There is nothing tentative about Rafael Lozano-Hemmer's hardware-heavy and technologically agile works in the Mexican pavilion, accomodated in the 15th-century Palazzo Van Axel near the Rialto. The artist's interactive and kinetic projects (the earliest dates from 1992) establish an interface between electronics, mechanics and the human body. Premiering here is Wavefunction (2007), in which the entrance of a visitor into a sensor-rigged room triggers a sequential rising and falling of 50 empty Eames chairs mounted on pistons. The effect is ghostly and slapstick ("please don't get up"), though it's based in some serious technology that involves surveillance systems and a program that generates mechanical behaviors.
— Marcia E. Vetrocq, Art in America, September 2007

In town at the gorgeous Palazzo Soranzo Van Axel, Mexico's first pavilion features six electronic works by Rafael Lozano-Hemmer. They engage a visitor's body to enact technological events. In the loveliest, you grip a metal handle and see your heartbeat translated into pulsing light from a solitary hanging bulb. That light-pulse then joins 99 others suspended from the ceiling, recalling unknown people who have since left the room. When it dawns on you that the addition of your "light-beat" means that a bulb at the other end has necessarily been extinguished, the sculpture blossoms as a poignant memento mori.
— Christopher Knight, Los Angeles Times

Mexico also made its official debut, renting a labyrinthine Gothic palazzo near the Rialto Bridge that looks like something out of a Tolkien fever dream, with a high interior courtyard flanked by a winding stone staircase. The exhibition, by Rafael Lozano-Hemmer, is the opposite of the don't-touch art that fills most of this city. Every piece requires some kind of participation. In one room, you stand before a projector that throws your shadow 20 feet high on a wall. As you get "bigger," a radio signal is directed toward you and you become a living antenna, causing crackly AM radio sounds to issue from speakers. The frequency you are channeling is projected on your shadow in red letters. It's the perfect metaphor for what it feels like here in the Biennale frenzy, with way too much information in the air — as if you ran a computer cable directly into your brain, went to Google and typed in "contemporary art."
— Randy Kennedy, Artsbeat, New York Times

The highlight of the fair's tech-y art may be Mexico's first official participation in the Biennale, an installation by Rafael Lozano-Hemmer titled "Some Things Happen More Often Than All of the Time." One of Lozano-Hemmer's "light and shadow" works, the six-part work combines robotics with surveillance equipment, networked machinery, and other elements, and sprawls over a 1,000-square-meter space in the Palazzo Soranzo Van Axel. Expect a carnivalesque and uniquely disorienting environment.
— William Hanley, Artinfo, NY

No es descabellado pensar que [Lozano-Hemmer] tiene muchas probabilidades de llevarse un galardón en esta Bienal. Sus portentosas instalaciones e intervenciones públicas - también conocidas como subesculturas y arquitectura relacional - tienen el poder de tocar a la vez los sentidos y las fibras racionales a partir de la "ilusión", de la ambigüedad y del misterio. Es un artista refinado, sofisticado e inteligente que asombra y sorprende al visitante por la complejidad, ludismo e ironía de su discurso y por su alta calidad poética y estética.
— Germaine Gómez Haro, La Jornada, Mexico

Apollo (The International Magazine for Collectors) recommends two other pavilions. At the Mexican pavilion, Rafael Lozano-Hemmer offers several installations that use surveillance technology and tailor-made computer programmes to make unusual performance art. In Frequency and Volume, the visitor's body is used to receive radio signals, which are broadcast in the room. The work may make you worry about how intrusive surveillance culture might become - it certainly makes you aware of your body.
— The Business, London (UK), August 3, 2007

All'esterno dei giardini da segnalare il padiglione del Messico dove l'artista Rafael Lozano-Hemmer coinvolge attivamente il pubblico nelle sue installazioni elettroniche [...] / Outside the Giardini Mexican Pavilion deserves a visit, artist Lozano-Hemmer involves the public with his interactive electronic installations [...]
— Lidia Panzeri, MyVenice.org, Venice (Italia), July 18, 2007

Avec Rafael Lozano-Hemmer, le Mexique touche à la réussite avec des dispositifs interactifs très sophistiqués assez bluffants (plus sensibles qu'autoritaires) et révèle là l'un des plus ambitieux pavillons de l'édition 2007.
— Christophe Domino, Journal des Arts, juillet-septembre 2007

Il Messico, suo paese natale, ha esordito alla 52ma Biennale di Venezia, con una sua personale. Artista noto per realizzare spesso larghe installazioni che utilizzano i media più disparati e interfacce custom-made, Rafael Lozano-Hemmer ama coinvolgere in maniera attiva il pubblico. Installazioni robotiche, computer, video proiezioni, sensori, luci (e ombre) e suoni sono i mezzi con cui crea opere che, in tutto il mondo, cambiano temporaneamente la percezione degli spazi e il loro rapporto con chi li abita, o sottolineano temi come l'incessante sorveglianza a cui siamo costantemente sottoposti. Vastissimo il ventaglio di interessi e strumenti che nel corso degli anni hanno stimolato la creatività di Lozano-Hemmer - ci racconta Marco Mancuso interessato alle nuove frontiere dell'architettura urbana e conoscitore del lavoro di Lozano-Hemmer - e sempre molto attuale si è rivelato il suo approccio al design.
— Monica Ponzini, Digimag, Milano (Italia), Ottobre 2007

The most fantastic thing I saw might have been Rafael Lozano-Hemmer's work in the Mexican Pavilion. As a first time participating nation, they made a stunning choice; Wavefunction, 2007, Frequency and Volume 2003 and Pulse Room 2006 were particularly remarkable. The first is an installation of fifty white Eames chairs that respond to the presence of a viewer. One, then two, then many chairs rise so that, alongside the visual effect of waves, the movement creates a resounding rushing sound. Frequency and Volume is triggered by the viewer whose physical presence scans the electronic spectrum to tune into different radio frequencies. Each signal (there are up to sixteen radio stations) depends on the size of the specatator's shadow, so essentially our bodies are the tuner. Finally Pulse Room is filled with blinking light bulbs hanging from the ceiling. That alone is atmospheric and magical. At the end of the installation each visitor can grasp a metal bar that will measure their pulse which is then transferred to the installation itself. When I let go the lights all darkened for a second and then each bulb shifted to a different pulse because room had been made for mine. At any time the heartbeats of the most recent one hundred participants pulse in the room.
— Corinna Ghaznavi, Akimbo, Toronto

My personal pièce de resistance, Rafael Lozano-Hemmer's stunning series of interactive installations in the Mexican pavilion. Finding it nearly cost me my flight to Frankfurt, but it was worth every moment of panic.
— Kathryn Smith, Art South Africa, Cape Town

Mexico, too, has long been absent from the Biennale, and their reappearance is marked by some incredibly high-tech works by Rafael Lozano-Hemmer. Using closed circuit video surveillance cameras, radio-electric scanners and multichannel mixers, he creates installations that are truly interactive with the visitors. “Frequency and Volume” (2003) charts the location of the participant in the room, and uses the person's position to scan the electromagnetic spectrum. In essence, you become the tuning knob on a room-sized radio. As you move about, different radio signals are locked on, and the volume of the transmission is determined by the size of your shadow on the wall! Anyone still holding on to a stereotype of Mexico as a land of low-skilled labor needs to spend five minutes in one of Lozano-Hemmer's artworks.
— Preston Thayer, Roanoke Times

La 52a Bienal de Venecia será recordada como la del retorno al orden y la tradición. Sin embargo, hay piezas que, como destellos en medio de las previsibles obras de los clásicos contemporáneos, desafían al arte establecido en busca de nuevos lenguajes y nuevas experiencias sensoriales. Es el caso de Rafael Lozano-Hemmer, en el Pabellón de México, y de Bill Viola en la iglesia de San Gallo, quienes encabezan las propuestas experimentales e innovadoras. El pabellón de México apuesta por Rafael Lozano-Hemmer. Son seis instalaciones de gran formato, que le reconfirman como uno de los mayores talentos de la creación digital contemporánea. En Almacén de corazonadas 100 bombillas parpadean al compás del latido del corazón de los últimos 100 visitantes. Función de ondas es una escultura cinética interactiva que homenajea a las sillas diseñadas por Charles y Ray Eames en 1948, que cuando detectan un visitante forman una ola que se propaga por la sala. La entrada de varias personas causa turbulencias e interferencias entre las olas, ya que la obra está programada según las leyes de las dinámicas de los fluidos.
— Roberta Bosco, El País, Madrid

Jamais non plus il n'y aura eu plus de nations représentées, avec l'arrivée de pays de l'Est et d'Asie centrale, aussi bien que de la Turquie, du Liban et du Mexique, qui présente les manipulations robotico-lumineuses hypersophistiquées de Rafael Lozano-Hemmer au Palazzo Soranzo.
— Vincent NOCE, Liberation, Paris

Ma la vera sorpresa di questa Biennale è il debutto del Messico con Rafael Lozano-Hemmer. Il Padiglione si sviluppa attraversando la sua opera, dalle istallazioni interattive alla documentazione degli interventi di arte pubblica senza, però, alcun cedimento didascalico. Al contrario, nella fascinazione della sperimentazione diretta, il visitatore è coinvolto al punto di attivare maggiormente la ricerca dell'artista. Accade con Frequency and Volume, lavoro dedicato al controllo, che sottopone il visitatore ad una forma di osservazione dei suoi movimenti captati da un sistema di onde radio. Una violazione d'intimità che - guarda caso - crea un meccanismo di curiosità.
— Federica la Paglia, Exibart, Firenze

Nell'interattivissimo padiglione messicano di Rafael Lozano-Hemmer, a un certo punto ti imbatti in due ergonomiche manopole. Con fare circospetto, le impugni, e... tutte le luci della sala cominciano a ritmarsi - acceso/spento - col battito del tuo cuore...
— Massimo Mattioli, Exibart, Firenze

L'architettura di carta, sovrapponendosi a quella reale, dimostra i limiti della tradizione, sostituita da un nuovo mondo industrializzato con leggi produttive autonome. L'intervento fisico è al centro delle opere interattive di RAFAEL LOZANO-HEMMER esposte al padiglione del MESSICO nello storico Palazzo Soranzo Van Axel. SOME THINGS HAPPEN MORE OFTEN THAN ALL OF THE TIME il titolo in cui sono riunite installazioni a metà tra architettura e performance. L'intervento dello spettatore fa funzionare i loro meccanismi tecnologici, in un'interazione continua tra robotica, sorveglianza computerizzata, network telematici e animatronica. Sculture fonetiche reattive e luci controllate da sensori biometrici in cui Lozano-Hemmer usa la tecnologia come linguaggio globale e di controllo. Osservato, indicizzato, coinvolto, il corpo dello spettatore emana onde magnetiche che, riprese dai sintetizzatori e trasformate in tracciati pixel, danno l'imput ai sistemi interattivi di osservazione, in grado di registrare persino le ombre.
— Sibilla Panerai, Teknemedia, Milan

México ha aterrizado por primera vez con una fascinante muestra de Rafael Lozano-Hemmer, quien, entre otras piezas, presenta su Almacén de corazonadas, instalación interactiva consistente en cien bombillas colgadas del techo que van captando los latidos de los visitantes; o Bajo reconocimiento, videorretratos de seres durmientes que se despiertan cuando la gente proyecta sobre ellos su sombra.
— Teresa Sesé,La Vanguardia, Barcelona

Il Messico, quest'anno alla sua prima exploit, si presenta con un'ottima carta da visita: Rafael LozanoHemmer. Some Things Happen More Often Than All of The Time è composto da sei installazioni multimediali ed interattive. Combinando il linguaggio dei nuovi media con l'architettura mediante sofisticati software e telecamere di sorveglianza, LozanoHemmer stupisce lo spettatore facendolo diventare parte integrante dell'opera, sorprendendolo e mettendolo a confronto con interfacce umane ed intuitive.
— Marta Cardillo, La Repubblica, Rome June 25

Irgendwo im Gewirr der Gässchen hat der Mexikaner Rafael Lozano-Hemmer in einem jahrhundertealten Palazzo seine ausgeklügelten interaktiven Settings aufgebaut. Sie fühlen dem Besucher den Puls und setzen ihn in eine Symphonie flackernder Glühbirnen um; Körperbewegungen machen sie als Radiowellen hörbar.
— Von Elke Linda Buchholz, Stuttgarter Zeitung, June 11

La primer participación nacional de México en la Bienal de Venecia será presentada en una sede espectacular y está haciendo surgir grandes expectativas: El renombrado artista Rafael Lozano-Hemmer presentará 6 obras interactivas utilizando nuevas tecnologías. El público podrá experimentarlas en un recorrido por el histórico Palazzo Van Axel, un edificio del siglo XV, de estilo gótico tardío. Para esta muestra, el palacio fue despertado de su sueño de bella durmiente y convertido en uno de los espacios de exposición más impresionantes de esta 52a Bienal de Venecia.
— Gerhard Haupt, Pat Binder, Universes-in-Universe, Berlin

Por primera vez en decenios México tuvo una representación oficial que gracias a la creatividad y capacidad autogestiva del artista Rafael Lozano-Hemmer, quien planteó una ambiciosa revisión de sus instalaciones basadas en la interacción del espectador y las tecnologías contemporáneas de vigilancia, fue uno de los picos del evento [la Bienal].
— Cuauhtémoc Medina, Reforma, México