Lights, Technology, Action
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This September, art’otel London Hoxton invites visitors into a bold sensory world where art, light, and technology collide.
Two headline exhibitions will take over the hotel’s gallery space, each one asking timely, provocative questions about how we perceive the world—and what happens when our senses are filtered through digital means.
“Across both shows, artists are exploring how light and technology can be used not just as tools of expression, but as extensions of the body,” says Alisa Lisovskaia, the hotel’s art and culture programme manager. “They’re asking: how do we sense the world, and what happens when those senses are enhanced or abstracted through technology?”
Opening the programme is Mirrored Lightscapes (1–19 September), a mesmerising installation by New York–based artist Yael Erel. Using mirror-embossed sculptures inspired by anatomical forms—lungs, vocal cords, and other hidden structures of the body—Erel transforms the gallery into a shifting landscape of light and movement. Paired with a meditative soundscape, her works use light as both subject and material.
“Yael’s sculptures become a kind of living drawing—breathing, dynamic, and deeply connected to the human form,” says Lisovskaia. “Light becomes a second skin: sensitive, alive.”
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Following that, Elusive Sense: On the Fluid Boundaries of Perception opens on 20 September. A powerful collaboration with the Polish Cultural Institute and part of the official UK/Poland Season 2025, the exhibition brings together five pioneering Polish artists working at the edge of new media and experimental art.
Curated by Anna Szylar and Mateusz Kacprowicz, the show features emotion-sensing garments, AI-generated folklore, and poetic video works that probe the fragility of identity in a digital age. “The works don’t offer simple answers,” says Lisovskaia. “Instead, they open up a space for reflection.”
Artists Iga Węglińska, panGenerator, Cosmodernism, Janek Simon and Agnieszka Mastalerz explore a new sensory landscape—where the lines between human and machine, physical and virtual, authentic and constructed are constantly being redrawn. Together, these two exhibitions form a compelling conversation about perception in the digital era.
“They reflect a shared curiosity about how the body interacts with the immaterial—how we’re shaped by what we see, sense, and remember,” says Lisovskaia. “We want visitors to leave with a heightened awareness of just how entangled we’ve become with technology—and a deeper curiosity about what that really means.”
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