As a large-scale, participatory installation, Lozano-Hemmer's "bridges of light" create a channel of communication beyond the limits of the nation-state
Pbk, 7 x 10 in. / 240 pgs / 90 color. | 10/14/2025 | Awaiting stock $45.00
Published by Inventory Press. Edited by Edgar Picazo, Michael Nardone. Text by Sergio Raúl Arroyo, Andrea Blancas Beltrán, León De la Rosa-Carrillo, et al.
Composed of powerful "bridges" of searchlights and sound across the US–Mexico border, Rafael Lozano-Hemmer's (born 1967) work Border Tuner forges a platform for local dialogue between El Paso, Texas, and Ciudad Juárez, Chihuahua, at a time of fraught border rhetoric, militarized surveillance and nationalist violence. In opposition to the modes of control and the regulation of bodies profusely developed along the border line, Lozano-Hemmer proposed a momentary alternative. To this extent, it is a critically important artistic work that strove to cultivate relations beyond the limits and perpetual violence of the nation-state. The 12 essays comprising this bilingual English/Spanish record—written by a range of historians, theorists, curators, artists and cultural workers—enter into convivial exchange with the voices and language, bodies and performances of those who activated the work.
Published by RM/MUAC. Text by José Luis Barrios, Kathleen Forde, Alejandra Labastida, et al.
Pseudomatism is the first monograph on Mexican-Canadian artist Rafael Lozano-Hemmer (born 1967). Featuring 43 works, it spans more than two decades of production using technology-based approaches, including interactive video, robotics, computerized surveillance, photography and sound sculpture.
Published by Turner/A&R Press. Introduction by Patricia Espinosa, Sergio Vela, María Teresa Franco, Aimée Servitje, Viviana Kuri. Text by José Luis Barrios, Manuel DeLanda, Barbara London, Príamo Lozada, Cuauhtémoc Medina, Victor Stoichitas, Bárbara Perea.
This first major monograph on the electronic artist Rafael Lozano-Hemmer was produced on the occasion of the 2007 Venice Biennale, where Lozano-Hemmer presented six interactive installations--becoming the first artist to officially represent Mexico at the Biennale. Born in Mexico City in 1967, Lozano-Hemmer studied Physical Chemistry at Concordia University in Montreal, and now uses his background in the sciences to create the large-scale, public-space installations for which he is known. Working with the concept of "relational architecture," Lozano-Hemmer's installations employ everything from robotics to sensors to cell phones and video projections to create social situations that alter the ways people relate to urban space. Describing his piece, "Subtitled Public" in an interview in this very nicely designed book, Lozano-Hemmer says, "I look for the 'special defects' that allow me to activate the imperfections, the disruptions; 'to disrupt' seems to be the most precise term for describing what I want to do."
Rafael Lozano-Hemmer: Pseudomatism
Rafael Lozano-Hemmer: Some Things Happen More Often Than All of the Time