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Eduardo Kac, Lagoglyphs - The Bunny Variations 1

Eduardo Kac Lagoglyphs - The Bunny Variations 1, 2007

View in a room Print 21.3 x 15.7 x 0.4 inch 1 remaining copy

$819

+$59 Delivery fees for United States Delivery : One to two weeks
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Eduardo Kac, Lagoglyphs - The Bunny Variations 1
Description
  • Offered by the gallery

    Galerie Hus
    Paris - France

  • Authenticity

    Work sold with an invoice from the gallery
    and a certificate of authenticity

  • Signature

    Hand-signed by artist

  • Medium

    Print : Screen Print

  • Themes

    Abstract, Animal

  • Support

    Print on paper

  • Type

    Numbered and limited to 50 copies

  • Dimensions cm | inch

    21.3 x 15.7 x 0.4 inch

  • Framing

    Not framed

  • Collector’s Guide

  • About the artwork

    Sérigraphie originale d'Eduardo Kac de la série Lagoglyphs - The Bunny Variations.
    Tirage en 50 exemplaires sur papier Rivoli.
    Éditeur: Black Box Gallery, Copenhague.
    Imprimé à Paris en juillet 2007.

    Parfait état.
    Emballage soigné et envoi international suivi.

    Dans les Lagoghyphs, Eduardo Kac développe une écriture léporimorphe ou "lapinographique", un langage graphique qui résiste à l'interprétation tout en générant du sens. Les Lagoglyphs sont la continuité et l'épitexte du projet, GFP Bunny, consistant par mutation génétique à la création d'un lapin fluorescent vert en 2000.

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Eduardo Kac

Born in: 1962

Brazil

Eduardo Kac is internationally recognized for his telepresence and bio art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac (pronounced "Katz") emerged in the early '90s with his radical works combining telerobotics and living organisms. His visionary integration of robotics, biology and networking explores the fluidity of subject positions in the post-digital world.

At the dawn of the twenty-first century Kac opened a new direction for contemporary art with his "transgenic art"--first with a groundbreaking transgenic work entitled Genesis (1999), which included an "artist's gene" he invented, and then with his fluorescent rabbit called Alba (2000).

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; Castello di Rivoli, Turin, Italy; Mori Art Museum, Tokyo; Reina Sofia Museum, Madrid;Zendai Museum of Modern Art, Shanghai; and Seoul Museum of Art, Korea. Kac's work has been showcased in biennials such as Yokohama Triennial, Japan, Biennial of the End of the World, Ushuaia, Argentina, Gwangju Biennale, Korea, Bienal de Sao Paulo, Brazil, and International Triennial of New Media Art, National Art Museum of China, Beijing. His work is part of the permanent collection of the Victoria & Albert Museum, London, the Museum of Modern Art in New York, the Museum of Modern Art of Valencia, Spain, the ZKM Museum, Karlsruhe, Germany, and the Museum of Modern Art in Rio de Janeiro, among others. 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). Kac has received many awards, including the Golden Nica Award, the most prestigious award in the field of media arts and the highest prize awarded by Ars Electronica. He lectures and publishes worldwide. His work is documented on the Web in eight languages: http://www.ekac.org.

Kac is a member of the editorial board of the journal Leonardo, published by MIT Press. Kac's writings on art, which have appeared in several books and periodicals in many countries, have been collected in two volumes: Telepresence and Bio Art : Networking Humans, Rabbits and Robots (Ann Arbor: University of Michigan Press, 2005) and Luz & Letra (Rio de Janeiro: Contra Capa, 2004). Kac's poetry is collected in Hodibis Potax (Édition Action Poétique, Ivry-sur-Seine (France) and Kibla, Maribor (Slovenia), 2007). Books about Kac's work include: Eduardo Kac : Move 36, Elena Giulia Rossi, editor (Paris : Filigranes Éditions, 2005), The Eighth Day: The Transgenic Art of Eduardo Kac, Sheilah Britton and Dan Collins, eds. (Tempe: ISA/ASU -- New York: DAP, 2003) and Eduardo Kac (Valencia: IVAM, 2007).

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.
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Eduardo Kac, Lagoglyphs - The Bunny Variations 1
Eduardo Kac, Lagoglyphs - The Bunny Variations 1 Eduardo Kac, Lagoglyphs - The Bunny Variations 1

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