Spiros Hadjidjanos
              Elvia Wilk
              Spiros Hadjidjanos’s third solo show at Future Gallery is both technically and conceptually complex—it’s up to the viewer to decide how far down the rabbit hole to go. Yet each work functions on multiple levels, and is rewarding in equal proportion to how much time one dedicates to figuring it out. For instance, one could appreciate Hadjidjanos’s Network/ed Pillars (Taraxacum Officinale Arrangement) (2016) (part of the ongoing project “Network Time,” 2010–2016) installed in a new configuration in this untitled exhibition, solely on the level of aesthetic experience: in a darkened room of the gallery, a group of ten routers is arranged on the floor, each one with a fiber optic cable attached to a blinking LED light on its surface. The cables extend the lights up to the ceiling in long, bright vertical lines, creating a poetic visualization of their fluctuating signals. Aesthetically seductive, this setup also illustrates several technical processes at work: each router generates an open wireless network and any device within range can automatically connect to one at random. So if someone in the room is connected to a network, the blinking of the respective router will change slightly, hinting at the action. This activity may be (barely) …

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