Fig 01. Downloaded from Hemmer's web page.
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Rafael Lozano Hemmer’s creates a kind of “antispectacle”, based on the idea that stage performance does not exist without the viewer’s participation. So, the performance is not hermetic, but something incomplete that needs the viewer to be itself.
The spatial structure is imagined from a point of view, as the viewer is not stationary in relationship to the scene; contrary to conventional settings, the spatial aspects are altered because the different proximities affect the perspective angles. Position is not a sensation per se and only thought can define the space based on the coordinates position is located. To accomplisth the effects, he uses large-scale technologies of amplification, usually reverved for corporate events.
The results are transpositions between interior and exterior space; the public discourse broken in words that follow the participants until they stay written in their bodies or words on buildings that stand as a repository of history (fig 01); the public shadows overlap and project on buildings, everything in a evocation of a social space inside a dynamic agora. All elements have no hierarchy and confuse the boundaries between writings-arts-architecture.
“Indeed, even the now vast literature on the so-called ‘architecture’ of cyberspace invokes immateriality, event-scenes, information atmospheres, trans-localities, forms of transitional or experiential ‘space’, and what might be called ‘haptic’ rather than merely ‘optic’ perspectives”. (Tim Druckrey)By creativity in optic means and public participation, the theatrical work is converted into intangible architecture where the main objective is people’s impressions. To this respect,
Rafael Lozano-Hemmer was born in the City of México, 1967. He graduated in Physics and Chemistry at the Concordia University, in Montreal. He is an electronic artist, and makes High Tech interactive interventions in public spaces. Utilizing robotics, projections, sounds, internet and cellular phones conexions, his installations are “antimonuments”. To this respect, Lozano Hemmer reports that people sometimes feel embarassment when their shadows mix, usually the participant needs a place of his own. (Fig. 02)
The spatial structure is imagined from a point of view, as the viewer is not stationary in relationship to the scene; contrary to conventional settings, the spatial aspects are altered because the different proximities affect the perspective angles. Position is not a sensation per se and only thought can define the space based on the coordinates position is located. To accomplisth the effects, he uses large-scale technologies of amplification, usually reverved for corporate events.
The results are transpositions between interior and exterior space; the public discourse broken in words that follow the participants until they stay written in their bodies or words on buildings that stand as a repository of history (fig 01); the public shadows overlap and project on buildings, everything in a evocation of a social space inside a dynamic agora. All elements have no hierarchy and confuse the boundaries between writings-arts-architecture.
“Indeed, even the now vast literature on the so-called ‘architecture’ of cyberspace invokes immateriality, event-scenes, information atmospheres, trans-localities, forms of transitional or experiential ‘space’, and what might be called ‘haptic’ rather than merely ‘optic’ perspectives”. (Tim Druckrey)By creativity in optic means and public participation, the theatrical work is converted into intangible architecture where the main objective is people’s impressions. To this respect,
Rafael Lozano-Hemmer was born in the City of México, 1967. He graduated in Physics and Chemistry at the Concordia University, in Montreal. He is an electronic artist, and makes High Tech interactive interventions in public spaces. Utilizing robotics, projections, sounds, internet and cellular phones conexions, his installations are “antimonuments”. To this respect, Lozano Hemmer reports that people sometimes feel embarassment when their shadows mix, usually the participant needs a place of his own. (Fig. 02)
Fig. 02. Downloaded from Hemmer's web page.
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