Since the launch of Sputnik, artists have dreamt of putting artistic satellites into orbit. The dream came true in 2013–2014. This article compares a selection of projects by the pioneers in the 1980s and ’90s with some of the current ones developed by a new generation of artists. The article analyzes and discusses different approaches, discourses, techniques and aesthetics.

Bioart and biomedical art are blossoming fields, with a whole new generation of artists, the DIYbio movement enabling more people to get involved, and discoveries in bioscience bringing in new challenges. Supported by the Creative Europe program of the European Commission Trust Me, I’m an Artist is a project initiated by artist Anna Dumitriu and ethicist Bobbie Farsides to provide a platform for discussing bioart and ethics, sharing knowledge and building capacity. This article reflects upon the author’s journey through the different art projects and how foregrounding ethics challenged her usual art critic approach.

Trust Me, I’m an Artist (TMIAA) is a European-based project devoted to developing “Ethical Frameworks for Artists, Cultural Institutions and Audiences Engaged in the Challenges of Creating and Experiencing New Art Forms in Biotechnology and Biomedicine.” As such it brings together a wide variety of interested parties to debate and, hopefully to some extent, resolve ethical issues arising at the intersection of art, science and biomedicine. Leonardo hosts a selection of articles by the artists and curators reporting about the project and the experience.

In June 25 and 26 2012, in the framework of the European StudioLab project, Leonardo/Olats co-organized with IMéRA in Marseille, France, the workshop “Water is in the Air”.

The Lovely Weather Donegal Residencies was a Leonardo/Olats art-and-climate project that took place in Donegal, Ireland, in 2010. In this paper, the curator reflects on the art-science-local communities approach taken as a basis for the residencies and the results of the process, which caused her in the end to reconsider the universal versus the specific context for creation.

The three curators of the eMobiLArt project developed collaboration within the curatorial group and with other people involved including participating artists and organizers. This article is focused on how the various tasks evolved during the project process. A reflection on the outcomes (artworks and exhibitions) and the role of curators in such a collaborative experimental project is also included.