Advertisement

Interactive Video Installations in Public Spaces: Rafael Lozano-Hemmer’s Under Scan

Chapter

Abstract

Under Scan, described as an ‘interactive video art installation for public space’,1 was presented in Trafalgar Square, a tourist attraction in central London, from 15 to 23 November 2008 as part of the Relational Architecture series by the artist Rafael Lozano-Hemmer. Apart from its credentials as the largest interactive video installation and the longest-running event to be presented in Trafalgar Square (Vanagan, 2009, p. 86) it constitutes an interesting case study for this chapter in order to demonstrate the ways in which screen-based works can function in a ‘media city’ (McQuire, 2009). Moving away from an art exhibition milieu (such as a museum or a gallery) or a cultural space where they can interact with various arts genres (such as a projection space, a music concert or a theatre performance) screens that operate ‘out in the open’, especially when they are meant to serve a purpose of interactivity, need to entertain and engage a very heterogeneous crowd.

Keywords

Public Space Tourist Attraction Screen Medium National Gallery Music Concert 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Bibliography

  1. Büchler, P. and Leighton, T. (eds.) (2002) Saving the Image: Art after Film Glasgow and Manchester: CCA and Manchester Metropolitan Press.Google Scholar
  2. Canogar, D. (2004) Illuminating Public Space — Light Shows Contemporary Art. Public Art Review, Light, Fifteenth Anniversary Issue, 15 (2), issue 30, 9–13.Google Scholar
  3. Fagone, C. (2009) Rafael Lozano-Hemmer: Designing the Unexpected. D—, Lux, 5 (April), 124–131.Google Scholar
  4. Gabbatt, A. (2010) Rafael Lozano-Hemmer: Visitor Virtuoso. The Guardian, 17 September. Resolution: GlobalGoogle Scholar
  5. Galilee, B. (2009) In Trafalgar Square. Icon, pp. 36–37. Resolution: GlobalGoogle Scholar
  6. Graham, B. (2003) Digital Media. In: Graham, B. (ed.) Directions in Art, Oxford: Heinemann, pp. 28–31.Google Scholar
  7. Graham, B. (2007) Interaction/Participation: Disembodied Performance in New Media Art. In: Harris, J. (ed.) Dead History, Live Art?. Liverpool: Liverpool University Press, pp. 254–258.Google Scholar
  8. Graham, B. and Cook, S. (2002) Net and Not Net — Curating New Media. Art Monthly, 261 (November), 44.Google Scholar
  9. Graham, B. and Cook, S. (2010) Rethinking Curating — Art after New Media, Cambridge and London: The MIT Press.Google Scholar
  10. Lozano-Hemmer, R. and Hill, D. (eds.) (2007) Under Scan. Nottingham: emda.Google Scholar
  11. Iles, C. (2002) Issues in the New Cinematic Aesthetic in Video. In: Bchler, P. and Leighton, T. (eds.) Saving the Image: Art after Film, Glasgow and Manchester: CCA and Manchester Metropolitan Press.Google Scholar
  12. Menotti, G. (2013) Façadelifts — New Media Installations, Public Space and the Negotiation of Civic Identity. In: Scullion, R. et al. (eds.) The Media, Political Participation and Empowerment, London: Routledge.Google Scholar
  13. McQuire, S. (2009) Mobility, Cosmopolitanism and Public Space in the Media City. In: McQuire, S., Martin, M. and Niederer, S. (eds.) Urban Screens Reader, Inc Reader #5, Amsterdam: Institute of Network Cultures.Google Scholar
  14. Stoel, E. (2008) Rafael Lozano-Hemmer: Urban Projections. Praxis, (10), 114–119Google Scholar
  15. Vanagan, D. (2009) Rafael Lozano-Hemmer — Trafalgar Square, London. Canadian Art, 26 (Spring), 86–87.Google Scholar

Copyright information

© Elena Papadaki 2015

Authors and Affiliations

There are no affiliations available

Personalised recommendations