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Rafael Lozano-Hemmer

December 02, 2023

Rafael Lozano-Hemmer RCA (born 1967 in Mexico City) is a Mexican-Canadian electronic artist who works with ideas from architecture, technological theater and performance. Lozano-Hemmer lives and works in Montreal and Madrid.[1]

Rafael Lozano-Hemmer
Born (1967-11-17) November 17, 1967 (age 56)
Mexico City
NationalityMexican
EducationBachelor of Science in physical chemistry from Concordia University in Montreal
Known forelectronic artist
Websitewww.lozano-hemmer.com

Biography edit

 
Lozano-Hemmer in 2012

Rafael Lozano-Hemmer was born in Mexico City in 1967.[2] He emigrated to Canada in 1985 to study at the University of Victoria in British Columbia and then received his Bachelor of Science in physical chemistry from Concordia University in Montreal.[3] The son of Mexico City nightclub owners, Lozano-Hemmer was drawn to science but could not resist joining the creative activities of his friends.[4] Initially he worked in a molecular recognition lab in Montreal[4] and published his research in Chemistry journals.[5] Though he did not pursue the sciences as a direct career, it has influenced his work in many ways,[3] providing conceptual inspiration and practical approaches to create his work. Lozano-Hemmer's work can be considered a blend of interactive art and performance art, using both large and small scales, indoor and outdoor settings, and a wide variety of audiovisual technologies.[2]

Lozano-Hemmer is best known for creating and presenting theatrical interactive installations in public spaces across Europe, Asia and America. Using robotics, real-time computer graphics, film projections, positional sound, internet links, cell phone interfaces, video and ultrasonic sensors, LED screens and other devices, his installations seek to interrupt the increasingly homogenized urban condition by providing critical platforms for participation.[6] Lozano-Hemmer's smaller-scaled sculptural and video installations explore themes of perception, deception and surveillance.[7] As an outgrowth of these various large scale and performance-based projects Lozano-Hemmer documents the works in photography editions that are also exhibited.[8]

 
Vectorial Elevation (Vancouver, 2010)

In 1999, he created Alzado Vectorial (or Vectorial Elevation), where internet participants directed searchlights over the central square in Mexico City.[9] The work was repeated in Vitoria-Gasteiz in 2002, in Lyon in 2003, in Dublin in 2004 and in Vancouver in 2010. In 2007, he became the first artist to officially represent Mexico at the Venice Biennale, with a solo show at the Palazzo Soranzo Van Axel. In 2006, his work 33 Questions Per Minute was acquired by The Museum of Modern Art in New York. Subtitled Public (2005) is held in the Tate Collection in the United Kingdom.[10] In 2014/2015 his work was presented in the Solo Exhibition A Draft of Shadows at Bildmuseet, Umeå University, Sweden.[11]

Artworks edit

Text art edit

Several of Lozano-Hemmer's installations include the use of words and sentences to add additional meaning. These texts are used to elaborate upon a deeper meaning that involves a viewer's actions, to change or create an effect upon the atmosphere and perception. Some of the text based installations, such as Third Person and Subtitled Public, place words upon the viewer himself. Because of the random nature of these texts, the viewer has no control over what they are labeled as, incurring a sense of helplessness, and experience the pleasant and unpleasant connotations that are associated with the words placed upon themselves. The text based installations such as 33 Questions Per Minute and There is No Business Like No Business are reliant upon the willing participation of the viewer. These two forms of text installations are externally reflective, while the first two are internally reflective.

33 Questions Per Minute is an installation consisting of several screens programmed to generate possible questions and display them at a rate of 33 per minute. The computer generating the questions can generate 55 billion unique questions, taking over 3,000 years to display them all. In addition to viewing the automatically displaying the questions, members of the public can submit their own questions into the system. Their participation shows up on the screens immediately, and is registered by the program.[12][non-primary source needed]

Third Person is the second piece of the ShadowBox series of interactive displays with a built-in computerized tracking system. This piece shows the viewer's shadow, composed hundreds of tiny words that are in fact all the verbs of the dictionary conjugated in the third person. The portrait of the viewer is drawn in real time by active words, which appear automatically to fill his or her silhouette.[13][non-primary source needed]

There Is No Business Like No Business is a blinking neon sign, whose speed is directly proportional to the number of times that the word "economy" has appeared in online news items within the past 24 hours.[14][non-primary source needed]

Subtitled Public consists of an empty exhibition space where visitors are detected by a computerized surveillance system. When people enter the space, the system generates a subtitle for each person and projects it onto him or her: the subtitle is chosen at random from a list of all verbs conjugated in the third person. The only way of getting rid of a subtitle is to touch another person, which leads to the two subtitles being exchanged.[15][non-primary source needed] His work gave to the public a free entertainment, and he also help them to have a marvelous experience.[15]non-primary source needed

Relational architecture edit

In 1994, Lozano-Hemmer coined the term "relational architecture" as the technological actualization of buildings and the urban environment with alien memory. He aimed to transform the dominant narratives of a specific building or urban setting by superimposing audiovisual elements to affect it, effect it and re-contextualize it.[16] From 1997 to 2006, he built ten works of relational architecture beginning with Displaced Emperors and ending with Under Scan.[16] Lozano-Hemmer says, "I want buildings to pretend to be something other than themselves, to engage in a kind of dissimulation"[17]

Solar Equation was a large-scale public art installation that consists of a faithful simulation of the Sun, scaled 100 million times smaller than the real thing. Commissioned by the Light in Winter Festival in Melbourne, Australia, the piece featured the world's largest spherical balloon, custom-manufactured for the project, which was tethered over Federation Square and animated using five projectors. The solar animation on the balloon was generated by live mathematical equations that simulated the turbulence, flares and sunspots that can be seen on the surface of the Sun. This produced a constantly changing display that never repeated itself, giving viewers a glimpse of the majestic phenomena that are observable at the solar surface and that only relatively recent advances in astronomy have discovered.[18][non-primary source needed]

Under Scan is an interactive video art installation for public space. In the work, passers-by are detected by a computerized tracking system, which activates video-portraits projected within their shadow. Over one thousand video-portraits of volunteers were taken in Derby, Leicester, Lincoln, Northampton and Nottingham (in England) by a team of local filmmakers. For a London presentation in Trafalgar Square, Tate Modern filmed over 250 additional recordings. As people were free to portray themselves in whatever way they desired, a wide range of performances were captured. In the installation, the portraits appeared at random locations. They "wake-up" and establish eye contact with a viewer as soon as his or her shadow "reveals" them. As the viewer walks away, the portrait reacts by looking away, and eventually disappears if no one activates it.[19][non-primary source needed]

Body Movies transforms public space with interactive projections measuring between 400 and 1,800 square metres (4,300 and 19,400 sq ft). Thousands of photographic portraits, previously taken on the streets of the host city, are shown using robotically controlled projectors. However, the portraits only appear inside the projected shadows of the passers-by, whose silhouettes can measure 2 to 25 metres (6.6 to 82.0 ft), depending on how close or far away they are from the powerful light sources positioned on the ground. A video surveillance tracking system triggers new portraits when all the existing ones have been revealed, inviting the public to occupy new narratives of representation. Lozano-Hemmer comments, "my initial desire was to use artificial shadows to generate questions about embodiment and disembodiment, about spectacular representation, about the distance between bodies in public space, and so on".[17][20][non-primary source needed]

Re:Positioning Fear was the third relational architecture project. This was a large-scale installation on the Landeszeughaus[where?] military arsenal, with the projection only being seen in the shadows of passers-by. Using tracking systems, the shadows were automatically focused and generated sounds. A real-time discussion about the transformation of the concept of "fear" was projected inside the shadows; the chat involved 30 artists and theorists from 17 countries.[21][non-primary source needed]

Sculpture edit

Tape Recorders is an installation containing rows of motorized measuring tapes recording the amount of time that visitors stay in the installation. As a computerized tracking system detects the presence of a person, the closest measuring tape starts to project upwards. When the tape reaches around 3 metres (9.8 ft) high, it collapses and recoils back.[22][non-primary source needed]

Please Empty your Pockets is an installation that consists of a conveyor belt with a computerized scanner that records and stores images of everything that passes under it. The viewer may place any small item on the conveyor belt, for example keys, ID cards, wallets, worry beads, condoms, notepads, cellphones, coins, dolls, credit cards, etc. Once they pass under the scanner, the objects reappear on the other side of the conveyor belt beside projected objects from the stored images of the installation. As a real item is removed from the conveyor belt, it leaves behind a projected image of itself, which is then used to accompany future objects.[23][non-primary source needed]

Microphones is an interactive installation featuring one or several 1939-vintage Shure microphones, placed on mike stands around the exhibition room at different heights. Each microphone has been modified so that inside its head is a tiny loudspeaker and a circuit board connected to a network of hidden control computers. When a public member speaks into a microphone, it records his or her voice, then immediately plays back the voice of a previous participant, as an echo from the past.[24][non-primary source needed]

Standards and Double Standards is an interactive installation that consists of 10 to 100 fastened belts that are suspended at waist height from stepper motors on the ceiling of the exhibition room. Controlled by a computerized tracking system, the belts rotate automatically to follow the public, turning their buckles slowly to face passers-by. When several people are in the room, their presence affects the entire group of belts, creating chaotic patterns of interference. Non-linear behaviours emerge such as turbulence, eddies, and relatively quiet regions. One of the aims of this piece is to visualize complex dynamics, turning a condition of pure surveillance into an unpredictable connective system. The piece creates an "absent crowd" using a fetish of paternal authority: the belt.[25][non-primary source needed]

Less than three is an installation consisting of a series of light beams that form a kind of network between two analogue intercoms. When a viewer speaks into one of the intercoms, he can see how the voice signal is converted into flashes of light that are visibly transmitted along one of the several possible routes through the network. When the flash of light reaches the other end, the spoken phrase is released and transformed again, from light to sound. The installation interacts by transforming sound stimuli into light, which is then turned back into sound again.[26] It was shown at Disseny Hub Barcelona between 2011 and 2012 at the exhibit I/O/I. The senses of machines (Interaction Laboratory)[27]

 
Speaking Willow by Rafael Lozano-Hemmer at the Planet Word Museum in Washington DC

Voice Array is a participatory installation featuring up to 288 anonymous vocal samples—played in uneven unison, and accompanied by pulses of vibrant white light in discrete beams, emanating from above and below a raised black strip along a back wall. When activated, the piece connotes the pulsing volume bars on an old stereo, turning sound into light to measure intensity. Any visitor can speak into the silver-buttoned intercom to the left of the strip—upon withdrawal, the recording immediately transforms into a flashing sequence, stored as a loop in the first light of the array.[28]

Entanglement is an installation that consists of two neon signs that say “entanglement” on them that light up. The two signs are 72 inches by 14.75 inches in size. The two signs both have a light switch that turns both of them on and off. When one of the light switches is turned on, both signs light up. When one of the light switches is turned off, both signs are off. The two signs are placed in separate rooms, separate buildings, or even in separate countries. The idea came from what entanglement means in quantum physics which is where two particles behave as one.[29][non-primary source needed]

Bifurcation is an installation where a “Y” shaped branch dangles in the air that is attached to the ceiling by a piece of string. Behind the branch is a projection of a whole branch, showing what the “Y” shaped branch once looked like. As the “Y” shaped branch moves with the air movement or by people moving it, the projection also moves in synchronization with the dangling branch. This is Rafael Lozano-Hemmer's second piece in “Shadow Objects.” The piece was inspired by Octavio Paz and Bioy Casares who stated that “absence and presence are not opposites.”[30][non-primary source needed]

Pan Anthem (2014) is an interactive installation of hundreds of movable speakers that play national anthems when the viewer approaches. These speakers are arranged throughout the gallery's walls based on national statistics. For example, the arrangement may depend on population, year of independence, etc.[31][non-primary source needed]

Speaking Willow, is an interactive, motion-detecting tree that will whisper to visitors in hundreds of different languages at Washington, D.C.'s Planet Word Museum. Anticipated installation date 2020.[32]

Other works edit

In 2013 Lozano-Hemmer created a piece called Friendfracker. This was an online service that Lozano-Hemmer created along with Harper-Reed in one day. A participant would enter their Facebook account information into the online program, then once the information was verified the service would delete up to 10 of the participant's friends on their Facebook account. The service wouldn't tell which friends were deleted. Facebook disabled the program on April 25, 2013.[33][non-primary source needed]

The Pulse Room is an interactive installation featuring over 300 hundred clear incandescent light bulbs,[34] 300 W each, hung by cables three metres from the floor. It has run in many places in the last years such as Venice, Italy; and Aarhus, Denmark.[35]

Technology edit

Lozano-Hemmer differs from many artists in his comprehensive use of technology; most of his productions contain more than one element of technology to create a lasting effect. Lozano-Hemmer recognizes that Western culture is a technology-based culture, emphasizing "even if you are not using a computer you are affected by this environment. Working with technology is inevitable."[36] "Our politics, our culture, our economy, everything is running through globalized networks of communication..."[37]

Technologies that Lozano-Hemmer has used in his works include robotics, custom software, projections, internet links, cell phones, sensors, LEDs, cameras, and tracking systems.[38]

Solo exhibitions edit

  • A Draft of Shadows Bildmuseet, Umeå University, Sweden. November 2, 2014 - April 26, 2015[39]

Awards edit

  • Governor General's Awards in Visual and Media Arts, Ottawa, Canada 2015.[40]
  • Interactive Art Honorable Mention, Ars Electronica 2013, Linz, Austria 2013.[41]
  • Joyce Award, The Joyce Foundation, Chicago, Illinois, United States 2012.[42]
  • BAFTA British Academy Award for Interactive Art 2005, London, United Kingdom 2005.[43]
  • Artist/Performer of the year, Wired Magazine Rave Awards, San Francisco, California, United States 2003.[44]
  • Rockefeller-Ford Fellowship, New York City, New York, United States 2003.
  • Trophée des Lumiéres, Lyon, France 2003.
  • World Technology Network Award for the Arts, San Francisco, California, United States 2003.
  • BAFTA British Academy Award for Interactive Art 2002, London, United Kingdom 2002.
  • Gold Award, Interactive Media Design Review 2002, I.D. Magazine, United States 2002.
  • Interactive Art Distinction, Ars Electronica 2002, Linz, Austria 2002.
  • International Bauhaus Award 2002, 1st Prize, Dessau, Germany 2002.[43]
  • Distinction, SFMOMA Webby Awards 2000, San Francisco, California, United States 2000.
  • Excellence Award, Media Arts Festival 2000, CG Arts, Tokyo, Japan 2000.[43]
  • Finalist, Medienkunstpreis 2000, ZKM, Karlsruhe, Germany 2000.
  • Interactive Art Golden Nica, Ars Electronica 2000, Linz, Austria 2000.[43]
  • Interactive Art Honorable Mention, Ars Electronica 1998, Linz, Austria 1998.
  • Best Installation, Interactive Digital Media Awards 1996, Toronto, Ontario, Canada 1996.
  • 2nd Prize, Cyberstar, Köln, Germany, June 1995.
  • Interactive Art Honorable Mention, Ars Electronica 1995, Linz, Austria 1995.

Further reading edit

  • Maciej Ożóg, "Surveilling the Surveillance Society: The Case of Rafael Lozano-Hemmer's Installations" in Outi Remes and Pam Skelton (eds.), Conspiracy Dwellings: Surveillance in Contemporary Art. Cambridge Scholars Publishing, 2010. Info at:

References edit

  1. ^ "Lozano-hemmer about | bitforms gallery". Rafael Lozano-Hemmer. Bitforms Gallery. from the original on 22 August 2015. Retrieved 23 August 2015.
  2. ^ a b "Rafael Lozano-Hemmer - Biography". Lozano-hemmer.com. from the original on 2015-02-17. Retrieved 2015-03-02.
  3. ^ a b "Rafael Lozano-Hemmer | Canadian Immigrant". Canadianimmigrant.ca. 2011-05-16. from the original on 2016-03-04. Retrieved 2015-03-02.
  4. ^ a b Crow, Kelly (2009-09-05). "Rafael Lozano-Hemmer Paints With Sound - WSJ". Online.wsj.com. from the original on 2015-04-06. Retrieved 2015-03-02.
  5. ^ Tee, O.S., Mazza, C., Lozano-Hemmer, R. and Giorgi, J.B., "Ester Cleavage by Cyclodextrins in Aqueous Dimethyl Sulfoxide Mixtures: Substrate Binding versus Transition State Binding.", Journal of Organic Chemistry, 59, Washington, United States, 1994
  6. ^ "Rafael Lozano-Hemmer - Biography". from the original on 2018-01-31. Retrieved 2018-01-30.
  7. ^ Ravetto-Biagoli, Kriss (2010). (PDF). Representations. 111 (1): 121–143. doi:10.1525/rep.2010.111.1.121. Archived from the original (PDF) on 4 March 2016. Retrieved 20 August 2015.
  8. ^ Wolf Lieser. Digital Art. Langenscheidt: h.f. ullmann. 2009. pp. 252, 254-55, 261
  9. ^ Andreas Broeckmann in Stephen Graham, The Cybercities Reader, Routledge, 2004, p. 380. ISBN 0-415-27956-9
  10. ^ "'Subtitled Public', Rafael Lozano-Hemmer". Tate. 2014-12-15. Retrieved 2015-03-02.
  11. ^ . Archived from the original on 2021-01-09. Retrieved 2021-01-14.
  12. ^ "Rafael Lozano-Hemmer - Project "33 Questions per Minute"". Lozano-hemmer.com. from the original on 2015-04-02. Retrieved 2015-03-02.
  13. ^ "Rafael Lozano-Hemmer - Project "Third Person"". Lozano-hemmer.com. 2013-09-19. from the original on 2015-04-02. Retrieved 2015-03-02.
  14. ^ "Rafael Lozano-Hemmer - Project "There Is No Business Like No Business"". Lozano-hemmer.com. from the original on 2015-04-02. Retrieved 2015-03-02.
  15. ^ "Rafael Lozano-Hemmer - Project "Subtitled Public"". Lozano-hemmer.com. from the original on 2015-04-02. Retrieved 2015-03-02.
  16. ^ a b Fernandez, M. "Illumination Embodiment: Rafael Lozano-Hemmer's Relational Architectures." Architectural Design (July/August 2007) pp. 78-87
  17. ^ a b Adriaansens, Alex, and Joke Brouwer. "Alien Relationships from Public Space: A Winding Dialog with Rafael Lozano-Hemmer." Transurbanism. 2002. Print.
  18. ^ "Rafael Lozano-Hemmer - Project "Solar Equation"". Lozano-hemmer.com. from the original on 2015-02-24. Retrieved 2015-03-02.
  19. ^ "Rafael Lozano-Hemmer - Project "Under Scan"". Lozano-hemmer.com. from the original on 2015-02-25. Retrieved 2015-03-02.
  20. ^ "Rafael Lozano-Hemmer - Project "Body Movies"". Lozano-hemmer.com. from the original on 2015-02-23. Retrieved 2015-03-02.
  21. ^ "Rafael Lozano-Hemmer - Project "Re:Positioning Fear"". Lozano-hemmer.com. from the original on 2015-04-02. Retrieved 2015-03-02.
  22. ^ "Rafael Lozano-Hemmer - Project "Tape Recorders"". Lozano-hemmer.com. 2014-05-13. from the original on 2015-03-11. Retrieved 2015-03-02.
  23. ^ "Rafael Lozano-Hemmer - Project "Please Empty Your Pockets"". Lozano-hemmer.com. from the original on 2015-02-15. Retrieved 2015-03-02.
  24. ^ "Rafael Lozano-Hemmer - Project "Microphones"". Lozano-hemmer.com. from the original on 2015-04-02. Retrieved 2015-03-02.
  25. ^ "Rafael Lozano-Hemmer - Project "Standards and Double Standards"". Lozano-hemmer.com. from the original on 2014-10-04. Retrieved 2015-03-02.
  26. ^ "Disseny Hub Barcelona". Dhub-bcn.cat. Archived from the original on 2012-07-29. Retrieved 2015-03-02.
  27. ^ . Dhub-bcn.cat. Archived from the original on 2012-05-09. Retrieved 2015-03-02.
  28. ^ Rosetti, Chloé (October 2012). "Rafael Lozano-Hemmer: Voice Array". The Brooklyn Rail. from the original on 2012-11-05. Retrieved 2012-12-20.
  29. ^ "Rafael Lozano-Hemmer - Project "Entanglement"". Lozano-hemmer.com. from the original on 2015-09-21. Retrieved 2015-04-22.
  30. ^ "Rafael Lozano-Hemmer - Project "Bifurcation"". Lozano-hemmer.com. from the original on 2015-01-03. Retrieved 2015-04-22.
  31. ^ "Rafael Lozano-Hemmer - Pan-Anthem". from the original on 2017-05-01. Retrieved 2017-03-07.
  32. ^ Dingfelder, Sadie (13 March 2019). "A giant, whispering 'tree' is coming to downtown D.C." The Washington Post. from the original on 27 March 2019. Retrieved 14 March 2019.
  33. ^ "Rafael Lozano-Hemmer - Project "Friendfracker"". Lozano-hemmer.com. from the original on 2015-09-21. Retrieved 2015-04-22.
  34. ^ "Rafael Lozano-Hemmer: Pulse". studiointernational. 7 December 2018. Retrieved 6 January 2021.
  35. ^ "Pulse Room". Rafael Lozano-Hemmer. Retrieved 6 January 2021.
  36. ^ "Rafael Lozanon-Hemmer at ARS Electronica". Akrylic. 2002-02-26. from the original on 2015-09-14. Retrieved 2015-03-02.
  37. ^ "Rafael Lozano-Hemmer takes the 'Pulse' of electronic art - Los Angeles Times". Articles.latimes.com. 2010-10-17. from the original on 2015-04-03. Retrieved 2015-03-02.
  38. ^ . Voltashow.com. Archived from the original on 2014-11-12. Retrieved 2015-03-02.
  39. ^ https://www.dn.se/kultur-noje/konstrecensioner/kultur-och-kapital-i-ohelig-allians/>
  40. ^ "Governor General's Awards in Visual and Media Arts Archives". en.ggarts.ca. Governor General of Canada. Retrieved 2022-08-18.
  41. ^ http://archive.aec.at/showmode/prix/?id=46854#46854[permanent dead link]
  42. ^ "News".
  43. ^ a b c d María Fernández (6 January 2014). Cosmopolitanism in Mexican Visual Culture. University of Texas Press. pp. 276–. ISBN 978-0-292-74535-3.
  44. ^ "The 2004 Wired Rave Awards". Wired. from the original on 2017-04-29. Retrieved 2017-05-19.

External links edit

 
Wikimedia Commons has media related to Rafael Lozano-Hemmer.
  • Official website
  • Art 21 interview

December 02, 2023
rafael, lozano, hemmer, this, biography, living, person, relies, much, references, primary, sources, please, help, adding, secondary, tertiary, sources, contentious, material, about, living, persons, that, unsourced, poorly, sourced, must, removed, immediately. This biography of a living person relies too much on references to primary sources Please help by adding secondary or tertiary sources Contentious material about living persons that is unsourced or poorly sourced must be removed immediately especially if potentially libelous or harmful Find sources Rafael Lozano Hemmer news newspapers books scholar JSTOR May 2017 Learn how and when to remove this template message Rafael Lozano Hemmer RCA born 1967 in Mexico City is a Mexican Canadian electronic artist who works with ideas from architecture technological theater and performance Lozano Hemmer lives and works in Montreal and Madrid 1 Rafael Lozano HemmerBorn 1967 11 17 November 17 1967 age 56 Mexico CityNationalityMexicanEducationBachelor of Science in physical chemistry from Concordia University in MontrealKnown forelectronic artistWebsitewww wbr lozano hemmer wbr com Contents 1 Biography 2 Artworks 2 1 Text art 2 2 Relational architecture 2 3 Sculpture 2 4 Other works 3 Technology 4 Solo exhibitions 5 Awards 6 Further reading 7 References 8 External linksBiography edit nbsp Lozano Hemmer in 2012Rafael Lozano Hemmer was born in Mexico City in 1967 2 He emigrated to Canada in 1985 to study at the University of Victoria in British Columbia and then received his Bachelor of Science in physical chemistry from Concordia University in Montreal 3 The son of Mexico City nightclub owners Lozano Hemmer was drawn to science but could not resist joining the creative activities of his friends 4 Initially he worked in a molecular recognition lab in Montreal 4 and published his research in Chemistry journals 5 Though he did not pursue the sciences as a direct career it has influenced his work in many ways 3 providing conceptual inspiration and practical approaches to create his work Lozano Hemmer s work can be considered a blend of interactive art and performance art using both large and small scales indoor and outdoor settings and a wide variety of audiovisual technologies 2 Lozano Hemmer is best known for creating and presenting theatrical interactive installations in public spaces across Europe Asia and America Using robotics real time computer graphics film projections positional sound internet links cell phone interfaces video and ultrasonic sensors LED screens and other devices his installations seek to interrupt the increasingly homogenized urban condition by providing critical platforms for participation 6 Lozano Hemmer s smaller scaled sculptural and video installations explore themes of perception deception and surveillance 7 As an outgrowth of these various large scale and performance based projects Lozano Hemmer documents the works in photography editions that are also exhibited 8 nbsp Vectorial Elevation Vancouver 2010 In 1999 he created Alzado Vectorial or Vectorial Elevation where internet participants directed searchlights over the central square in Mexico City 9 The work was repeated in Vitoria Gasteiz in 2002 in Lyon in 2003 in Dublin in 2004 and in Vancouver in 2010 In 2007 he became the first artist to officially represent Mexico at the Venice Biennale with a solo show at the Palazzo Soranzo Van Axel In 2006 his work 33 Questions Per Minute was acquired by The Museum of Modern Art in New York Subtitled Public 2005 is held in the Tate Collection in the United Kingdom 10 In 2014 2015 his work was presented in the Solo Exhibition A Draft of Shadows at Bildmuseet Umea University Sweden 11 Artworks editText art edit Several of Lozano Hemmer s installations include the use of words and sentences to add additional meaning These texts are used to elaborate upon a deeper meaning that involves a viewer s actions to change or create an effect upon the atmosphere and perception Some of the text based installations such as Third Person and Subtitled Public place words upon the viewer himself Because of the random nature of these texts the viewer has no control over what they are labeled as incurring a sense of helplessness and experience the pleasant and unpleasant connotations that are associated with the words placed upon themselves The text based installations such as 33 Questions Per Minute and There is No Business Like No Business are reliant upon the willing participation of the viewer These two forms of text installations are externally reflective while the first two are internally reflective 33 Questions Per Minute is an installation consisting of several screens programmed to generate possible questions and display them at a rate of 33 per minute The computer generating the questions can generate 55 billion unique questions taking over 3 000 years to display them all In addition to viewing the automatically displaying the questions members of the public can submit their own questions into the system Their participation shows up on the screens immediately and is registered by the program 12 non primary source needed Third Person is the second piece of the ShadowBox series of interactive displays with a built in computerized tracking system This piece shows the viewer s shadow composed hundreds of tiny words that are in fact all the verbs of the dictionary conjugated in the third person The portrait of the viewer is drawn in real time by active words which appear automatically to fill his or her silhouette 13 non primary source needed There Is No Business Like No Business is a blinking neon sign whose speed is directly proportional to the number of times that the word economy has appeared in online news items within the past 24 hours 14 non primary source needed Subtitled Public consists of an empty exhibition space where visitors are detected by a computerized surveillance system When people enter the space the system generates a subtitle for each person and projects it onto him or her the subtitle is chosen at random from a list of all verbs conjugated in the third person The only way of getting rid of a subtitle is to touch another person which leads to the two subtitles being exchanged 15 non primary source needed His work gave to the public a free entertainment and he also help them to have a marvelous experience 15 non primary source needed Relational architecture edit In 1994 Lozano Hemmer coined the term relational architecture as the technological actualization of buildings and the urban environment with alien memory He aimed to transform the dominant narratives of a specific building or urban setting by superimposing audiovisual elements to affect it effect it and re contextualize it 16 From 1997 to 2006 he built ten works of relational architecture beginning with Displaced Emperors and ending with Under Scan 16 Lozano Hemmer says I want buildings to pretend to be something other than themselves to engage in a kind of dissimulation 17 Solar Equation was a large scale public art installation that consists of a faithful simulation of the Sun scaled 100 million times smaller than the real thing Commissioned by the Light in Winter Festival in Melbourne Australia the piece featured the world s largest spherical balloon custom manufactured for the project which was tethered over Federation Square and animated using five projectors The solar animation on the balloon was generated by live mathematical equations that simulated the turbulence flares and sunspots that can be seen on the surface of the Sun This produced a constantly changing display that never repeated itself giving viewers a glimpse of the majestic phenomena that are observable at the solar surface and that only relatively recent advances in astronomy have discovered 18 non primary source needed Under Scan is an interactive video art installation for public space In the work passers by are detected by a computerized tracking system which activates video portraits projected within their shadow Over one thousand video portraits of volunteers were taken in Derby Leicester Lincoln Northampton and Nottingham in England by a team of local filmmakers For a London presentation in Trafalgar Square Tate Modern filmed over 250 additional recordings As people were free to portray themselves in whatever way they desired a wide range of performances were captured In the installation the portraits appeared at random locations They wake up and establish eye contact with a viewer as soon as his or her shadow reveals them As the viewer walks away the portrait reacts by looking away and eventually disappears if no one activates it 19 non primary source needed Body Movies transforms public space with interactive projections measuring between 400 and 1 800 square metres 4 300 and 19 400 sq ft Thousands of photographic portraits previously taken on the streets of the host city are shown using robotically controlled projectors However the portraits only appear inside the projected shadows of the passers by whose silhouettes can measure 2 to 25 metres 6 6 to 82 0 ft depending on how close or far away they are from the powerful light sources positioned on the ground A video surveillance tracking system triggers new portraits when all the existing ones have been revealed inviting the public to occupy new narratives of representation Lozano Hemmer comments my initial desire was to use artificial shadows to generate questions about embodiment and disembodiment about spectacular representation about the distance between bodies in public space and so on 17 20 non primary source needed Re Positioning Fear was the third relational architecture project This was a large scale installation on the Landeszeughaus where military arsenal with the projection only being seen in the shadows of passers by Using tracking systems the shadows were automatically focused and generated sounds A real time discussion about the transformation of the concept of fear was projected inside the shadows the chat involved 30 artists and theorists from 17 countries 21 non primary source needed Sculpture edit Tape Recorders is an installation containing rows of motorized measuring tapes recording the amount of time that visitors stay in the installation As a computerized tracking system detects the presence of a person the closest measuring tape starts to project upwards When the tape reaches around 3 metres 9 8 ft high it collapses and recoils back 22 non primary source needed Please Empty your Pockets is an installation that consists of a conveyor belt with a computerized scanner that records and stores images of everything that passes under it The viewer may place any small item on the conveyor belt for example keys ID cards wallets worry beads condoms notepads cellphones coins dolls credit cards etc Once they pass under the scanner the objects reappear on the other side of the conveyor belt beside projected objects from the stored images of the installation As a real item is removed from the conveyor belt it leaves behind a projected image of itself which is then used to accompany future objects 23 non primary source needed Microphones is an interactive installation featuring one or several 1939 vintage Shure microphones placed on mike stands around the exhibition room at different heights Each microphone has been modified so that inside its head is a tiny loudspeaker and a circuit board connected to a network of hidden control computers When a public member speaks into a microphone it records his or her voice then immediately plays back the voice of a previous participant as an echo from the past 24 non primary source needed Standards and Double Standards is an interactive installation that consists of 10 to 100 fastened belts that are suspended at waist height from stepper motors on the ceiling of the exhibition room Controlled by a computerized tracking system the belts rotate automatically to follow the public turning their buckles slowly to face passers by When several people are in the room their presence affects the entire group of belts creating chaotic patterns of interference Non linear behaviours emerge such as turbulence eddies and relatively quiet regions One of the aims of this piece is to visualize complex dynamics turning a condition of pure surveillance into an unpredictable connective system The piece creates an absent crowd using a fetish of paternal authority the belt 25 non primary source needed Less than three is an installation consisting of a series of light beams that form a kind of network between two analogue intercoms When a viewer speaks into one of the intercoms he can see how the voice signal is converted into flashes of light that are visibly transmitted along one of the several possible routes through the network When the flash of light reaches the other end the spoken phrase is released and transformed again from light to sound The installation interacts by transforming sound stimuli into light which is then turned back into sound again 26 It was shown at Disseny Hub Barcelona between 2011 and 2012 at the exhibit I O I The senses of machines Interaction Laboratory 27 nbsp Speaking Willow by Rafael Lozano Hemmer at the Planet Word Museum in Washington DCVoice Array is a participatory installation featuring up to 288 anonymous vocal samples played in uneven unison and accompanied by pulses of vibrant white light in discrete beams emanating from above and below a raised black strip along a back wall When activated the piece connotes the pulsing volume bars on an old stereo turning sound into light to measure intensity Any visitor can speak into the silver buttoned intercom to the left of the strip upon withdrawal the recording immediately transforms into a flashing sequence stored as a loop in the first light of the array 28 Entanglement is an installation that consists of two neon signs that say entanglement on them that light up The two signs are 72 inches by 14 75 inches in size The two signs both have a light switch that turns both of them on and off When one of the light switches is turned on both signs light up When one of the light switches is turned off both signs are off The two signs are placed in separate rooms separate buildings or even in separate countries The idea came from what entanglement means in quantum physics which is where two particles behave as one 29 non primary source needed Bifurcation is an installation where a Y shaped branch dangles in the air that is attached to the ceiling by a piece of string Behind the branch is a projection of a whole branch showing what the Y shaped branch once looked like As the Y shaped branch moves with the air movement or by people moving it the projection also moves in synchronization with the dangling branch This is Rafael Lozano Hemmer s second piece in Shadow Objects The piece was inspired by Octavio Paz and Bioy Casares who stated that absence and presence are not opposites 30 non primary source needed Pan Anthem 2014 is an interactive installation of hundreds of movable speakers that play national anthems when the viewer approaches These speakers are arranged throughout the gallery s walls based on national statistics For example the arrangement may depend on population year of independence etc 31 non primary source needed Speaking Willow is an interactive motion detecting tree that will whisper to visitors in hundreds of different languages at Washington D C s Planet Word Museum Anticipated installation date 2020 32 Other works edit In 2013 Lozano Hemmer created a piece called Friendfracker This was an online service that Lozano Hemmer created along with Harper Reed in one day A participant would enter their Facebook account information into the online program then once the information was verified the service would delete up to 10 of the participant s friends on their Facebook account The service wouldn t tell which friends were deleted Facebook disabled the program on April 25 2013 33 non primary source needed The Pulse Room is an interactive installation featuring over 300 hundred clear incandescent light bulbs 34 300 W each hung by cables three metres from the floor It has run in many places in the last years such as Venice Italy and Aarhus Denmark 35 Technology editLozano Hemmer differs from many artists in his comprehensive use of technology most of his productions contain more than one element of technology to create a lasting effect Lozano Hemmer recognizes that Western culture is a technology based culture emphasizing even if you are not using a computer you are affected by this environment Working with technology is inevitable 36 Our politics our culture our economy everything is running through globalized networks of communication 37 Technologies that Lozano Hemmer has used in his works include robotics custom software projections internet links cell phones sensors LEDs cameras and tracking systems 38 Solo exhibitions editA Draft of Shadows Bildmuseet Umea University Sweden November 2 2014 April 26 2015 39 Awards editThis section of a biography of a living person needs additional citations for verification Please help by adding reliable sources Contentious material about living persons that is unsourced or poorly sourced must be removed immediately from the article and its talk page especially if potentially libelous Find sources Rafael Lozano Hemmer news newspapers books scholar JSTOR May 2017 Learn how and when to remove this template message Governor General s Awards in Visual and Media Arts Ottawa Canada 2015 40 Interactive Art Honorable Mention Ars Electronica 2013 Linz Austria 2013 41 Joyce Award The Joyce Foundation Chicago Illinois United States 2012 42 BAFTA British Academy Award for Interactive Art 2005 London United Kingdom 2005 43 Artist Performer of the year Wired Magazine Rave Awards San Francisco California United States 2003 44 Rockefeller Ford Fellowship New York City New York United States 2003 Trophee des Lumieres Lyon France 2003 World Technology Network Award for the Arts San Francisco California United States 2003 BAFTA British Academy Award for Interactive Art 2002 London United Kingdom 2002 Gold Award Interactive Media Design Review 2002 I D Magazine United States 2002 Interactive Art Distinction Ars Electronica 2002 Linz Austria 2002 International Bauhaus Award 2002 1st Prize Dessau Germany 2002 43 Distinction SFMOMA Webby Awards 2000 San Francisco California United States 2000 Excellence Award Media Arts Festival 2000 CG Arts Tokyo Japan 2000 43 Finalist Medienkunstpreis 2000 ZKM Karlsruhe Germany 2000 Interactive Art Golden Nica Ars Electronica 2000 Linz Austria 2000 43 Interactive Art Honorable Mention Ars Electronica 1998 Linz Austria 1998 Best Installation Interactive Digital Media Awards 1996 Toronto Ontario Canada 1996 2nd Prize Cyberstar Koln Germany June 1995 Interactive Art Honorable Mention Ars Electronica 1995 Linz Austria 1995 Further reading editMaciej Ozog Surveilling the Surveillance Society The Case of Rafael Lozano Hemmer s Installations in Outi Remes and Pam Skelton eds Conspiracy Dwellings Surveillance in Contemporary Art Cambridge Scholars Publishing 2010 Info at https web archive org web 20110609232602 http www c s p org flyers Conspiracy Dwellings Surveillance in Contemporary Art1 4438 1905 0 htmReferences edit Lozano hemmer about bitforms gallery Rafael Lozano Hemmer Bitforms Gallery Archived from the original on 22 August 2015 Retrieved 23 August 2015 a b Rafael Lozano Hemmer Biography Lozano hemmer com Archived from the original on 2015 02 17 Retrieved 2015 03 02 a b Rafael Lozano Hemmer Canadian Immigrant Canadianimmigrant ca 2011 05 16 Archived from the original on 2016 03 04 Retrieved 2015 03 02 a b Crow Kelly 2009 09 05 Rafael Lozano Hemmer Paints With Sound WSJ Online wsj com Archived from the original on 2015 04 06 Retrieved 2015 03 02 Tee O S Mazza C Lozano Hemmer R and Giorgi J B Ester Cleavage by Cyclodextrins in Aqueous Dimethyl Sulfoxide Mixtures Substrate Binding versus Transition State Binding Journal of Organic Chemistry 59 Washington United States 1994 Rafael Lozano Hemmer Biography Archived from the original on 2018 01 31 Retrieved 2018 01 30 Ravetto Biagoli Kriss 2010 Shadowed by Images Rafael Lozano Hemmer and the Art of Surveillance PDF Representations 111 1 121 143 doi 10 1525 rep 2010 111 1 121 Archived from the original PDF on 4 March 2016 Retrieved 20 August 2015 Wolf Lieser Digital Art Langenscheidt h f ullmann 2009 pp 252 254 55 261 Andreas Broeckmann in Stephen Graham The Cybercities Reader Routledge 2004 p 380 ISBN 0 415 27956 9 Subtitled Public Rafael Lozano Hemmer Tate 2014 12 15 Retrieved 2015 03 02 Rafael Lozano Hemmer A Draft of Shadows Bildmuseet Umea Archived from the original on 2021 01 09 Retrieved 2021 01 14 Rafael Lozano Hemmer Project 33 Questions per Minute Lozano hemmer com Archived from the original on 2015 04 02 Retrieved 2015 03 02 Rafael Lozano Hemmer Project Third Person Lozano hemmer com 2013 09 19 Archived from the original on 2015 04 02 Retrieved 2015 03 02 Rafael Lozano Hemmer Project There Is No Business Like No Business Lozano hemmer com Archived from the original on 2015 04 02 Retrieved 2015 03 02 Rafael Lozano Hemmer Project Subtitled Public Lozano hemmer com Archived from the original on 2015 04 02 Retrieved 2015 03 02 a b Fernandez M Illumination Embodiment Rafael Lozano Hemmer s Relational Architectures Architectural Design July August 2007 pp 78 87 a b Adriaansens Alex and Joke Brouwer Alien Relationships from Public Space A Winding Dialog with Rafael Lozano Hemmer Transurbanism 2002 Print Rafael Lozano Hemmer Project Solar Equation Lozano hemmer com Archived from the original on 2015 02 24 Retrieved 2015 03 02 Rafael Lozano Hemmer Project Under Scan Lozano hemmer com Archived from the original on 2015 02 25 Retrieved 2015 03 02 Rafael Lozano Hemmer Project Body Movies Lozano hemmer com Archived from the original on 2015 02 23 Retrieved 2015 03 02 Rafael Lozano Hemmer Project Re Positioning Fear Lozano hemmer com Archived from the original on 2015 04 02 Retrieved 2015 03 02 Rafael Lozano Hemmer Project Tape Recorders Lozano hemmer com 2014 05 13 Archived from the original on 2015 03 11 Retrieved 2015 03 02 Rafael Lozano Hemmer Project Please Empty Your Pockets Lozano hemmer com Archived from the original on 2015 02 15 Retrieved 2015 03 02 Rafael Lozano Hemmer Project Microphones Lozano hemmer com Archived from the original on 2015 04 02 Retrieved 2015 03 02 Rafael Lozano Hemmer Project Standards and Double Standards Lozano hemmer com Archived from the original on 2014 10 04 Retrieved 2015 03 02 Disseny Hub Barcelona Dhub bcn cat Archived from the original on 2012 07 29 Retrieved 2015 03 02 Disseny Hub Barcelona Dhub bcn cat Archived from the original on 2012 05 09 Retrieved 2015 03 02 Rosetti Chloe October 2012 Rafael Lozano Hemmer Voice Array The Brooklyn Rail Archived from the original on 2012 11 05 Retrieved 2012 12 20 Rafael Lozano Hemmer Project Entanglement Lozano hemmer com Archived from the original on 2015 09 21 Retrieved 2015 04 22 Rafael Lozano Hemmer Project Bifurcation Lozano hemmer com Archived from the original on 2015 01 03 Retrieved 2015 04 22 Rafael Lozano Hemmer Pan Anthem Archived from the original on 2017 05 01 Retrieved 2017 03 07 Dingfelder Sadie 13 March 2019 A giant whispering tree is coming to downtown D C The Washington Post Archived from the original on 27 March 2019 Retrieved 14 March 2019 Rafael Lozano Hemmer Project Friendfracker Lozano hemmer com Archived from the original on 2015 09 21 Retrieved 2015 04 22 Rafael Lozano Hemmer Pulse studiointernational 7 December 2018 Retrieved 6 January 2021 Pulse Room Rafael Lozano Hemmer Retrieved 6 January 2021 Rafael Lozanon Hemmer at ARS Electronica Akrylic 2002 02 26 Archived from the original on 2015 09 14 Retrieved 2015 03 02 Rafael Lozano Hemmer takes the Pulse of electronic art Los Angeles Times Articles latimes com 2010 10 17 Archived from the original on 2015 04 03 Retrieved 2015 03 02 VOLTA Rafael Lozano Hemmer Voltashow com Archived from the original on 2014 11 12 Retrieved 2015 03 02 https www dn se kultur noje konstrecensioner kultur och kapital i ohelig allians gt Governor General s Awards in Visual and Media Arts Archives en ggarts ca Governor General of Canada Retrieved 2022 08 18 http archive aec at showmode prix id 46854 46854 permanent dead link News a b c d Maria Fernandez 6 January 2014 Cosmopolitanism in Mexican Visual Culture University of Texas Press pp 276 ISBN 978 0 292 74535 3 The 2004 Wired Rave Awards Wired Archived from the original on 2017 04 29 Retrieved 2017 05 19 External links edit nbsp Wikimedia Commons has media related to Rafael Lozano Hemmer Official website Art 21 interview Retrieved from https en wikipedia org w index php title Rafael Lozano Hemmer amp oldid 1177359879, wikipedia, wiki, book, books, library,

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