When Art Recreates Life
In order to address the new representations of the body and the living in the age of biotechnology, this article adopts a sociological analysis of the transgenic art of the artist Eduardo Kac. Based on a discourse analysis of the artist’s explanation of two of his keys artworks, GFP-Bunny (2000) and Genesis (1999), it is argued that the representation of the living emerging from these artistic projects rests on three major elements (communication, technoscience, and genetics), which constitute an informational representation of the living.