "Baltic Plus | Home". Balticplus.uk. 20 July 2015. Retrieved 18 October 2016.
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