new-york

Rafael Lozano-Hemmer

Haunch of Venison

The experience of the “nexus between corporeality, representation and technology” promised by Rafael Lozano-Hemmer’s recent show began well before visitors entered the galleries in which the Mexican-born, Canada-based artist’s work was installed. In fact it started in earnest about two hundred feet below them, in the brass and marble lobby of the midtown Manhattan office building whose penthouse Haunch of Venison comfortably, if rather anomalously, inhabits.

Here on the outskirts of Rockefeller Center, as in most big-city skyscrapers these days, one trades the nominal physical autonomy of the public sphere for a private environment marked by unapologetically present technologies of surveillance and control. Everyone by now knows the typical routine—after identity is registered and transferred to a bar-coded badge, an elevator ride further crystallizes our role in the modern panopticon: at

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