Rafael Lozano-Hemmer’s robotic sand installation honours lives lost to Covid-19
At the Brooklyn Museum, Rafael Lozano-Hemmer’s participatory work, A Crack in the Hourglass, An Ongoing Covid-19 Memorial, offers space to collectively honour and grieve victims of the pandemic
Since it emerged, the Covid-19 pandemic has claimed the lives of more than five million people globally. The loss is extraordinary, and the agony has been exacerbated by restrictions on collective mourning with family and friends denied physical participation in funerary rites and rituals for their loved ones. In 2020, Mexican-Canadian media artist Rafael Lozano-Hemmer responded with a virtual memorial whereby bereaved family and friends could create individual homages.
A Crack in the Hourglass was first commissioned by the Museo Universitario Arte Contemporáneo in Mexico City and has been taking place virtually since November 2020. The project was staged as an ephemeral ‘anti-monument’; a space for catharsis and an impassioned lament that depends entirely on the participation of others.
Through ephemeral portraits made from hourglass sand, the installation and its online platform provide communities with space to collectively mourn and honour those lost to Covid-19 in New York City – which has seen some of the highest numbers of pandemic-related deaths in the United States – and worldwide.
The Brooklyn Museum is now presenting the first physical version of the work. Participants are invited to submit photographs of their loved ones who have died from Covid-19 through the project’s online platform, accompanied by a personal dedication, and watch in person or via live stream as a robotic arm deposits grains of sand onto a black surface to recreate the image. Once each portrait is formed, it is digitally archived and gradually erased by gravity. The same sand is then recycled into the next portrait forming an infinite number of memorials.
‘This project is designed for mourning our losses at a time when we have been socially distant and denied proximity to those affected. The piece also represents continuity, as the same sand is used to make an endless number of unique portraits,’ says Lozano-Hemmer, who is known for provocative indoor and outdoor art installations on the intersection of technology, architecture, performance, and public art. ‘I am very eager to see how the project is received in New York City, an epicentre of the pandemic, and am thankful to the Brooklyn Museum for bringing it to the United States.’
INFORMATION
Raphael Lozano-Hemmer, A Crack in the Hourglass, An Ongoing Covid-19 Memorial, until 26 June 2022, the Brooklyn Museum, brooklynmuseum.org
Wallpaper* Newsletter
Receive our daily digest of inspiration, escapism and design stories from around the world direct to your inbox.
Harriet Lloyd-Smith was the Arts Editor of Wallpaper*, responsible for the art pages across digital and print, including profiles, exhibition reviews, and contemporary art collaborations. She started at Wallpaper* in 2017 and has written for leading contemporary art publications, auction houses and arts charities, and lectured on review writing and art journalism. When she’s not writing about art, she’s making her own.
-
Audi launches AUDI, a China-only sub-brand, with a handsome new EV concept
The AUDI E previews a new range of China-specific electric vehicles from the German carmaker’s new local sub-brand
By Jonathan Bell Published
-
Inside Izza Marrakech: A new riad where art and bohemian luxury meet
Honouring the late Bill Willis’ hedonistic style, Izza Marrakech fuses traditional Moroccan craftsmanship with the best of contemporary art
By Ty Gaskins Published
-
Clocking on: the bedside analogue timepieces that won’t alarm your aesthetic
We track down the only tick-tocks that matter, nine traditional alarm clocks that tell the time with minimum fuss and maximum visual impact
By Jonathan Bell Published
-
Henni Alftan’s paintings frame everyday moments in cinematic renditions
Concurrent exhibitions in New York and Shanghai celebrate the mesmerising mystery in Henni Alftan’s paintings
By Osman Can Yerebakan Published
-
Brutalism in film: the beautiful house that forms the backdrop to The Room Next Door
The Room Next Door's production designer discusses mood-boarding and scene-setting for a moving film about friendship, fragility and the final curtain
By Anne Soward Published
-
'There’s an anxiety under all of it': Violet Dennison in New York
Violet Dennison debuts abstract paintings with new show 'Damaged Self' at Tara Downs Gallery
By Mary Cleary Published
-
‘Gas Tank City’, a new monograph by Andrew Holmes, is a photorealist eye on the American West
‘Gas Tank City’ chronicles the artist’s journey across truck-stop America, creating meticulous drawings of fleeting moments
By Jonathan Bell Published
-
Mark Armijo McKnight’s bodily landscapes capture the tactile serenity of the American West
The artist’s new exhibition at the Whitney Museum, which is organised by the museum curator Drew Sawyer, offers a succinct window into his contemplative suggestion of queering a landscape
By Osman Can Yerebakan Published
-
Dark, glamorous and hedonistic: a photography book captures New York in the 1990s
New York: High Life, Low Life, by Dafydd Jones, goes behind the scenes of New York society
By Hannah Silver Published
-
Derrick Alexis Coard’s portraits are a sensitive, positive testimony to Black men
The late artist Derrick Alexis Coard’s retrospective ‘I Am That I Am’, at New York’s Salon 94, honours his ‘symbolic expression for possible change for the African-American male community’
By Tianna Williams Published
-
Intimacy, violence and the uncanny: Joanna Piotrowska in Philadelphia
Artist and photographer Joanna Piotrowska stages surreal scenes at the Institute of Contemporary Art at the University of Pennsylvania
By Hannah Silver Published