OnSaturday, October 5, one year after the launch ofFondazione Spazio Vitale, the exhibitionBloodchild.Scenes from a Symbiosisopens to the public. The third project curated byDomenico Quarantain the spac-es atVia San Vitale 5, Verona,Bloodchildfeatures works byIvana Bašić,Lynn Hershman Leeson,Oli-ver LaricandSahej Rahal. The exhibition will be open until November 16.During the 20th century, the advent of the information age and the process of digitization of society furtherradicalized dichotomies inherent in Western culture: between existence and essence, between things andinformation, between body and soul. More specifically, the human is translated into streams of electricityand data, giving up the physical dimension of the body, thus engendering pain. Yet is a less dichotomous andmore organic view of the human-technology relationship possible? According to information theoristRoberto Longo, the relationship between man and technology is a symbiotic one, and thehomotechnologicusthat emerges from this relationship and co-evolution is asymbiont. Longo does not deny thisimbalance but proposes that we address itfrom a finalistic perspective, inviting us to consider what steps arenecessary to build a functional and constructive relationship where we, as hosts, have to set the limit.In her visionary short story Bloodchild (1984), African-American writer OctaviaL. Butler tells of a group ofhuman refugees who, in order to survive in a hostile environment, bend to an invasive, disturbing anddangerous alliance with an alien species; similarly, in the here and now of an environment turned hostile–biologically, socially and spiritually–by its intervention, the human-technology symbiont finds itself in theneed to redesign a long-standing relationship that has dramatically accelerated in recent decades, in order torecreate the conditions of its own survival.Bloodchild. Scenes from a Symbiosisis a group exhibition that compares the positions of four artists (IvanaBašić, Lynn Hershman Leeson, Oliver Laric, Sahej Rahal) regarding the forms that this relationship hastaken: investigating its weaknesses, delving into the reasons for contemporary discomfort, and proposing, attimes, perspectives on healing, not promoting a return to a hypothetical pre-technological human nature, butrather trying to restore the balance between the two actors in the relationship. In the exhibition’s narrative,the“bloodchild”is the human to come, the fruit of a difficult and troubled marriage; but it is also thehumanity we already are, or have always been, since it was precisely in its relationship with technology thathumans defined themselves as a species. After all, the challenge we are facing is the same one we have beenfighting since we first turned a thing into a tool.