The technical infrastructure of an exhibition should be invisible. The work the visitor experiences should be the only thing they're thinking about. Lux Technical installs, calibrates and maintains exhibition AV for museums and galleries where the quality of the technology disappears into the quality of the experience.
Tell us about your exhibition or installation
Museums and galleries operate on fixed opening dates that have been published, communicated to funders, and announced to press. There is no contingency for a delayed installation. The AV company you choose either understands this as a fixed constraint and plans accordingly, or they find out on site two days before opening that the video file format isn't what they expected.
We've been the second call for enough cultural institutions to know what the first call got wrong. We're set up to be the first call for curators and technical producers who want that experience to belong to someone else.
From a single-channel video installation to a full-building projection mapping commission, the technical challenge is the same: get the artist's vision into the space accurately and keep it running for the duration.
LED video wall specification, installation and calibration for gallery spaces. Panel selection based on viewing distance, ambient light conditions and the quality standard the work requires. Colour calibration against reference masters. Pixel-accurate content playback. Structural assessment for wall mounting in older gallery buildings. Derig and restoration at exhibition close.
LED video walls in gallery spaces ›Projection mapping on architectural surfaces, sculptural objects and custom-built exhibition structures. Projection mapping brief to installation, including surface geometry scanning, media server setup, blending and calibration. Artist or studio brief managed technically from first conversation to opening. We've mapped facades, interiors, gallery columns and irregularly shaped objects.
Projection mapping for exhibitions ›Full immersive AV environments using multiple projectors, LED surfaces, spatial audio and sensor-reactive systems. Technical production of the complete AV infrastructure for exhibitions where medium, space and content are inseparable. We work with artists, production designers and gallery technical teams from initial specification through to final calibration and public opening.
Immersive exhibition AV ›Spatial audio systems for gallery and museum installations where the sound is part of the work. Speaker positioning, signal routing, amplification and channel mapping for mono, stereo and multi-channel audio formats. Acoustic assessment of the gallery space. Installation designed to be sonically invisible: no visible cables, speakers positioned as the artist specifies, volume calibrated to the room and the work.
Spatial audio for art installations ›Technical production for artist commissions where the AV company works directly with the artist or artist's studio. We understand the difference between a technical brief and an artist's intent brief, and how to translate one into the other without losing meaning. Pre-installation conversations with the artist to confirm context. Changes during installation handled with care and documented. Artist calibration support on site.
Briefing an AV company for artist commissions ›AV maintenance for the full duration of an exhibition run. Scheduled maintenance visits to check calibration, clean optics, verify playback systems, and address any performance drift before it becomes visible to visitors. Remote monitoring for installations with continuous playback. Emergency callout within 48 hours for any technical failure during gallery opening hours. Handover documentation at run close.
Planning for an immovable opening date ›Every exhibition is different. The constants are the deadline, the quality standard and the need for a technical team that understands what it's serving.
Dual-projector soft-edge blend installation on a custom curved screen within a purpose-built darkened gallery room. Content provided by the artist's studio in RAW format. Projection calibration completed with the artist present. Playback loop verified to artist specification. Maintenance visits weekly for a 14-week run. Zero unplanned downtime during opening hours.
Five separate AV installations across three gallery floors: LED wall installation, projection mapping on a sculptural object, two spatial audio pieces and a sensor-reactive video work. Technical production coordinated across five artists' studios. Installation within a six-day concurrent access window. All five works operational for press preview, two days ahead of public opening.
Large-format projection mapping on a 14m atrium wall using four blended projectors. Content by an internationally recognised artist. Conservation team approval required for all rigging. Installation scheduled around public access hours across five days. Calibration completed overnight before opening. Running for six months with monthly maintenance visits. No visible quality degradation recorded over the run.
Called in 72 hours before public opening after the original AV company withdrew. Technical brief inherited at short notice. Existing equipment assessed on site. Replacement components sourced within 24 hours. Installation and calibration completed overnight. Exhibition opened as scheduled. Full handover documentation produced retroactively for the gallery's records.
We've worked with enough artists to know that a technically correct installation is not always the same as a correct installation. Artist intent comes first. If recalibrating the projector to be technically accurate means losing the colour temperature the artist specified, we discuss it before we adjust anything.
Every cable concealed according to the gallery's guidelines. No visible fixings unless the artist has specified them. Rigging removed at load-out with surfaces restored. We treat a gallery the way we'd want it treated if the work inside were ours.
Every brief we take includes a signed-off content specification before any kit is ordered or scheduled. File format, resolution, frame rate, colour space, audio mapping. Everything the artist's studio needs to deliver and everything we need to receive. No surprises when the files arrive.
We prefer to complete final calibration with the artist or their representative present. Technical accuracy is the baseline. Artistic accuracy is the goal. Those two things are usually the same — but when they're not, we need the artist in the room to make the call.
Exhibition scheduling is built backwards from the opening, not forwards from when it would be convenient for us to install. We tell you the installation window we need, the contingency we've built in, and what we need fixed in the specification to deliver on time. We don't find out it's a problem on the day before press preview.
We don't disappear after opening. Scheduled maintenance, remote monitoring where applicable, and a support contact throughout the run. Galleries that have worked with us once know that the relationship doesn't end when the opening happens.
We work with museums, publicly funded galleries, commercial galleries and artist studios across the UK. The technical brief can be anything from a single-channel video to a full immersive environment. The conversation starts the same way: what does it need to do, and when does it need to do it?
Tell us about your exhibition