| For more than a decade, I have been developing interactive art installations that seek to create connective, social and performative experiences. Contrary to most multimedia work, which is designed for individual participation, my pieces are normally conceived for group interaction, establishing new relationships between local or remote participants. My work involves the concept of “relational space,” which seeks to materialize data in our real corporeal/architectural space rather than presenting virtual simulations that exclude the body and the immediate local context. |  |
Rafael Lozano-Hemmer
For more than a decade, I have been developing interactive art installations that seek to create connective, social and performative experiences. Contrary to most multimedia work, which is designed for individual participation, my pieces are normally conceived for group interaction, establishing new relationships between local or remote participants.
My work involves the concept of “relational space,” which seeks to materialize data in our real corporeal/architectural space rather than presenting virtual simulations that exclude the body and the immediate local context. The best example of this kind of space was described in Adolfo Bioy Casares’ 1941 novel Morel’s Invention where a post-photographic device can capture three-dimensional presence and project it back onto the world, what we would refer to now as a “holographic projection.”
My “Relational Architecture” series of large-scale installations in public spaces has deployed new technologies and custom-made physical and virtual interfaces to transform urban environments. Using robotics, real-time computer graphics, film projections, positional sound, internet links, cell phone interfaces, video and ultrasonic sensors, LED screens, and other devices, my relational architecture installations aim to reconnect the public sphere with an increasingly alienating urban condition.
Recently, I have started to develop a new series of installations which I will call “Subsculptures.” This series of gallery-sized interventions will also deploy new technologies but this time in a format which is more portable and nomadic. The pieces will be concerned with perception and deception, with embodied experience and co-present realities. Rather than being “site-specific” they will be “relationship-specific.
