 |
Eduardo Kac - Represented by C.A.Galerija
( Brazil, 1962 - present )
|
|
|
|
|
|
|
Artist: Eduardo Kac ( Brazil, 1962 - present ) -
|
|
|
|
|
|
Main Category: Mixed Media
|
|
|
Genres: Conceptual Art, Contemporary American Art, Contemporary South American Art
|
|
|
|
Biography: Eduardo Kac is internationally recognized for his interactive net installations and his bio art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac (pronounced "Katz") emerged in the early '90s with his radical telepresence and biotelematic works. His visionary combination of robotics and networking explores the fluidity of subject positions in the post-digital world. His work deals with issues that range from the mythopoetics of online experience (Uirapuru) to the cultural impact of biotechnology (Genesis); from the changing condition of memory in the digital age (Time Capsule) to distributed collective agency (Teleporting an Unknown State); from the problematic notion of the "exotic" (Rara Avis) to the creation of life and evolution (GFP Bunny). At the dawn of the twenty-first century Kac opened a new direction for contemporary art with his "transgenic art"--first with a groundbreaking installation entitled Genesis (1999), which included an "artist's gene" he invented, and then with his fluorescent rabbit called Alba (2000).
From his first experiments online in 1985 to his current convergence of the digital and the biological, Kac has always investigated the philosophical and political dimensions of communication processes. Equally concerned with the aesthetic and the social aspects of verbal and non-verbal interaction, in his work Kac examines linguistic systems, dialogic exchanges, and interspecies communication. Kac's pieces, which often link virtual and physical spaces, propose alternative ways of understanding the role of communication phenomena in creating shared realities.
Kac merges multiple media and biological processes to create hybrids from the conventional operations of existing communications systems. Kac first employed telerobotics in 1986 motivated by a desire to convert electronic space from a medium of representation to a medium for remote agency. He creates pieces in which actions carried out by Internet participants have direct physical manifestation in a remote gallery space. Often relying on the indefinite suspension of closure and the intervention of the participant, his work encourages dialogical interaction and confronts complex issues concerning identity, agency, responsibility, and the very possibility of communicat
|
Exhibition History: Kac’s work has been exhibited internationally at venues such as Exit Art and Ronald Feldman Fine Arts, New York; Maison Européenne de la Photographie, Paris, and Lieu Unique, Nantes, France; OK Contemporary Art Center, Linz, Austria; InterCommunication Center (ICC), Tokyo; Julia Friedman Gallery, Chicago; Seoul Museum of Art, Korea; and Museum of Modern Art, Rio de Janeiro. Kac's work has been showcased in biennials such as Yokohama Triennial, Japan, Bienal de Sao Paulo, Brazil, and Gwangju Biennale, Korea. His work is part of the permanent collection of the Museum of Modern Art in New York, the ZKM Museum, Karlsruhe, Germany, and the Museum of Modern Art in Rio de Janeiro, among others. He is currently working on a public art commission for the University of Minnesota, which will be on the permanent collection of the Weisman Art Museum, Minneapolis. Kac's work has been featured both in contemporary art publications (Flash Art, Artforum, ARTnews, Kunstforum, Tema Celeste, Artpress, NY Arts Magazine) and in the mass media (ABC, BBC, PBS, Le Monde, Boston Globe, Washington Post, Chicago Tribune, New York Times). The recipient of many awards, Kac lectures and publishes worldwide.
|
|
|
Bibliography: Allmendinger, Ulli. "One small hop for Alba, one large hop for mankind", NY Arts Magazine, Vol. 6, N. 6, June 2001.
Ascott, Roy. "Juror's Comments", in KOMATSUZAKI Takuo, KAWAI Haruko, KAMIKANDA Kei, and SHINODA Takatoshi (eds.). ICC BIENNALE '99 Interaction (Tokyo: ICC, 1999), p. 55.
Atkins, Robert. "State of the (On-Line) Art." Art in America, April 1999, pp. 89-95.
Becker, Carol. "GFP Bunny", Art Journal, Fall 2000, pp. 45-47.
Bureaud, Annick. "Eduardo Kac défricheur et visionnaire." Artpress, May 1999, pp. 34–35.
Byrne, John. "Life Science: Ars Electronica 99." Third Text, No. 49, Winter 1999-2000, pp. 93-97.
Capucci , Pier Luigi. Alba, arte transgenica, arte del vivente, Noema - Tecnologie e Societŕ, Rome, June 2000.
Dietz, Steve. "Memory_Archive_Database", Switch, Vol. 5, N. 3, 2000.
Eskin, Blake. "Building the Bioluminescent Bunny", ARTnews, December 2001, (Volume 100/Number 11), in the special section The Next Wave: Ten Trendsetters to Watch, pp. 118-119.
Gilardi, Piero. "Arte del DNA", Flash Art, N. 218, Milan, 1999.
Hanhardt, John. "Juror's Comments", in KOMATSUZAKI Takuo, KAWAI Haruko, KAMIKANDA Kei, and SHINODA Takatoshi (eds.). ICC BIENNALE '99 Interaction (Tokyo: ICC, 1999), p. 61.
Helguera, Pablo. "Eduardo Kac: Language Works." Art Nexus, No. 31, February-April 1999, pp. 119-120.
Holg, Garrett. "Eduardo Kac at Aldo Castillo Gallery." ARTnews, November 1998, p. 170.
Kostelanetz, Richard. A Dictionary of the Avant-Gardes. Second Edition. (New York: Schirmer Books, 2000), p. 309, p. 327.
Kusahara, Machiko. "From/to Body to/from Robot." Leonardo Electronic Almanac, Vol. 7, No. 10, December 1999.
Lovejoy, Margot. Postmodern Currents: Art and Artists of the Electronic Age. (New Jersey: Prentice-Hall, 1997), p. 229.
Lynch, Lisa. "Trans-Genesis: An Interview with Eduardo Kac", New Formations, London, Fall 2001 (forthcoming).
Machado, Arlindo. "A Microchip Inside the Body." Performance Research, Vol. 4, No. 2, Summer 1999, pp. 8-12.
Milevska, Suzan. "From a Bat's Point of View", in Dobrila, Peter T. and Kostic, Aleksandra (eds.), Eduardo Kac: Telepresence, Biotelematics, and Transgenic Art (Maribor, Slovenia: Kibla, 2000), pp. 47-52.
Mirapaul, Matthew. "An Electronic Artist and His Body of Work." New York Times, CyberTimes column, October 2, 1997.
Nakamura, Keiji. "Juror's Comments", in KOMATSUZAKI Takuo, KAWAI Haruko, KAMIKANDA Kei, and SHINODA Takatoshi (eds.). ICC BIENNALE '99 Interaction (Tokyo: ICC, 1999), p. 71.
Osthoff, Simone. "Object Lessons." World Art. No. 1, 1996, pp. 18-23.
Osthoff, Simone. "From Stable Object to Participating Subject: Content, Meaning, and Social Context at ISEA 97." New Art Examiner, Vol. 25, No. 5, February 1997, pp. 18-23.
Paul, Christiane. "Time Capsule", Intelligent Agent, Vol. 2, N. 2, (1998) pp. 4-13.
Perra, Daniele. "Eduardo Kac: Interview", Tema Celeste, N. 81 July-September 2000, Milan, pp. 76-81.
Pescovitz, David. "Be There Now: Teleprescence Art Online", Flash Art Magazine, March - April 1999, pp. 51-52.
Poissant, Louise. "L'Art des Possibles." Etc Montréal, No. 46, June-August 1999, pp. 8-13.
Popper, Frank. "The Transgenic Art of Eduardo Kac", Artpress, Paris, N. 276 February 2002. (French and English)
Serra, Catalina. "Eduardo Kac, el artista con un chip de memoria en el tobillo", El País, Madrid, 15 de octubre de 1998, Sección Ciberp@aís, p. 14.
Shanken, Edward. "Tele-Agency: Telematics, Telerobotics, and the Art of Meaning." Art Journal, Vol. 59, No. 2, Summer 2000, pp. 64-77.
Shaviro, Steven. "Atomic Dogs", Artbyte, March-April 2000, pp. 22-23.
Stocker, Gerfried. "Uprising", in Genesis (catalogue), O. K. Center for Contemporary Art, Linz, Austria, 1999, pp. 41-43.
Tomasula, Steve . "Time Capsule: Self-Capsule", CIRCA, N. 89, Autumn 1999. Ireland, pp. 23-25.
Tomasula, Steve. "Kacs Zeitkapsel: Selbsteinkapselung" ("Kac's Time Capsule: Self Capsule"), Kunstforum, Bd. 151, Juli-September 2000, pp. 125-129.
Tomasula, Steve. "(Gene)sis", in Dobrila, Peter T. and Kostic, Aleksandra (eds.). Eduardo Kac: Telepresence, Biotelematics, and Transgenic Art (Maribor: Kibla, 2000), pp. 85-96.
Wang, Cristine. "The Ethics of Knowledge", NY Arts Magazine, Vol.6, No.12, December 2001
|
|
|
