Elevation drawings of the Wittgenstein house in Vienna: Northeast, Northwest, Southwest and Southeast elevations.

REMEMBER DATA. Stadium's most recent project is Maciej Wisniewski's Turnstile. The artwork exist in two variations, one variation is a physical/network installation that links a turnstile in a subway station to a turnstile in a gallery space. The gallery turnstile mimics the movement of the subway turnstile. The two turnstiles are connected via the internet and the transmitted data between the two is presented on stadium. This integer representation of data is untouched or unfiltered. This physical/network phase is of limited duration and first took place in New York City between a turnstile in the Times Square subway station and the Daniel Silverstein Gallery. The second variation (upcoming) is a network installation in which parts of the stadium site is monitored for activity, a turnstile for electronic data. These activities will be presented on the stadium site.

Stadium's other current projects include David Askevold's Love Mansion a dual representation of the history of the Norma Talmadge mansion where Sharon Tate was murdered. Louis Lawler's Birdcalls is an interactive update of Lawler's cacophonic and hilarious redirect of contemporary art history through ornithography. And John Simon Jr's Every Icon, is a java applet programmed to generate every possible image. It will reside on the stadium server for the next few hundred trillion years. That is the time required (with today's average computer processing speed) to complete every combination and permutation of the 32 by 32 grid of Every Icon. Every Icon becomes a surrogate for a human culture that cannot possibly experience it in its entirety.

In the Archives, stadium presents past projects including, the network version of Allan McCollum's Reprints. With this project Allan McCollum has left the physical (and mechanical) domain of production and distribution to enter the electronic domain of mould-less duplication. A domain where distribution and production are not only infinite, but they are a simultaneous event. Like, Lawrence Weiner's One Standard Air Force Dye Marker Thrown into the Sea a filmed art work and interview from 1969. The art works' intangibility, their definition as intellectual construct and their physical realization as distribution find a fitting host in stadium. In addition, we have maintained our debut two projects: Gerald Ferguson's The Standard Corpus of Present Day English Language Usage and Ron Wakkary's Encyclopedia.

These art projects are part of an ongoing series that are collaborated on and presented by stadium. Our focus is on realizing site-specific art works, as well as documenting past works made of "ephemeral media", art works that may not survive the vicissitudes of "real" or "commodity" space: weather, age or unsale-ability.

Stadium chose its name to relay the idea of stadium as an arena for discussing, engaging and presenting the aesthetic possibilities of the network. Equally important is the alternative use of the word "stadium" as a stage in development in regard to geology or culture. The present stadial churning creates sites like stadium whose only response to change and flux is change and flux itself.

Ron Wakkary, curator