Neumeister Bar-Am

Spiros Hadjidjanos – Solo Show
Neumeister Bar-Am
28 Nov. 2015 – 06 Feb. 2016 / Goethestraße 2 – 10623 Berlin

Anthemion, 2015, Transparent screen, Full HD video, 2min loop 90 x 59.5 x 20cm / 35.43 x 23.42 x 7.87 inches & Alumide 3D Print, aluminium coating 48.5 x 35.5 x 8.5cm / 19.09 x 13.98 x 3.35 inches

Glas (displaced), 2015, 3D Alumide Print, aluminium coating, 80 x 108.5 x 15 cm / 31.5 x 42.72 x 5.90 inches

Hainbuche (displaced), 2015, 3D Alumide Print, aluminium coating, 108.5 x 80 x 15 cm / 42.72 x 31.5 x 5.90 inches

Network/ed Pillars, 2015, Wireless routers, custom router firmware, Optical fiber Light, Electronics, Dimensions Variable

Pre-digital Space


Transparent Screen, Alumide 3D Print, Dried “Acanthus Mollis” collected in Athens, Greece, Full HD video

Pre-digital Space, Solo Show, Future Gallery, Berlin
04 Dec 2014 – 10 Jan 2015

Pre-digital Space featured in Artforum’s Critics’ Picks

Press Release:

Pre-digital Space, Spiros Hadjidjanos’ second solo show at Future Gallery, examines the dormant nature of processes frequently perceived as automated and technological. Materials masquerade as processes, disconnected, and yet attain their full potential. Excluding chronological interpretations in favor of spatial, the prefix in its title indicates the show’s aim to expose the substrate that makes the digital possible.

A letter by German photographer Karl Blossfeldt from 11 April, 1906 addressed to the director of the Royal Arts and Crafts Museum in Berlin is exemplary of the time Blossfeldt spent in Athens at the end of the 19th century, observing the plants of the region. It reads: “I also enclose a photograph of an ornament on the Erechtheion in Athens and an enlargement of the bracts of Acanthus spinosus, which grows wild in Greece. I made these photographs myself on a field trip and am in no doubt that these acanthus bracts were the model for the motif at top left. This classic, immaculate example shows very clearly how small natural forms, such as diminutive acanthus bracts, were used on a greatly enlarged scale and adapted to suit the material used.”

A selection of images originally published in Blossfeldt’s seminal book Urformen der Kunst forms the basis for a new series of 3D prints by Hadjidjanos. The works, titled after Blossfedlt’s plant motifs, were scanned from a 1928 first edition and printed according to the exact dimensions of the original photos with the addition of the third dimension, depth. Their material, alumide, is a derivative of aluminium, the epitome of the streamlined aesthetic that came to represent modernity during the same epoch that Blossfeldt developed the anti-pictorialist approach of his photographic practice.

Expanding upon the 3D print series is the work “Acanthus Mollis”. A sculpture depicting the Acanthus mollis plant is presented behind a transparent screen, and video footage of its reflection on a water surface is projected in front of the screen. A dried Acanthus mollis collected in Athens is placed before the sculpture, generated by a scanned photograph of the same plant that Karl Blossfeldt collected in the Attica peninsula about a century ago.

The work “Transmission in-itself” is an arrangement of seven used, functional Apple A1243 keyboards, each encapsulated in blown glass and therefore rendered useless. Due to their repetition their uniformity is foregrounded, and one might notice that the default languages of their keys comes from a member of the G7 group of countries. Their layout is a materialization of a political fact and an inherited tradition. Metaphorically, through the glass, humanity’s epistemological limitations become clear; the access to the keyboards is only conjectural.

The final work, “Networked Gradients,” is a site-specific installation of four blue-green gradient curves of illuminated fibre optic cables by the LED light of wireless routers exposing the Internet as a material as opposed to a medium – a medium being the intervening substance through which impressions are conveyed to the senses. As a visualization of the node distribution in random networks, their shapes are reminiscent of mathematical Bell Curves adjusted to the architecture of the gallery space. The Internet here is purely indexical, entering into perception only materially.

*Photos: Andrea Rossetti

Local Manifestations

Spiros Hadjidjanos
Local Manifestations
October 31 – December 14, 2013

Opening: October 26, 7 – 10 pm

Future Gallery, Berlin

In 1959, the American engineer Paul Baran was charged by the RAND Corporation with the task of designing a telecommunications network resilient enough to survive a nuclear attack. A year later Baran published his proposed solution: a network of distributed nodes without a centralized core. He argued that a distributed network would be indestructible because the connections between its nodes were redundant; multiple redundant connections safeguard a system from total destruction if individual nodes are damaged. A decade later, Baran’s distributed relay node architecture formed the conceptual framework for the first system of inter-networked computers, which would become the basis for today’s decentralized wireless internet.

In Local Manifestations, Spiros Hadjidjanos excavates the topology of our contemporary wireless terrain – the virtual/physical surface of wireless networks through which we communicate – uncovering the interlocking system of nodes and redundant connections upon which this intangible landscape is constructed. As we simultaneously navigate and construct this space, we ourselves become nodes, receivers and transmitters of data contributing to the redundancy and therefore the imperviousness of the system. We become “wireless subjects.”

Within the tensile mesh of a distributed network, it becomes possible to conceive of the relations between fixed entities themselves as objects. Hadjidjanos’ work, in line with realist philosophies, treats them as such; through multiple points of entry, he asks what it could mean to manifest a “relation as object.” The act of manifesting or actualizing relations takes many forms: signals from wireless routers are converted into visible projections; diagrams of Baran’s networks are embedded into the lightweight mesh material of carbon fiber; a person circulates the exhibition space mumbling signals received from a mobile phone; mobile devices become topographical maps and morph into each other in a series of slowed-down animations. In each of these works it is the transitions, movements, and relations that are the object of study.

The “local” is not contrasted here with the “global.” It does not imply an opposition between the singular and fixed or the multiple and connective, but rather contextualizes this exhibition as one object-relation within a theoretically infinite set of iterations. The multiplicity, or redundancy of its outward relations is what is responsible for the integrity of its inner relationships. The exhibition is not “reduceable either to its internal components or to its outward effects” – making it, according to Graham Harman’s definition, an object.

– Elvia Wilk