Rafael Lozano-Hemmer, ‘Frequency and Volume’, 2003, bitforms gallery

Dimensions variable.

"Frequency and Volume" consists of between 100 and 800 square metres of projected shadows which allow participants to scan the radio spectrum of the city with their bodies. As a shadow appears it tunes any radio frequency between 150kHz to 1.5GHz based on its position monitored by a video tracking system. The size of the shadow controls the volume gain of the specific audio channel. We can have 16 frequencies tuned simultaneously and the resulting sound environment is a composition controlled by people's movements. This piece investigates the contested radio space in the context of the increased surveillance of the body as an antenna. The system tunes all sorts of signals including air traffic control, short wave radio, cell phones, police, taxi dispatch, pagers and more.

Series: Relational Architecture 9

"Frequency and Volume", San Francisco Museum of Modern Art, San Francisco, California, United States, 2012 - 2013.

"Espectros", Arts Santa Mònica, Barcelona, Spain, 2011 - 2012.

"Trackers", La Gaîté Lyrique, Paris, France, 2011.

"Open House": Singapore Biennale 2011, Singapore Art Museum, Singapore, Singapore, 2011.

"The World is Yours", Louisiana Museum, Copenhagen, Denmark, 2009.

"Open Space", NTT InterCommunication Center (ICC), Tokyo, Japan, 2009.

"Frequency and Volume", The Curve, Barbican Centre, London, United Kingdom, 2008. Commissioned by Kate Rich.

"Some Things Happen More Often Than All Of The Time", Mexican Pavilion, 52 Biennale di Venezia, Venice, Italy, 2007.

"Art Meets Media", NTT InterCommunication Center (ICC), Tokyo, Japan, 2005.

Elektra Festival, Musée d'Art Contemporain, Montréal, Québec, Canada, 2005.

"Navigator exhibition", National Taiwan Museum of Fine Arts, Taichung, Taiwan, 2004.

"Relational Architectures", Laboratorio Arte Alameda, Mexico City, México, 2003.

About Rafael Lozano-Hemmer

Electronic artist Rafael Lozano-Hemmer's public art installations combine technology, architecture, and performance using devices like robotics, projections, and cell phones. He constructs "temporary anti-monuments for alien agency," as in Pulse Tank (2008), in which heart rate sensors send ripples across the surface of water, or the Guggenheim's 2009 installation Levels of Nothingness, which allowed people to speak into a computer that linked voice traits to colors that were projected across the room. His Vectorial Elevation (1999), in which 800,000 participants created searchlight sculptures above Mexico City, may well be the world's largest interactive artwork ever.

Mexican, b. 1967, Mexico City, Mexico, based in Mexico City, Mexico