GFP Bunny

Source: Eduardo Kac

Eduardo Kac

GFP Bunny , 2001

Co-workers & Funding

Louis-Marie Houdebine and Patrick Prunet - Institut National de la Recherche Agronomique-INRA (National Institute of Agronomic Research)
Louis Bec - zoosystemician

http://www.ekac.org/gfpbunny.html#gfpbunnyanchor
SeeAlso:LagoogleglyphIII(2018)LagoogleglyphIV(2018)LagoogleglyphII(2015)LagoglyphPorcelain(2011)Lagoglyphs:TheVolcanoPaintings(2010)LagoogleglyphI(2009)LagoglyphAnimation(2009)Lagoglyphs:TheLepusConstellationSuite(2009)LagoglyphWildfire(2008)Lagoglyphs:TheBunnyVariations(2007)BoulevardAlba(2006)Featherless(2006)RabbitinRio(2004)Elle,2004,embossedpigmentprintTheAlbaHeadlineSupercollider(2004)LeLapinUnique(2003)It'snoteasybeinggreen!(2003)FreeAlba!(2001-2002)Drawings(fromthe"FreeAlba!"series)(2001-2002)TheAlbaFlag(2001)TheAlbaGuestbook:2000—2004GFPBunny-ParisIntervention(2000)

Mnemosyne

Last updated: 2021-11-30

Documents

Kac with Alba

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300 × 461

Green Alba

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432 × 357

Description

As a transgenic artist, I am not interested in the creation of genetic objects, but on the invention of transgenic social subjects. In other words, what is important is the completely integrated process of creating the bunny, bringing her to society at large, and providing her with a loving, caring, and nurturing environment in which she can grow safe and healthy. This integrated process is important because it places genetic engineering in a social context in which the relationship between the private and the public spheres are negotiated.
-Eduardo Kac

Keywords

aesthetics
- contextual
- experimental
- remixed
genres
- bioart
subjects
- Art and Science
- Arts and Visual Culture
  - poetry
- Nature and Environment

Technology & Material

Method

GFP Bunny' comprises the creation of a green fluorescent rabbit, the public dialogue generated by the project, and the social integration of the rabbit. GFP stands for green fluorescent protein. Alba the bunny was created with EGFP, an enhanced version (i.e., a synthetic mutation) of the original wild-type green fluorescent gene found in the jellyfish Aequorea Victoria.

Exhibitions & Events

Bibliography

Kac, Eduardo. Biopoetry. Berlin: AcquAvivA, 2016.
Kac, Eduardo. »Biopoetry.« http://www.ekac.org/biopoetry.html.
Eikmeyer, Robert.. "Eduardo Kac : Interview", published in the book Face/off – Body Fantasies. 1 th ed.Frankfurt: Keller, Christoph, 2004.
Ottinger, Didier. Rabbit Remix. Exhibition catalogue, Rio de Janeiro: Laura Marsiaj Arte Contemporânea, 2004.
Grau, Oliver. Virtual Art: From Illusion to Immersion. Cambridge, MA: MIT Press, 2003.
Lynch, Lisa. »Trans-Genesis: An Interview with Eduardo Kac.« New Formations , no. 49 (Spring 2003): 75-90.
Nadarajan, Gunalan. »Spectres of the Animal: The Transgenic Works of Eduardo Kac.« In The Eighth Day: The Transgenic Art of Eduardo Kac, edited by Sheilah Britton and Dan Collins, 44-50. Tempe: The Institute for Studies in the Arts, Arizona State University, 2003.
Kac, Eduardo. »GFP Bunny.« Kunstforum 158 (January-March 2002): 46-57.
Popper, Frank. »The Transgenic Art of Eduardo Kac.« Artpress 276 (February 2002).
Baker, Steve. »Animal Rights and Wrongs.« Tate Magazine , no. 25 (Autumn 2001): 42-47.
Allmendinger, Ulli. »One small hop for Alba, one large hop for mankind.« NY Arts Magazine 6, no. 6 (June 2001).
Eskin, Blake. »Building the Bioluminescent Bunny.« ARTnews 100, no. 1 (2001): 118-119.
Beiguelman, Giselle. »A coelhinha e a bioarte.« http://www.ekac.org/beiguelmanweb.html.
Allmendinger, Ulli. »One small hop for Alba, one large hop for mankind.« NY Arts Magazine 6, no. 6 (June 2001).
Gessert, George. »Art is Nature.« Art Papers (March/April 2001): 16-19.
Bruckmayr, Dietmar. »Takeover.« In Takeover: Who´s doing the Art of Tomorrow / Wer macht die Kunst von Morgen?, edited by Gerfried Stocker and Christine SchöpfVienna, New York: Springer, 2001.
Müller-Jung, Joachim. »Hasengrün - Die Gentechnik und ihre Symbole.« Frankfurter Allgemeine Zeitung (January 13th 2001).
Newitz, Annalee. »Biopunk.« San Francisco Bay Guardian , no. 8 (August 2001).
Rivera, Daniel. »La belleza y la rescritura de un nuevo mundo: Arte transgénico.« La Jornada (February 2001).
Silverberg, Robert. »The Case of the Phosphorescent Rabbit.« Asimov's Science Fiction 25, no. 9 (September 2001).
Becker, Carol. »GFP Bunny.« Art Journal 59, no. 3 (Fall 2000).
Cook, Gareth. »Cross hare: hop and glow.« Boston Globe (September 2000): A01.
Chayette, Sylvie. »Quoi de neuf, Docteur? Un lapin transgénique interdit d'exposition à Avignon..« Le Monde Interactif (June 2000).
Andrews, Lori. »ART -- WEIRD SCIENCE.« Chicago Magazine (August 2000): 22,24.
Capucci , Pier Luigi. »Alba, arte transgenica, arte del vivente.« Noema - Tecnologie e Societá (2000).
Bonet, Josée. »Alba a posé un lapin à AvignonNumérique.« Vaucluse Matin (June 2000): 3.
Bec, Louis. »Le lapin fluorescent. Bunny GFP. Interdit de Visite.".« http://www.ekac.org/emailbec.html.
Batailler, Virginie. »L'éthique en question autour d'un lapin fluo.« La Provence (June 2000): 4.
Capucci, Pier Luigi. »Le forme del vivente.« D'ARS , no. 163/164 (December 2000): 19-21.
Diez, René. »Une décision scientifique pose un lapin à Avignon.« Midi Libre (June 2000): 8.
Fillion, Odile. »Entretien avec Eduardo Kac.« Le Monde Interactif (December 2000).
Galus, Christiane. »Les animaux fluorescents fascinent chercheurs, artistes et militaires.« Le Monde (October 2000): 1,29.
Kasprzak, Michelle. »GFP Bunny.« http://www.digibodies.org/online..
Machado, Arlindo. »Por un Arte Transgenic.« De la Pantalla al Arte Transgenico (2000): 253-260.
Manier, Jeremy. »Art Takes a Genetic Engineering Leap.« Chicago Tribune , no. 19 (September 2000): Section 2, p.3.
Reed, Shona. »Interview with Eduardo Kac.« http://www.ekac.org/genointer.html.

36 publications