ISTANBUL /hürriyet daily news
To coincide with the
Istanbul Biennial, Borusan Contemporary presents two exhibitions at its
museum ‘Perili Köşk’ (Haunted Mansion). Rafael Lozano-Hemmer’s show
‘Vicious Circular Breathing’ and Segment #4, a selection from the
Borusan Contemporary Art Collection, are on display
As an electronic artist, Lozano-Hemmer develops
interactive installations that are at the intersection of architecture
and performance art. His main interest is in creating platforms for
public participation.
Borusan Contemporary presents two exhibitions at its museum office
“Perili Köşk” (Haunted Mansion), parallel to the 13th Istanbul Biennial.
Rafael Lozano-Hemmer’s solo show, entitled “Vicious Circular Breathing
and Segment #4,” a selection from the Borusan Contemporary Art
Collection, is currently on display.
Internationally acclaimed
artist Lozano-Hemmer’s exhibition aims to explore the very personal,
emotionally evocative nature of his work that has been produced with
technologies both high and low including biometric sensors, projection,
custom software, and motorized mechanics, not to mention air, paper bags
and people. His work “Vicious Circular Breathing,” from which the
exhibition takes its name, is a special new work commissioned by the
Borusan Contemporary Art Collection that is being presented for the
first time as part of this solo exhibition.
Several of
Lozano-Hemmer’s installations include the use of particular words and
sentences to add additional meaning to the installation. These texts are
used to elaborate on a deeper meaning that involves the viewer and
their actions in order to affect the atmosphere and perception. Some of
the text based installations, such as “Third Person” and “Subtitled
Public,” place words upon the subject itself. The random nature of the
texts leaves the viewer with a sense of helplessness, as they have no
control over what they are labeled as, so they experience the pleasant
and not-so-pleasant connotations that are associated with the words
placed upon them. The text based installations such as “33 Questions Per
Minute” and “There is No Business Like No Business” are reliant upon
the viewer’s will to participate.
One of the things separating
Lozano-Hemmer from most artists is his comprehensive use of technology.
Most of his works contain more than one element of technology to create
the lasting effect that has made his work so famous. Some of the
technology he uses includes: robotics, custom software, projections,
internet links, cell phones, sensors, LEDs, cameras, and tracking
systems.
Lozano-Hemmer recognizes that western culture is
technology-based, emphasizing that “even if you are not using a computer
you are affected by this environment. Working with technology is
inevitable.”
Ever since the industrial revolution, technology has
been used to more efficiently communicate and create art. Lozano-Hemmer
has simply taken it upon himself to extend the use of audio visual media
in order to incorporate surveillance of his viewers into his work
consequently, creating grand displays that are etched in the memories of
many – even though the installations are only temporary.
As an
electronic artist, Lozano-Hemmer develops interactive installations that
are at the intersection of architecture and performance art. His main
interest is in creating platforms for public participation, particularly
by using technologies such as robotics, computerized surveillance or
telematic networks non-traditionally. Inspired by phantasmagoria,
carnival and animatronics, his light and shadow works are
“anti-monuments for alien agency”.
His large-scale interactive
installations have been commissioned for events such as the Millennium
Celebrations in Mexico City (1999), the Cultural Capital of
Europe
in Rotterdam (2001), the UN World Summit of Cities in Lyon (2003), the
opening of the YCAM Center in Japan (2003), the Expansion of the
European Union in
Dublin
(2004), the memorial for the Tlatelolco Student Massacre in Mexico City
(2008), the 50th Anniversary of the Guggenheim Museum in New York
(2009) and the Winter Olympics in Vancouver (2010).
Segment #4Alongside
Lozano-Hemmer’s solo show, “Segment #4” consists of a diverse selection
of works from the Borusan Contemporary Art Collection, uniquely open to
the public for viewing in the office spaces of Perili Köşk. It includes
works by artists such as Ali Kazma, Erwin Redl and Paul Schwer.
Another
site-specific installation that looks set to draw particular attention
is “Meandering” by Austrian artist Erwin Redl. This work consists of LED
light panels that surround the stairwells of the building.
Another
new large scale public installation that will become part of the
collection, also being shown at the same time, is a light and video work
entitled “Our Dreams Remain Our Dreams,” created by the
French
artist Thierry Dreyfus. For this commissioned work, Dreyfus has the
intention of “turning the building away from its first likeness, then
revealing its dreams and offering its intimate personality.” The artist
shot and edited a video that will appear under the balconies of the
Perili Köşk façade.
Parallel to the biennial site,
carefully-chosen installations will continue to bring dynamic
contemporary art to Istanbul until Feb. 16. The exhibitions at the
biennial sit are open until Oct. 20.
September/19/2013
