Elsewhere in Contemporary Art: Topologies of Artists' Works, Writings, and Archives
2006; College Art Association; Volume: 65; Issue: 4 Linguagem: Inglês
10.1080/00043249.2006.10791223
ISSN2325-5307
Autores Tópico(s)Brazilian cultural history and politics
ResumoOn September 2004, when I arrived in Rio de Janeiro on my way to the 26th São Paulo Bienal, images of Eduardo Kac's GFP Bunny—his transgenic rabbit created in 2000‘—were strategically placed throughout the city on three types of advertising displays: illuminated advertising signs mounted above digital clocks and thermometers showed the enigmatic, fluorescent-green bunny; panels at bus stops announced Kac's solo exhibition at Laura Marsiaj Arte Contemporânea in Ipanema; and constantly rotating displays in kiosks presented images of cultural events in the city, among them Kac's GFP Bunny and Bebel Gilberto's new CD album cover. A week later, at the São Paulo Bienal, Kac presented a transgenic installation entitled Move 36, which along with Paulo Bruscky's apartment/studio/archive—one of the biennial's eight special rooms—was identified by the media as a “must-see” among the works by 135 artists from 62 countries. Interviews with both artists and images of their installations appeared in the major newspapers and magazines of Rio de Janeiro and São Paulo prior to, during, and after the opening of the exhibition.2 I have explored aspects of Kac's and Bruscky's multifaceted works elsewhere, and in this article I focus on the issues raised by Bruscky's archive and by Kac's recent books, as well as the unsettled place of this theoretical and archival material within their own work and in art institutions, including the writing of art history and criticism.3
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