Adnan Hadzi

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Adnan Hadzi

Adnan Hadzi has been a regular at Deckspace Media Lab, for the last decade, a period over which he has developed his research at Goldsmiths, University of London, based on his work with Deptford.TV. It is a collaborative video editing service hosted in Deckspace's racks, based on free and open source software, compiled into a unique suite of blog, cvs, film database and compositing tools.

Currently Adnan is a participant researcher in the CreekNet project. This pilot engages a diverse population within a limited geographical area, Deptford, in South East London, UK. Deptford is an inner-city area with a mixed socio-economic profile, including low income neighbourhoods, artist communities, student populations attending a range of institutions including Goldsmith’s College, Ravensbourne College and the University of Greenwich; and urban professionals. Formerly a wealthy area, economic activity declined with the closure of the nearby dockyards, though a process of redevelopment and gentrification is underway, which has led to local debates about the identity and future of the area.

Adnan is co-editing and producing the video book, exploring video as theory, reflecting upon networked video, as it profoundly re-shapes medial patterns (Youtube, citizen journalism, video surveillance etc.). This volume more particularly revolves around a society whose re-assembled image sphere evokes new patterns and politics of visibility, in which networked and digital video produces novel forms of perception, publicity – and even (co-)presence.

Adnan’s documentary film work tracks artist pranksters The Yes Men and net provocatours Bitnik Collective. In 2013 he released Bitter Lemons documentary mapping lemon grovers on both sides of the no man’s land of Cyprus. Bitter Lemons is the moving story of a friendship between enemies that survived against the odds over 30 years of separation. It provides a unique local perspective on the largely forgotten conflict in Cyprus, which became part of the European Union in 2004, from people who have lived with the consequences of this conflict, the memories, the minefields and the barricades, since 1974.

Adnan’s current documentary project focuses on his involvement in the media arts collective ! Mediengruppe Bitnik. Bitnik’s practice expands from the digital to affect physical spaces, often intentionally applying loss of control to challenge established structures and mechanisms. Bitnik's works formulate fundamental questions concerning contemporary issues. In early 2013 !Mediengruppe Bitnik sent a parcel to WikiLeaks founder Julian Assange at the Ecuadorian embassy. The parcel contained a camera which broadcast its journey through the postal system live on the internet: «Delivery for Mr. Assange» a SYSTEM_TEST and a Live Mail Art Piece. [1]

Papers, Essays and Talks

  • 2017: Displaying Video as Theory and Reference System – Open Fields Conference;
  • 2017: After.Video Assemblages – Open Humanities Press;
  • 2016: @ Indefinite Visions - Whitechappel Art Gallery;
  • 2016: Video Book - Libre Graphics Conference;
  • 2016: Networked - A Media Genealogy of the Network Society by Clemens Apprich – Transmediale Festival;
  • 2015: FLOSS TV: Database Filmmaking – Rotledge;
  • 2015: Imersão para desenvolvimento de projetos - Immersion into projects in development - Besides the Screen;
  • 2015: CONTACT: Facilitating information sharing between strangers with DIY networking - Hybrid City;
  • 2015: 'S.o.S’ Piratebox and Beyond - Besides the Screen;
  • 2014: reStreet / Enclosures of New Athens - Goethe-Institut Athen;
  • 2014: Spectrals of the Spectacular - Besides the Screen;
  • 2014: Deckspace.TV reSynced - Deckspace.TV reSynced - Leuphana University, Post Media Lab, Mute;
  • 2014: Delivery for Mr. Assange – Echtzeit;
  • 2014: Mesh Media - Leuphana University, Post Media Lab;
  • 2014: Co-Organiser Video Vortex – Video Vortex;
  • 2013: Radical Real Time - Post digital cultures;
  • 2013: Critical Video Editing - Media Intervention;
  • 2013: reSync UG - Leuphana University, Post Media Lab;
  • 2012: Critical Video Editing – ECREA;
  • 2012: FLOSSTV - Goldsmiths, University of London;
  • 2012: Interview - TV LIKE US;
  • 2011: Content, Data and Media – ISEA;
  • 2010: Deptford.TV, effective tools for film-makers;
  • 2010: Data Spheres – Fear;
  • 2010: FILE-SHARING for Documentarrrians (yo–ho-ho) – DOX;
  • 2009: Deptford.TV – Vertigo;
  • 2009: Deptford.TV and the Data Sphere - 'The Visual Archive: the moving image and memory', CRESC workshop;
  • 2009: Why openness matters - Using Moving Image Archive Conference, UCL;
  • 2009: Node.London Reader II - Mute Publishing;
  • 2008: The author versus the collective, AVPhD;
  • 2008: TV Hacking - Documentary Now! A Conference on the Contemporary Contexts and Possibilities of the Documentary;
  • 2008: Involve me and I will understand - RIPE Conference;
  • 2008: Access to Technology - The Alternative Media Handbook;
  • 2008: Deptford.TV Diaries II - Pirate Strategies - Mute Publishing;
  • 2008: Involve me and I will understand, the Deptford.TV project- Deptford.TV Diaries II - Pirate Strategies;
  • 2008: Taxi to Praxi (and back again): the nextlayer - The Next Layer;
  • 2008: Participatory History Making and Documenting – Disclosures;
  • 2007: Inclusion through Media- Mute;
  • 2007: Converge - Online Video - Goldsmiths, University of London;
  • 2007: On Politics of Sharing- Feedback;
  • 2007: Strategies of Sharing: Deptford.TV - Street Signs;
  • 2007: What is Deptford.TV? - VideoActive Conference, Kings College;
  • 2007: Strategies of Sharing: the Case-study of Deptford.TV - Body, Space & Technology;
  • 2006: Deptford.TV Diaries - Mute Publishing;
  • 2006: How to D.TV - Deptford.TV Diaries;
  • 2005: Node London;
  • 2003: H+O Films LLP.

Artistic Performances

  • 2006: Fusion of the modes of the digital/networked publication and the traditional form of the physical (wasted?) book – Art Meets Radical Openness;
  • 2016: Seeing Power - What About That? - Transmediale Festival;
  • 2015: Deckspace.TV media archeology - Leuphana University, Post Media Lab & SPC Media Lab;
  • 2015: The YesMen are revolting – ARTE;
  • 2015: reSync All - Transmediale Festival;
  • 2014: Random Darknet Shopper - Kunsthaus St. Gallen;
  • 2014: Bitter Lemon - H+O Films LLP;
  • 2013: Delivery for Mr. Rajab - !Mediengruppe Bitnik;
  • 2013: Delivery for Mr. Assange - !Mediengruppe Bitnik;
  • 2012: Surveillance Chess - !Mediengruppe Bitnik;
  • 2010: Following The Crisis - !Mediengruppe Bitnik;
  • 2009: CCTV – A Trail of Images -  !Mediengruppe Bitnik;
  • 2009: Ubs Lügt / UBS Lies - Space Studios;
  • 2009: The Yes Men fix the World - Arte France Cinéma;
  • 2008: Your own privat pirate tv station - !Mediengruppe Bitnik;
  • 2004: Babushka – SWR.

External links