
Duo show with JODI
Future Gallery / Transmediale
Opening: 02 February 2012, 7 – 10 pm, Mansteinstraße 3, Berlin
On view: 02 February – 18 February
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Flow
Posted: January 19, 2012
Duo show with JODI Opening: 02 February 2012, 7 – 10 pm, Mansteinstraße 3, Berlin Solo show
Posted: January 19, 2012
Opening: Friday, 27 January 2012, 19:00hrs Network Time
Posted: December 9, 2011
Network Time (please scroll down for text in german) In 1998, in the wake of unchecked dotcom euphoria, the Swatch company joined forces with MIT’s Media Lab to research and promote a concept of chronometry that would “provoke the world into the third millenium.” The two defining features of this “ultimate time” were the decimal division of the mean solar day into 1000 @.beats rather than 24 hours and, even more importantly, the abolishment of time zones. According to Swatch, the advantages were obvious: “if a New York web-supporter makes a date for a chat with a cyber friend in Rome, they can simply agree to meet at an “@ time” – because internet time is the same all over the world.” While Swatch began to market a line of futuresque wristwatches capable of displaying @.beat time and even convinced prestigious websites like CNN.com to adopt the idea, internet time never managed to gain traction on a larger scale. One explanation is that the idea had been ahead of its time, too revolutionary to seem useful to web-pioneers, whose days were still constrained by the analog structure of day and night and not yet sufficiently affected by the internet’s insomniac imperative. A few point-0s later, however, as we begin to spend the majority of our waking hours online, it appears that the idea of introducing merely a new unit of time may simply not have gone far enough. Underlying Swatch’s endeavor was the assumption that new means of visualizing time can not only reflect, but also change, our understanding of it. Network Time, a new installation proposed by Spiros Hadjidjanos, is driven by similar beliefs about how the instruments at our disposal change the way we think about what is being measured. Network Time consists of several wifi routers set up in an exhibition space to be freely accessed by any mobile internet device. Attached to each router is a slender fiber optic cable, aligned to absorb and magnify the incessant flicker of its traffic LED. The visualized data exchange creates a space viewers can interact with not only physically, but also informationally. Any email sent and every website checked on a smartphone logged in to the routers’ signals modifies the frequency in which the fiber optics light up, ranging from occasional, idle blinks to a frenetic flicker. Of course, time has not always been thought of as something linear and unchanging, but could only be imagined that way after Enlightenment thinkers had gained access to accurate pendulum clocks that ran independently of perpetual maintenance or weather conditions. Seen as a kind of walk-in clock, Network Time could have a similar power to shape our experience and understanding of temporality. In contrast to our idea of time as progressing in unflinching lockstep, the network time proposed by Hadjidjanos is so susceptible to individual touch that a growing number of single alterations can eventually cancel out each other’s visible effects. The more data is exchanged, the faster the blinking gets, and the harder it becomes to differentiate between individual illuminations. Text: Gregor Quack
Network Time
Network Time Installation In 1998, beflügelt von noch nicht geplatzten Dotcom-Träumen, verbündete sich der Schweizerische Plastikuhrengigant Swatch mit dem Media Lab des MIT und entwickelte ein Zeitmessungssystem, dass “die Welt hinein ins dritte Millenium” provozieren sollte. Die beiden wichtigsten Merkmale der hiermit etablierten “Ultimativzeit” waren die Aufspaltung eines Tages in 1000 @.beats anstatt in Stunden oder Minuten, sowie die restlose Abschaffung unterschiedlicher Zeitzonen. Die Vorteile lagen für Swatch-Marketingstrategen auf der Hand: “Wenn sich ein New Yorker Web-Supporter mit einem Freund aus Rom für einen Chat verabreden will, dann können sich die beiden jetzt auf die gleiche “@ time” einigen – denn Internetzeit ist überall auf der Welt die selbe.” Obwohl einflussreiche Websites wie CNN.com zur Nutzung der neuen Zeit überredet werden konnten und sogar eine eigene Reihe von .beat-Armbanduhren weltweit auf den Markt kam, setzte sich das neue Konzept nie in größerem Umfang durch. Als treibend für die unternommenen Versuche erscheint in jedem Fall die Überzeugung, neue Visualisierungsmöglichkeiten könnten unseren Zeitbegriff nicht nur reflektieren, sondern ihn aktiv verändern. Auch Network Time, eine neuen Installation von Spiros Hadjidjanos, gründet in der Einsicht, dass die zur Verfügung stehenden Messgeräte unser Verständnis des Gemessenen fundamental beeinflussen können. Durch den Titel als eine Art begehbare Uhr identifiziert, besteht Network Time aus mehreren, im Ausstellungsraum frei zugänglich installierten WLAN-Routern. Angebracht an jedem dieser Router sind Fiberglaskabel, die das beständige Blinken des Traffic-LEDs aufnehmen und so vergrößern. Der visualisierte Datenverkehrs definiert einen Raum, mit dem Besucher nicht nur physisch, sondern auch informationell in Dialog treten können, denn jede von einem in die Router eingeloggten Smartphone gesandte Email, jede angesehene Website verändert die Flicker-Frequenz der LEDs und der den Raum durchspannenden Kabel. Text: Gregor Quack
Network Time Installation
Posted in works
Hybrid Landscapes
Posted: December 9, 2011
Hybrid Landscape II(silicon valley)
Hybrid Landscape I(silicon valley) The Hybrid Landscape (Silicon Valley) is an ultraviolet print on a carbon-fiber plate depicting the landscape of Silicon Valley. Part of the plate has been cut out with a laser, freeing space to be subsequently occupied by microchips that contain fragments of the landscape in the form of digital photos. In this work, the landscape of Silicon Valley–a term coined in 1971 referencing the region’s flourishing semiconductor industry–is combined with microchips.
Posted in works
Actual Possibility
Posted: October 27, 2011
Solo show – Actual Possibility Press Release: For his show Actual possibility at KWADRAT Hadjidjanos presents a network-specific installation and works on carbon-fiber plates. His new installation Network Time consists of several Wi-Fi routers arranged in the gallery space providing free Internet access to visitors. The LED that reflects the data-traffic of each router is extended along a fiber optic cable magnifying its flicker. Although the devices look only physically modified, the artist has altered the operating system of each router, to manipulate the fluctuation of the fiber optics. The installation is a network architecture installed in a physical setting, framing information as situated, temporal and contextual, constructing a permeable interactive and extended space. With Network Time, Hadjidjanos proposes the measurement of time in units of information or using a router as a clock. A minute is a gigabyte and a terabyte an hour. Time is measured based on the information received. It is a concept relevant to “radical network empiricism” as described by the new media theorist Adrian Mackenzie. In our contemporary Post-Network condition the amount of information we receive changes our perception of temporality. The emergence of the Internet stretched across time and space and revealed that clock time is not an absolute milieu against which we synchronize and quantify time, but rather a human construction that has very little to do with time other than serving as an inflexible way of measuring duration. In this case, the routers, as technological objects suggest a technical yet subjective and non-isochronic time measurement. In addition to Network Time, Hadjidjanos presents Information Painting and Hybrid Landscape (Silicon Valley). The latter is an ultraviolet print on a carbon-fiber plate depicting the landscape of Silicon Valley. Part of the plate has been cut out with a laser, freeing space to be subsequently occupied by microchips that contain fragments of the landscape in digital form. In this work, the landscape of Silicon Valley–a term coined in 1971 by Don Hoefler referencing the region’s flourishing semiconductor industry–is combined with microchips. In the Information Painting the artist is interested in the spatial arrangement of digital information, locating it precisely within physical coordinates thus posing questions about the materiality of the digital image. The title Actual Possibility is drawn from the writings of William James, specifically in his ideas of radical empiricism, what really exists are not things as such but transitions and relationships and any relationship experienced is as real as anything else in a system. Networks are precisely concerned with those relationships, moreover the gaps between possibility and actuality. Catalog
Posted: October 17, 2011
Catalog published by the Udk, Berlin. Essay by Gregor Quack (dt/engl). Edition of 225. 20 pages
Non-Stop Infinity
Posted: September 19, 2011
Group show: Non-Stop Infinity Participating artists: Spiros Hadjidjanos, Lindsay Lawson, Niko Princen, Rafaël Rozendaal, Swyndle & Hawks, Lance Wakeling Future Gallery, Berlin peer to space, Munich Not to be confused with…
Posted: June 26, 2011
Group show Anne de Vries, Aleksandra Domanovic, Spiros Hadjidjanos, Keller/Kosmas (Aids-3d), Wojciech Kosma, Oliver Laric, Mike Ruiz, Timur Si-Qin 2. July – 6. August 2011 Metrospective 1.0
Posted: February 9, 2011
Group Show |
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