Autumn artseason of 2009 art project frantic starts with the topic of intersection between art and science. We present “Exhibition of Objects Under Observation” and propose to think about the way things are scrutinized, conservated and exhibited in museoligical branches of botanic and anatomy. Two mediaartists Macoto Murayama and Toshitaka Mochizuki exhibit not only (or not so much) objects, but the specific (scientific) gazes these objects are transformed by, interpreting these gazes in their own artistic way. Macoto Murayama cultivates inorganic flora. First, he chooses the plant and finds the real flower, for example the exquisite Lathyrus odoratus L. Second, he dissects the flower cutting the petal and ovary with scalpel and observes it with magnifying glass. Third, he makes sketches and photographs the parts of dissected flower. Forth, he models its form and structure using 3ds Max (3DCG software). Fifth, he renders separate parts and creates a composition using Adobe Photoshop. Sixth, he imposes admeasurements, parts names, scale, scientific name etc. Seventh, he prints out Lathirus odoratus L. at large scale printer and frames it... Here it is, The Flower of Totalitarian Scientific Conscious: properly fixed, totally measured, strictly nominated and distinctly shown. It is not only an image of a plant, but representation of the intellect’s power and its elaborate tools for scrutinizing nature. The transparency of this work refers not only to the lucid petals of a flower, but to the ambitious, romantic and utopian struggle of science to see and present the world as transparent (completely seen, entirely grasped) object. Paradoxically, this scientific challenge to measure the Universe might eventually become one of the sources where art of Murayama draws its strength of fantasy and odor of romanticism, becoming a part of Botech Art, symbiosis of Botanical Art and Technology. Toshitaka Mochizuki presents “Delusion Shelf”, poorly illuminated installation with several rows of bottles filled with water and halfdecomposed fruits that remind conserved in formaldehyde organisms. It is seductive to imagine them as something that is going to participate in further laboratorial experiments or act as explanation material for the next generations of anatomist or biologists. It is during close observation of the content of these “museumified plants” an onlooker notices moving parts of human body among fruits in liquid. (The images of heel, palm and longhaired head are projected onto the bottles from behind the shelf.) The conservated thing, confined for the strict observation, comes to life. Something that is supposed to be fixed, evident and clear turns to be in motion, deemed and ungraspable. The shelf exhibits preserved objects, which offer themselves for close examination, at the same time unexpectedly introducing spot of unchained obscure images, thus producing sense of anxiety and pushing onlooker into delusion. Mochizuki continues his experiments with “the body spotted by conservation practice” in photography media. The series of the images of a beautiful girl with a flower decoration and a face gently pushed by, supposedly, glass of a container presents particular poetry supported by the sense of mortality. Is it a sleeping beauty or a dead body, which glamour is conservated for eternal admiration? The light spot on the face of a girl left by a plane of glass marks her body with a trace of a gaze. It tells: “She is to be looked at. She is part of the exhibition of the objects under observation”. Curated by Rodion Trofimchenko. * The text provided by art project fantic.