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Authors
José Alejandro López
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Abstract
The objective of this article is to investigate what is the meaning of the relationship of telepresence that takes place in the artistic specular installation. A specular installation communicates two distant locations (in this case telematically, through signals transmitted over the Internet) developed with the same instructions: twin spatial configurations created on identical information but that, arising from two different assembly processes, acquired their own particularities which differentiate them from each other. Both sites have the same programming so, when communicating with each other, each one imitates the situation of the other. Each montage is a ‘mirror’ that reacts to its other –to the replica and the reflection of itself– in its location. The Entanglement (2005) work by Lozano-Hemmer is analytically studied, since it possesses these characteristics. In order to elaborate this analysis, it is assumed that the space emerges a-posteriori and it is constructed according to the context. In consequence, it is assumed that the space of the installation is dynamically established –among others– by the relationship between the context, the work and the public. Entanglement establishes four spatial levels of spatial construction as an installation: in general, non-site-specific, tele-present and specular. It seems to be that the configuration in this installation juxtaposes its spaces and times (by being tele-present), and each location –by reflecting the other– projects on an absence on itself, denying what it contains. It is concluded that, thanks to the infinite loop that is produced by the confrontation of ‘mirrors’, both assemblies of this work are superimposed evidencing in combination their absence and presence. This research aims to collaborate with other studies in this regard, so that the characteristics that are recognized in Entanglement contribute to the comprehension of other installations that have particularities and similar nature.
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