Blow-up (Shadow Box 4)
Blow-up (Shadow Box 4) by Rafael Lozano-Hemmer is an interactive artwork that creates a detailed view of a surveillance camera's perspective. It splits the view into 2400 virtual cameras that smoothly move around the exhibition area. Blow-up (Shadow Box 4), draws inspiration from the cinematic oeuvre of Italian filmmaker Michelangelo Antonioni. Antonioni, renowned for his avant-garde filmmaking style and exploration of existential themes, notably depicted human perception and reality in his iconic film Blow-Up (1966). In this film, Antonioni delves into the complexities of perception, reality, and ambiguity, particularly through the protagonist's investigation of a photograph that may or may not capture a crime.
Rafael Lozano-Hemmer: Pseudomatismos, MUAC Museum, Mexico City, México, 2016.Rafael Lozano-Hemmer, "Blow Up, Shadow Box 4"
Likewise, Lozano-Hemmer embarks on a similar thematic journey, exploring how humans perceive their surroundings through simulated perspectives, reminiscent of insects' visual experiences. Insects, with their compound eyes and unique sensory apparatus, perceive the world in a distinct manner, emphasizing fragmented perspectives and intricate details. By simulating this mode of perception, the artwork prompts viewers to contemplate the subjectivity of their own perception and the fragmented nature of reality. Through its interactive elements and visual representations, the piece invites participants to engage with the complexities of perception and reality, echoing Antonioni's exploration of these themes in Blow-Up and extending it into the realm of interactive art.
Rafael Lozano-Hemmer, "Blow Up, Shadow Box 4", 2007."Blow Up, Shadow Box 4", 2007.
Upon entering the room, visitors encounter a large, sophisticated screen adorning the wall. However, this screen distinguishes itself by displaying live video feeds of individuals within its vicinity. This feat is achieved through a camera capturing their movements and projecting them onto the screen for all present to observe. As individuals position themselves before the screen, they witness their actions unfolding in real-time across 2400 miniature screens embedded within the main display. These smaller screens act as windows, meticulously tracking and mirroring every movement of the participants.
Rafael Lozano-Hemmer, "Blow-Up, Shadow Box 4", 2007.Rafael Lozano-Hemmer, "Blow-Up, Shadow Box 4"
The setup fosters engagement and amusement as participants actively interact with the display. Rather than assuming a passive stance, individuals are encouraged to experiment, leveraging their movements to generate intricate patterns and forms. Consequently, the space before the screen evolves into a canvas for spontaneous creativity and exploration.
Blow Up clip https://www.lozano-hemmer.com/videos/artwork/blowup.mp4#t=0.1
Blow up https://www.lozano-hemmer.com/blow_up.php
Blow up User manual https://www.lozano-hemmer.com/texts/manuals/blow_up.pdf
Rafael Lozano-Hemmer https://www.lozano-hemmer.com/bio.php
Interaction and Interactivity: In the Context of Digital Interactive Art Installation https://link.springer.com/chapter/10.1007/978-3-319-91244-8_20
Blowup (movie) https://en.wikipedia.org/wiki/Blowup
