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Unformed Symbols: Another Side
2008
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2008
As the work Unformed Symbols (2006), the work Unformed Symbols: Another Side (2008) recreates a card game, but this time as if it were seen from the reverse side, with only the plain backs of cards visible. Real cards and projected images of
Elastic Fax 1
1991
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1991
Elastic Fax I, created by Eduardo Kac, was realized at the Museu de Arte Moderna, Rio de Janeiro, Brazil, in 1991. Artists worldwide were invited to transmit sequences of images to form a self-editing faxfilm. Sequences were added automatically in
Elastic Surgery
1995
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1995
... face. While some of the
change
s may be possible by...
History of the Main Complaint
1996
History of the Main Complaint addresses issues of memory, truth, and reconciliation—issues that gripped South Africa in the immediate post-apartheid period, during which the Truth and Reconciliation Commission held public hearings to recover lost
Interfaces
1990
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1990
..."Interfaces" was a live ex
change
conceived and organized by Eduardo...
Plot Against Time #3 (lower resolution excerpt)
2010
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2010
Plot Against Time #3 (Insect Sonata (after Scriabin)), a single channel video, draws out the trajectories of insects in the my shady garden as they pass through beams of sunlight on a rare windless day in spring. The work's subtitle refers to early
electric earth
1999
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1999
In Doug Aitkens cinemascope-like, walk-in, multi-sectioned, video installation «Electric Earth» [...] the public is transported into the atmosphere of an airport by night. A flaming car and an abandoned shopping cart compliment the eerie scenario
Natural history of the enigma
2003
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2008
The central work in the "Natural History of the Enigma" series is a plantimal, a new life form I created and that I call "Edunia", a genetically-engineered flower that is a hybrid of myself and Petunia. The Edunia expresses my DNA exclusively in its
March
1996
-
1997
... March include dramatic
scene
s-notably of the angel on...
new skin
2002
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2002
The Broad Art Foundation's new skin, 2002, presents an evolution from Aitken's earlier styles, both physically and conceptually. Projected from four corners of a room onto a pair of suspended, intersecting oval screens, the work is part film and
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