La externalidad de las instalaciones como dispositivo crítico de exhibición: dos casos en las subesculturas de Rafael Lozano-Hemmer

This text aims to analyze the way in which the installations called sub-sculptures produced by the Mexican-Canadian artist Rafael Lozano-Hemmer articulate a space-time framework that depends on and reconfigures elements external to the work itself. In light of Boris Groys’s assertions that the particularity of installations falls on an autonomous space that they inaugurate with their own elements, the text proposes to revisit the way in which the framework between technology, interaction with the user and temporality of some sub-sculptures of the Mexican-Canadian artist manage to articulate and activate themselves from the dependence on elements external to them and from a correlation with the Mexican historical context. Thus, this work proposes a critical approach to the exhibition devices that enable the works that function via the user's biometric data created by Rafael Lozano-Hemmer. In this way, I propone that these works of art function as technical entities that allow us to continue problematizing the particularities of the installations and the theoretical approach from which they are analyzed.