The posters that constitute this series of images were posted by Kac on the streets of Paris between December 3 and December 13, 2000.
Kac placed individual posters in several neighborhoods, including: Le Marais, Quartier Latin, Saint Germain, Champs de Mars, Bastille, Montparnasse, and Montmartre. The posters reflect some of the readings afforded by "GFP Bunny".
Eduardo Kac, "GFP Bunny - Paris Intervention", 2000, 22 x 34 inches (55.88 x 86.36cm) each, dry ink on paper, open edition. Collection Verbeke Foundation, Belgium.
The complete set of seven posters has also been exhibited in gallery shows, including:
"Dystopia + Identity in the Age of Global Communications", Tribes Gallery, New York (from December 2, 2000 to January 13, 2001)
"Unter Der Haut (Under the Skin)" at the Wilhelm Lehmbruck Museum, Duisburg, Germany (from May 6 to June 17, 2001)
"International Container Art Festival", Kaohsiung Museum of Fine Arts, Taiwan (from Dec. 8, 2001 to January 6, 2002)
"Portão 2", Galeria Nara Roesler, São Paulo, Brazil (from March 21 to April 27, 2002)
"Free Alba!", Julia Friedman Gallery, Chicago (from May 3 to June 15, 2002)
"Eurovision - I Biennale dArte : DNArt; Transiti: Metamorfosi: Permanenze", Kunsthaus Merano Arte, Merano, Italy (from June 15 to August 15, 2002)
"Gene(sis): Contemporary Art Explores Human Genomics", Henry Art Gallery, Seattle, from April 6 to August 25, 2002
"... como perros: humillación trauma y producción del sujeto contemporáneo", La Casa Encendida, Madrid, Spain (July 8 to September 8, 2003)
"Gene(sis): Contemporary Art Explores Human Genomics", Berkeley Art Museum, Berkeley, California (August 26 December 14, 2003)
"Face/off Body Fantasies", Kunst und Kunstgewerbeverein, Pforzheim, Germany (February to May, 2004)
"Gene(sis): Contemporary Art Explores Human Genomics", Frederick Weisman Museum of Art, Minneapolis (January 25 to May 2, 2004)
"First Exhibition",Verbeke Gallery, Antwerp, Belgium (January 14th to February 28th, 2010)
In the context of a gallery exhibition, Kac disperses the images; i.e., he puts each image in a completely different area of the exhibit. This way Kac duplicates in the gallery the effect he created on the streets in Paris: in the gallery the public finds each image in different places and at different times, slowly perceiving the multiplicity of meanings associated with the work.
Between December 3 and December 13, 2000, parallel to radio (Radio France and Radio France Internationale), print (Le Monde, Libération, Transfert, Nova, Ça M'intéresse), and television (Canal+, Paris Première) interviews and debates, Kac posted these images on the streets in an effort to intervene in the context of French public opinion and gather support for his cause to bring Alba home. A few months afterwards, Alba was featured on the cover of the French art journal Revue D'Esthétique (N. 39, 2001, Paris).
Still in December 2000, Kac also engaged the public directly through a series of lectures (Sorbonne, École Normale Superior, École Superior des Beaux Arts, Forum des Images) and through face-to-face conversations on the street sparked by the public's interest. Kac also held several private meetings. In total, Kac reached approximately 1.5 million people (about half of the population of Paris).
For more information on "GFP Bunny", please see Kac's essay "GFP Bunny", the transgenic art bibliography, and the "Alba Guestbook".
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