Making Art from Personal Data : Lozano-Hemmer’s Pulse Series

Image: Rafael Lozano-Hemmer, Pulse Room 2006 in Rafael Lozano-Hemmer : Pseudomatismos MUAC Museum, Mexico City, Mexico 2015. Photo: Oliver Santana

Hirshhorn Museum in Washington DC exhibited Rafael Lozano-Hemmer’s immersive public-art installations, this past winter. Fast Company interviewed the Mexican Canadian artist about the place and positioning of technology in creating art, on the nuanced identities in Latin American art and the use of personal bodily data of the audience in a public art context.

The museum is not a neutral space. We are often asked to go to a museum to be inspired by what is on display and see what is deemed important by the intelligentsia. The experience is quite different. The beautiful thing about public space is that it’s out of control. It’s a place where you don’t get as many levels of intermediation.


People could stumble upon the artwork as they go home from work. Their participation is far more surprising. It’s more political because the diversity you can get in public space is of course greater if people choose to go to a museum–especially if it’s a paying one. In a museum, you think about what you’re doing and what has happened in the past.

Author: Surabhi Naik

Surabhi Naik is a designer and writer dedicated to Immersive Narratives & Experience Design based in New York City. A graduate student at The New School’s Media Studies Program, she is currently deep-diving into Immersive Storytelling Design & Research and is the Editor for Data Matters Publication at the Center for Data Arts.

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