In recent years, the LED walls originally used in outdoor spaces by advertising companies to extend the consumption of images in our daily life have been appropriated by artists and installed in gallery spaces. When viewed nearby or when walking around them, LED walls become in some way dysfunctional: The images fade, points and color distortions appear, and the spectacle of the machine interruputs our habitual viewing patterns. This article focuses on three recent works which disrupt immersive viewing regimes through what I call “hijacking” advanced LED technology. Lucy Raven (Tucson, AZ, USA), Demolition of a Wall (Album 2), 2022. Eija-Liisa Ahtila (Helsinki, Finland), Potentiality for Love, 2018. Marco Fusinato (Sidney, Australia), Desastres, Australian Pavilion, Venice Biennale, 2022. These three artists use the sculptural and spectacular effect of freestanding LED walls to call attention to our habitual capitalist relation to LED technology. Through performative or narrative pieces, these artists deploy poetic and artistic effects to explore the politics of technological immersion in capitalist societies.

中文翻译：

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关于劫持 LED 墙

近年来，原本被广告公司用于户外空间以延长我们日常生活中图像消费的LED墙已被艺术家挪用并安装在画廊空间中。当在附近观看或在它们周围走动时，LED 墙会以某种方式出现功能失调：图像褪色、点和颜色失真出现，机器的奇观打断了我们习惯的观看模式。本文重点介绍三项近期作品，这些作品通过我所谓的“劫持”先进 LED 技术破坏了身临其境的观看方式。Lucy Raven（美国亚利桑那州图森），Demolition of a Wall（专辑 2），2022。Eija-Liisa Ahtila（芬兰赫尔辛基），Potentiality for Love，2018。Marco Fusinato（澳大利亚悉尼），Desastres，澳大利亚馆，威尼斯双年展，2022 年。这三位艺术家利用独立 LED 墙的雕塑和壮观效果来唤起人们对我们与 LED 技术的习惯性资本主义关系的关注。通过表演或叙事作品，这些艺术家运用诗意和艺术效果来探索资本主义社会技术沉浸的政治。