2012 - 2013, interactive art, two traffic lights, various dimensions.
Installation view, Miza Galeri Tirana, solo exhibition.
"Klodian Deda's work “Semafor” suggests a three-dimensional space between two traffic lights; inserting the public in a perceptual setting to cultivate emotions in a
space where sentient reality prevails.
We are dealing with an "un-framed" exhibit that falls outside conventional norms and takes into account visual art as it closely relates to the extent of the volume it
occupies, thus creating a psychological space where genuine thought merges with the perception of the body in a precise space/time momentum.
Utilizing a three-dimensional space as an immaterial art piece establishes the premise for a specific aesthetic category leaning more towards epistemology than
ontology through the transgression of the formal expression forms, developing a sensory experience, visions, fantasies, and a state of tension in the space between the
austere traffic lights, which consequently provoke a contradictory abstract reality that puts the public in a dilemma or questionable position, thus presenting an
analogy between illusion and purpose.
What is the objective opinion suggested here, by the space between two specific objects symbolically represented by two contingent traffic lights?
The answers come from the subconsciousness and the cultural domain.
The “Semafor” project is part of an artistic search and aesthetic experiment that encourage reflection on the phenomena of the political, social and cultural kind.
In itself, this project represents a significant approach conveying an identity awareness paradigm: where we come from, who we are, where we are going, expressing its
point of view on the individual in relation to the time we live in."
Semaphore by its etymilogy and then in the broadest sense, means: a carrier of semata, sign bearer. This ubiquitous instrument of semiotics applied to human trade,
know as the traffic light, has a privileged status as the tool that never fails, which must be respected for civic duty, education, personnal safeguard. Entered
preponderantly in use for regular road traffic, it has been borrowed from the maritime signaling system. Klodian Deda brings it inside the house, stripping it of its usual
power and its regulatory function. Yet the house (that living place used as a dormitory, office or studio that might be), has always been the crowedest place in the world.
The steps that Odysseus has done around the world, as a sum of all his travels are far fewer compared to the steps that he has done not minding into his house. And no
place more that a modern house (whether used as a gallery, bar or boutique ), would need a carrier of semata to manage the extremely congestedtraffic. The house of
modern man may seems like a forge sometimes, and more likely it ressembles to a pressure cooker; in there rest and clash the hardly contained ambitions of this era,
still haunted by the need to go beyond himself, and get cancelled in the space of realization.But the introduction of the semaphore in the house, by Deda, sounds ironic
and provocative. The light will have no function of traffic ruler. In the gallery there will be dark, as if we were in a tunnel, and that light will give hope and fear as a light
at the end of a train tunnel. The user will be able to command the ignition of the green light in order to pass, but will will hardly get to exit, with the other fixed traffic
light on red. The semaphore in the house fairly reppresents the automatisation of our lives, our most incurable tics, the aberration that comes from the fact that we do
not know how on earth to harmonize our movements with others, while we always keep needing an external referee, even though a nonliving one (in any case it would
never seem ruthless to us, as
the human referee), to notify us elementary signs.
The robot is us.
You get to pass, you do not get to pass...
The lack of yellow light, deprives thh semaphore of any normalizing function, chases it away from the world of the streets, directions, labour, and leaves it in the very
place of 'either-or'; likewise in a prison, where getting in and out assumes a huge existential importance comparable only to gravity.