We do not simply live in an age of technology.
We live in an age of new image regimes.
Dio Horia presents the group exhibition Weak Signal, bringing together works by Maja Djordjevic, Petros Efstathiadis, Elias Kafouros, Katelyn Ledford, Eva Papamargariti, Ally Rosenberg, Emily Ludwig Shaffer, and Aleksandar Todorovic.
The exhibition will run from April 2 to May 16, 2026.
Opening reception: April 2, 19:00–21:00.
The exhibition Weak Signal explores the relationship between digital culture, data systems, and the ways in which contemporary artistic production can be understood within this condition — a condition in which images increasingly function as signals within broader technological environments. In a world where even more images are produced, circulated, and analyzed through technological infrastructures and algorithmic frameworks, the image no longer operates solely as a means of representation, but also as a component of broader processes that organize information and experience.
The term operational images, introduced by artist and theorist Harun Farocki, describes images that are not primarily produced for human viewing, but to function within systems of computational processes, surveillance, or automation. These are images that are read by machines, generate data, and participate in decision-making processes. In such an environment, the image shifts from representation to operation — from an object of viewing to part of a broader technological infrastructure.
The exhibition proposes a reading of the artistic image within this shifting ecosystem. The works do not necessarily engage technology directly, nor do they share common intentions; however, when seen together, they form a field in which the shifting role of the image becomes perceptible within a world increasingly structured by data, computational processes, and digital networks.
The exhibition brings together works that move between physical and digital spaces: hybrid bodies, avatars, synthetic landscapes, artificial forms, and constructions that resemble mechanisms or staged environments. Painting, video, sculpture, and installations come together to form images and structures that resemble fragments of a world in which the digital and the material are no longer clearly distinct.
Within this condition, the work of art can function as a site of negotiation: between the human gaze and algorithmic processing, between experience and simulation, between the materiality of the world and the abstract logic of data. Through diverse artistic practices and media, the exhibition constructs a space in which these tensions become visible and perceptible.
The title of the exhibition, Weak Signal, refers to a faint signal that is barely perceptible within the noise of systems. In data theory and in the analysis of technological and social change, the term is used to describe early indications of potential transformations before they become fully visible. Within the context of the exhibition, it functions as a metaphor for those subtle tensions and fractures through which we can begin to perceive the transformations of a world increasingly organized by algorithmic and technological structures.
