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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. 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). Kac's work has been exhibited internationally at venues such as Exit Art and Ronald Feldman Fine Arts, New York; Maison Europenne de la Photographie, Paris; Castello di Rivoli, Turin, Italy; Mori Art Museum, Tokyo; and Seoul Museum of Art, Korea. Kac's work has been showcased in biennials including Yokohama Triennial, Japan; Biennial of the End of the World, and Bienal de Sao Paulo, Brazil. His work is included in many permanent collections, such as: the Tate, London; the Museum of Modern Art in New York; and the Museum of Modern Art of Valencia, among others. Kac's work has been featured both in contemporary art publications (Contemporary, Flash Art, Artforum, ARTnews, Kunstforum, Tema Celeste, Artpress, NY Arts Magazine), contemporary art books (Phaidon, Thames and Hudson, Oxford, MIT Press) and in the mass media (ABC, BBC, PBS, Le Monde, Boston Globe, Washington Post, Chicago Tribune, New York Times). A professor at the School of the Art Institute of Chicago, he lectures and publishes worldwide.


"I also wish to recognize Eduardo Kac’s Porneia (Nightboat Books), which arrives like the last bus from the twentieth century, raunchy with possibility. The Movimento de Arte Pornô, of which Kac was ringleader, for two years countered a military dictatorship with nudity, guerilla performance, nude guerilla performance, slogan tee-shirts, goofy phallic masks, cheerfully graphic cartoons and photos, primitive computer graphics, bad puns, and a cosmic pink miniskirt—whose pinkness must be imagined, and thereby perfuses the entire trove with its buoyancy. Kac’s Porneia entails a joyful toolkit for collaboratively countering the latest diktat with an endless gozo of possibility."—Joyelle McSweeney, Judge's Citation for Anna Rabinowitz Award 
“In the grandest work at the Henry, ‘Genesis,’ Mr. Kac took the Old Testament passage, ‘Let man have dominion over the fish of the sea,’ translated it first into Morse code (an earlier example of a language of symbols invented to capture the substance of our world and circulate it) and then into the four-letter alphabet, A, T, C, G, which stands for the chemical base pairs along the ladder of our DNA. In this bizarre journey from the biblical Book of Life to physical creation, this literary DNA was then synthetically made, mixed with a sample of Mr. Kac's own, placed in a petri dish under a microscope and projected in all its purple, molecular majesty onto a darkened wall. Of course, Mr. Kac's piece does prompt the thought that perhaps some omnipotent translator led the artist (and the rest of humankind) to this level of handiwork; that once upon a time we were encoded with a system of marks, which we've finally discovered and interpret as an alphabet written into our very core. Now that we've picked up the code, we've begun our own translations.”—The New York Times “Extreme innovation, the kind that requires neologisms, is something that Kac might be said to specialize in. He is also the namer of holoart, transgenic art, bioart and the plantimal, a plant infused with human genes.”—Temporary Art Review  “Kac challenges us to define and defend the borders of such artistic practices, on the one hand, and properly interpretive commentary, on the other.”—Sandy Baldwin, electronic book review “Kac is often cited, along with Stelarc and Orlan, as an artist who transgresses the boundary between human and machine, organic and artificial.”—Robert Pepperell 

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