Bioart : de Genesis à Natural History of the Enigma
Eduardo Kac gained prominence at the beginning of the twenty-first century with his transgenic work “GFP Bunny” (2000), centered on the green-glowing bunny named Alba that he created through genetic engineering. In 1997 Kac coined the term “Bio Art” to designate the new international movement that m...
Wedi'i Gadw mewn:
| Cyhoeddwyd yn: | URI:https://journals.openedition.org/actesbranly, |
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| Prif Awdur: | |
| Fformat: | Article ou chapitre numérique |
| Iaith: | Anglais |
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Les actes de colloques du musée du quai Branly Jacques Chirac
2016
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| Mynediad Ar-lein: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Crynodeb: | Eduardo Kac gained prominence at the beginning of the twenty-first century with his transgenic work “GFP Bunny” (2000), centered on the green-glowing bunny named Alba that he created through genetic engineering. In 1997 Kac coined the term “Bio Art” to designate the new international movement that manipulates or creates biological life as an art medium. His presentation offers an overview of his trajectory, with emphasis on his most recent works. Among his many career highlights, Kac discusses his recent transgenic artwork “Natural History of the Enigma.” The central work in the “Natural History of the Enigma” series is a plantimal, a new life form Kac created and that he calls “Edunia”, a genetically-engineered flower that is a hybrid of the artist and Petunia. The Edunia expresses Kac’s DNA, taken from his blood, exclusively in the flower’s red veins. |
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