Eduardo Kac is internationally recognized for his telepresence and bio art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac (pronounced "Katz") emerged in the early '90s with his radical works combining telerobotics and living organisms. His visionary integration of robotics, biology and networking explores the fluidity of subject positions in the post-digital world. His work deals with issues that range from the mythopoetics of online experience (Uirapuru) to the cultural impact of biotechnology (Genesis); from the changing condition of memory in the digital age (Time Capsule) to distributed collective agency (Teleporting an Unknown State); from the problematic notion of the "exotic" (Rara Avis) to the creation of life and evolution (GFP Bunny).Kac’s work has been exhibited internationally at venues such as Exit Art and Ronald Feldman Fine Arts, New York; Maison Européenne de la Photographie, Paris; Castello di Rivoli, Turin, Italy. Kac's work has been showcased in biennials such as Yokohama Triennial, Japan; Biennial of the End of the World, Ushuaia, Argentina; Gwangju Biennale, Korea; Bienal de Sao Paulo, Brazil. His work is part of the permanent collection of the Victoria & Albert Museum, London, the Museum of Modern Art in New York, the Museum of Modern Art of Valencia, Spain, , and the Museum of Modern Art in Rio de Janeiro, among others. Kac is a member of the editorial board of the journal Leonardo, published by MIT Press. Kac's writings on art, which have appeared in several books and periodicals in many countries, have been collected in two volumes: Telepresence and Bio Art : Networking Humans, Rabbits and Robots (Ann Arbor: University of Michigan Press, 2005) and Luz & Letra (Rio de Janeiro: Contra Capa, 2004). Kac's poetry is collected in Hodibis Potax (Édition Action Poétique, Ivry-sur-Seine (France) and Kibla, Maribor (Slovenia), 2007).