Evolution Haute Couture: Art and Science in the Post-Biological Age is the international art project, carried out by the Kaliningrad Branch of the National Centre for Contemporary Arts, Russia. It is a unique collection of data (photographs, video films, descriptions) on the basis of which a reader and a viewer may get a comprehensive idea about current trend in technobiological art. Together with print publication there are 2 enclosed DVD-ROMs with forty five films, each of which documents in detail creation and development of artistic projects, using the latest twenty-first century technologies: artificial life, robotics, bio and genetic engineering, etc. Assembled in 2008, this is the largest video archive of contemporary techno-biological art in Russia or abroad today. The collection was premiered in the frames of the IX MediaForum 2008 (23.06.-26.06.2008) – one of the official programs of the XXX Moscow International Film Festival (MIFF). The first show of the project was held in the form of an exhibition at the Kaliningrad State Gallery (08.08.-28.08.2008, Kaliningrad, Russia). The Evolution Haute Couture project had its international premiere at the program of special projects of the Third Moscow Biennial of Contemporary Art (22.09.-08.11.2009, Moscow, Russia). Presentation of the first volume of Evolution Haute Couture anthology took place in the frames of «NON/FICTION» 11-th International Fair for High-Quality Fiction and non-fiction (02.12.-06.12.2009, Moscow, Russia). 

Project idea
How can the radicalization and redundancy of science and technology progress be defined? What is the evolutionary potential of 21 Century technology trends such as robotics, bio and genetic engineering, and nanotechnology? Each of these trends actualizes traditionally formed boundaries of the beginning and end of human existence, the demarcation of norm and pathology, and the distinction of the non (or semi) organic model or entity. These, and other issues, cannot be taken into consideration without the experience of contemporary techno-biological arts – the representatives of which do not so much confirm the technological versions of contemporaneity, as determine these versions' boundaries. Art that is created under new conditions of postbiology – under the conditions of an artificially fashioned lifespan – cannot help but take this artificiality as its explicit theme. However, time, duration, and thus life too cannot be shown directly but only documented. The dominant medium of postbiological art is therefore, technological documentation, which includes plans, drafts and videos. It is precisely the point at which the documentation becomes indispensable, producing the life of the living thing as such: the documentation inscribes the existence of a particular creature in history, gives a lifespan to this existence, and gives the creature life as such – independently of whether this creature was 'originally' living or artificial. 

Aim of the project
The Archives' main goal is to create a database of Post-Biological Art projects which provide an analysis of the range of influence that advanced technological developments have on human beings and the cultural strategies that restore a person's sense of implication within current innovations and technological processes. While compiling the Archives, close attention is given to the documentation of new types of material carriers of the artistic message as well as the implementation of new strategies in the field of contemporary art and institutional politics. 

Sections of the collection
Chapter I. Artificial but Actual (Artificial Life)
Chapter II. Limits of Modeling  (Evolutionary Design)
Chapter III. Shining Prostheses  (Robotics)
Chapter IV. Body as Technology  (Technobody modification)
Chapter V. More than a Copy, Less than Nothingness  (Bio- and Genetic Engineering)
Chapter VI. Semi-Living  (Tissue and Stem Cells Engineering)
Chapter VII. P.S.  (Re-Coding)