In my project, I will explore how biotechnology as a tool for manipulating and enhancing the body can redefine the contemporary notion of humans and life in a more ethical and aesthetic way. My argument will focus on how art that uses biotechnology as a medium can provide a more tangible, ethically and aesthetically combined understanding of life and the human body. I will focus on selected case studies that work with biotechnology to explore how art can reveal the power of biotechnology to act and produce meaning. This allows me to investigate how biotechnology can reconstruct and reshape the notion of matter as active and capable of producing meaning. This project will examine how art treats biotechnology as a form of thinking grounded in practice. It will focus on how art treats wet, living tissue through the non-instrumental use of new biotechnological tools as an expression of the body, its nature and its limitations. Next, it will analyze how these creative and publicly engaged approaches to technology exercise an ethico-aesthetic paradigm of knowledge production related to biotechnologies. By analyzing particular case studies of bioart dealing with the materiality of the body outside the fixed boundaries that emerging technologies offer, it will examine more emotionally conscious and tangible methods of analysis related to the notion of life and the human body through the promises of biotechnology. Theoretical Background and Research DiscussionsIn recent decades, postmodern and poststructuralist views within ethics, media, and philosophy of technology have emphasized the need for a more material approach in terms of emotional and carnal analysis (Mampuys and Roeser......middle of article. .....the future of culturing new organs in the laboratory for regenerative medicine Visualizing the implications of stem cell technology using, e.g. example, 3D printing, it is not about the notion of progress, nor of being faster, stronger or smarter, but how far can we go in the pursuit of creativity and novelty. case 3: Svenja Kratz, The Absence of Alice (2008-2011) In the form of a series of six evolving exhibitions, the work reveals the artist's experiences working with the Soas-2 cell line. which is a cancer cell line extracted from an 11-year-old girl called Alice in 1973. The series of artworks shows how the body in tissue culture and its subsequent use in medicine can be outside of the identity of a person and how this should be considered in the ethical and aesthetic domain. Finally, the artist forces us to question the implications for the notion of agency beyond fixed identity..