Multidisciplinary artist Heather-Dewey Hagborg on the dangers of under-discussed science

“You know, I thought a lot about the development of my work over the past 11 years since 2012. And back then, the topic of genetic surveillance and its potential risks were still very speculative,” she says. "But [the potential risks] are happening right now, especially when you take into account what happened during the pandemic at its height. People are talking about genetic privacy, but it’s a difficult topic to navigate around because regulations and restrictions can only go so far in keeping ‘bad actors’ from having access to something as sensitive and private as DNA technology.”

“Right now, the conversation is focused on how the media and the general public should go about discussing these delicate subject matters, and how do we chip in our two cents as to what is and isn’t okay for [certain technological advancements]. However, as it’s too early to see a way around the issue for regulating these technologies, the only thing we can do now is allow for more public discussions, getting people to actually understand the science behind certain things and the potential risks it can have. This can inspire a dramatic change in our approach to innovation, which can lead to better policies and regulations, as well as understanding the differences in population, how certain disparities exist between communities, and how do they or do not relate to genetic theories.”

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Building upon Stranger Visions, Hagborg's project Watson's Ghost delves deeper into the complexity of genetic studies. Through 3D printed portraiture, she showcases the numerous variations that a single strand of DNA can exhibit, highlighting the intricacies and uniqueness of genetic data while underscoring the need for responsible handling of genetic information.

Presently, Hagborg is engaged in discussions with Professor Mareile Kaufmann, the principal investigator of criminology at the University of Oslo and a founding member of Digital DNA; the former also serves as an advisory board member of this platform. The artist says that she’s keen to explore and critically analyse the usage and study of behavioural genetics. According to her, behavioural genetics is an attempt to predict people’s future personalities and behaviours based on their DNA, a topic that raises many moral and ethical considerations.

“The best example I can illustrate of how dangerous behavioural genetics can get when used with the wrong intentions, is when there’s a serious, external threat facing the nation. In such situations, people’s rights to privacy and security are compromised when authoritative organisations demand a DNA analysis or other biotechnological tests to ‘catch the criminals’,” she explains. “We need to be careful with such information and make sure that we’re actually protecting the people, by figuring out a way that doesn’t involve collateral damage when looking for criminals. We’re more than just our genetic make-up. In fact, a scientist once told me that we are one-third of our genes, one-third the product of our environment, and one-third based on epigenetics (the study of how behaviours and environment can cause changes that affect the way our genes work).”

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Innovation in science has always been aimed for the betterment of humanity, but when left unchecked, where do we draw the line? How far is too far? Her most recent work, Hybrid: An Interspecies Opera, sees the dubious morality of xenotransplantation and the future of genetic modification where, during an exhibition held at Wei-Ling Gallery earlier this February, tissues and organs are shown to be transplanted from lab-raised animals to humans in a film produced by Hagborg. She also mentions that the song used in the film will be turned into a live operatic performance in San Francisco in the near future.

“It really comes down to the question of how genetic modification will play out, not just in terms of how we treat animals but also the implications for human morality and equality,” she says. “While there have been discussions about genetic modification, you can see shades of racism and xenophobia embedded in these topics. This poses an undeniable danger, particularly where human population is concerned.”

Given how conversations surrounding human behaviour, genetics, race, gender, ethnicity and religion are now more heated than ever, especially in the United States, when asked if she would have done Stranger Visions today, Hagborg candidly states that she would have definitely hesitated for fear of her own safety. “It’s come to a point where speaking out against certain beliefs or injustices can be a dangerous place to be, physically even. Making the smallest of statements and gestures that are anti-oppressive, depending on the context, risks one’s safety. I ask myself sometimes if I would have done the same work I did a decade ago today, I find myself hesitating. I don’t know if I would have had the courage to do so.”

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