In my project I will explore how biotechnology as a tool for manipulating and enhancing the body can redefine the contemporary notion of human being and life in a more ethical and aesthetic way. My argument will address the ways in which art using biotechnology as a medium, can give a more tangible understanding because it is combined ethically and aesthetically with the understanding of life and the human body. I will focus on selected case studies that work with biotechnology to investigate the ways in which art can reveal the power of biotechnology to act and produce meaning. This allows me to research how biotechnology can reconstruct and reshape the notion of matter as active and capable of producing meaning. This project will investigate how art deals with biotechnology as a form of reflection embedded in practice. It will focus on how art engages with wet, living tissue materials through the non-instrumental use of new biotechnological tools as an expression of the body, its nature and its limits. Next, we will analyze how this creative and publicly engaged approach to technology exercises the ethical-aesthetic paradigm of biotechnology-related knowledge production. Analyzing particular case studies of bioart that addresses the materiality of the body outside the fixed boundaries offered by emerging technologies, it will examine more emotionally aware and tangible modes of analysis concerned with the notion of human life and body through the promises of biotechnology. Theoretical background and research field In 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. ..... half of the article .....the future of growing new organs in the laboratory for regenerative medicine By imaging the implications of stem cell technology using, for example, 3D printing, it does not aim to the concept of progress, it is not about being faster, stronger or smarter, but how far we can go in the pursuit of creativity and novelty. As 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 exercises how the body in tissue culture and its further use in medicine can be outside of one's identity and how this must be considered ethically and aesthetically. Finally, the artist asks questions about the implications of the notion of agency beyond fixed identity.