"Translation Island" consists of ten audiovisual artworks—six of them world-premieres—that transform Lulu Island, a deserted island right across the water from downtown Abu Dhabi. Visitors are welcome to interact with the artworks by walking a two-kilometre-long lit path inside the island, alongside sand dunes, desert flora, beaches, and fresh water lakes. View details.

Computer pioneer Charles Babbage suggested that the air surrounding us is a “vast library” containing every sound, motion and word spoken. Two hundred years later, “Atmospheric Memory” explores this idea at a moment when perfect recollection is one of the defining conditions of our digital life, and the air that we breathe has become a battleground for the future of our planet. Supported by: The Government of Canada View details.

“TECHS-MECHS,” a new survey of eleven works by Rafael Lozano-Hemmer hosted by Gray Area, brings together canonical pieces such as immersive installations, kinetic sculptures, generative animations, and large-scale shadow theatres, alongside a rich chronology of technological cultural history in the artist's native Mexico. The exhibition marks the West Coast premiere of Pulse Topology (2021), an immersive canopy of 3,000 lightbulbs that glimmer to the pulse of visitors, which will be shown at Gray Area's iconic Grand Theater. Also on exhibit as part of TECHS-MECHS is Synaptic Caguamas (2004), Sway (2016), Airborne Newscasts (2013), Reporters with Borders (2007), Border Tuner (Video Documentary by Art21), "Recurrent First Dream" (2022), Inspired by Real Events (2004), Volute Zero (2016), and Remote Pulse (2019). View details.

“Listening Forest” is an immersive art walk designed to transform Crystal Bridges’ North Forest at night. Eight large-scale interactive artworks are carefully and harmoniously installed on the forest grounds to create an interactive pathway that uses technology which responds to unique physical characteristics of individuals, forming connections between strangers and the landscape itself. View details.

Biometric Theatre is an exhibition featuring seven interactive audio-visual installations. The works on view make individual biological signatures tangible and embodied, approaching the human body not as the receiver of stimuli but as an integral part of the artwork itself. View details.

Supported by: The Government of Canada

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An array of 3,000 lights will create a landscape of upside-down mountains and valleys suspended from the interior of the space and, using touchless biometric technology, will react in real-time to the pulse of visitors’ heartbeats. The artwork will change and evolve with every visit, offering a unique sensory experience.

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An interactive public art installation across the US-Mexico border by Rafael Lozano-Hemmer. ​Three interactive stations on each side of the border will control powerful searchlight beams using a small dial wheel. When lights from any two stations are directed at each other, microphones and speakers automatically switch-on to allow participants to talk with one another, creating cross-border conversations. View details.

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Voice Theatre is a large scale interactive light installation initially designed for Augusta Raurica, a Roman archeological site in Switzerland. Participants’ voices are converted into pulses of light, arranged in concentric rings across the theatre. The glimmering lights manifest voices in real time and vary in intensity according to the volume of each recording. The piece creates a memory theatre of live and recorded messages that can be both seen and heard.

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The exhibition is conceived as an environment mixing detection technologies and audiovisual explorations in real time. By using "live cameras" and tracking systems, we attempt to materialize computerized surveillance, transforming the technological observation into a tangible form.

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A large-scale solo exhibition, presenting eight to thirteen interactive pieces that underline the performative character of the public as an integral part of the artwork. In "Recorders" artworks hear, see or feel the public; they exhibit awareness and record and replay memories entirely obtained during the show. The pieces either depend on participation to exist or predatorily gather information on the public through surveillance and biometric technologies. The exhibition is meant to oscillate between the seduction of participation, preservation and inclusion, and the violence of Orwellian and ubiquitous computerized detection. In all cases the artwork compiles a database of behaviours that then becomes the artwork itself.

The exhibition is conceived as an environment mixing detection technologies and audiovisual explorations in real time. By using "live cameras" and tracking systems, we attempt to materialize computerized surveillance, transforming the technological observation into a tangible form.

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A large-scale solo exhibition, presenting eight to thirteen interactive pieces that underline the performative character of the public as an integral part of the artwork. In "Recorders" artworks hear, see or feel the public; they exhibit awareness and record and replay memories entirely obtained during the show. The pieces either depend on participation to exist or predatorily gather information on the public through surveillance and biometric technologies. The exhibition is meant to oscillate between the seduction of participation, preservation and inclusion, and the violence of Orwellian and ubiquitous computerized detection. In all cases the artwork compiles a database of behaviours that then becomes the artwork itself. View details.

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A large-scale solo exhibition, presenting eight to thirteen interactive pieces that underline the performative character of the public as an integral part of the artwork. In "Recorders" artworks hear, see or feel the public; they exhibit awareness and record and replay memories entirely obtained during the show. The pieces either depend on participation to exist or predatorily gather information on the public through surveillance and biometric technologies. The exhibition is meant to oscillate between the seduction of participation, preservation and inclusion, and the violence of Orwellian and ubiquitous computerized detection. In all cases the artwork compiles a database of behaviours that then becomes the artwork itself.

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