Eduardo Kac


The active cognitive process of interpreting an artwork has become physical, by the open paths of the work itself and through the kinesthetic intelligence of the participant.

Daniele Perra: You started your exploration of art with a series of performances in the early ’80s when you were still living in Brazil, your native country. Since then you have experimented with several other media. What do you remember of those times?

Eduardo Kac: My performances, from 1980 to 1982, took place mostly in public spaces, such as Ipanema beach and the main square in Rio de Janeiro, called Cinelandia. The work evolved as a reaction to the very specific conditions of that time and place—a period of transition when a dictatorship still ruled the country. Those performances were very political, and they employed humor and colloquial language, as well as multiple media, as tools to reach a larger audience…




Daniele Perra