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FUTURA

INTOTHEPILL
VOL.01
GREEK CONTEMPORARY VIDEO ART
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ISBN 978-960-6654-93-0
ÁíäñÝáò ÁããåëéäÜêçò
Áéêáôåñßíç ÃåãéóéÜí
Máñßíá Ãéþôç
ÃéÜííçò ÃñçãïñéÜäçò
Ãéþñãïò Äñßâáò
Ìáñßá Æåñâïý
Ìáßñç Æõãïýñç
Ëßíá Èåïäþñïõ
ÃéÜííçò Éóéäþñïõ
Êáôåñßíá ÊáíÜ
ÖùôåéíÞ ÊáñéùôÜêç
Íßíá Êïôáìáíßäïõ
Ôßíá Êüôóç
ÔÜóïò ËÜããçò
ÓÞöçò ËõêÜêçò
ÍôéÜííá ÌáãêáíéÜ
ÉùÜííá Ìýñêá
Ëßá ÐÝôñïõ
Áíôþíçò Ðßôôáò
¢ããåëïò ÐëÝóóáò
Ãéþñãïò ÓáðïõíôæÞò
ÁíäñÝáò ÓéôïñÝãêï
Âáóéëåßá Óôõëéáíßäïõ
Íéêüëáïò Ôæáöåñßäçò (vinsky)
Ðáíáãéþôá ÔæáìïõñÜíç
ÓôÝöáíïò Ôóéâüðïõëïò
ÌÜêçò ÖÜñïò
Andreas Angelidakis
Aikaterini Gegisian
Marina Gioti
Yiannis Grigoriadis
George Drivas
Maria Zervou
Mary Zygouri
Lina Theodorou
Yiannis Isidorou
Katerina Kana
Fotini Kariotaki
Nina Kotamanidou
Tina Kotsi
Tassos Langis
Sifis Lykakis
DeAnna Maganias
Ioanna Myrka
Lea Petrou
Antonis Pittas
Angelo Plessas
Yorgos Sapountzis
Andreas Sitorego
Vassiliea Stylianidou
Nikolaos Tzaferidis (vinsky)
Panayota Tzamourani
Stefanos Tsivopoulos
Makis Faros
INTOTHEPILL
VOL.01
GREEK CONTEMPORARY VIDEO ART
Ìå ôç óõíåñãáóßá /
In collaboration with
FUTURA
INTOTHEPILL
VOL.01
GREEK CONTEMPORARY VIDEO ART
ÅéóáãùãÞ
Introduction
Ôåý÷ïò / Issue 1
Ôåý÷ïò / Issue 2 Soundrugs
Ôåý÷ïò / Issue 3 Tamara’s Belgrade
Ôåý÷ïò / Issue 4 Violesence
Ôåý÷ïò / Issue 5 Asymmetric sight scene
Tåý÷ïò / Issue 6

Self destruction
Ôåý÷ïò / Issue 7 Tehran Lust
Ôåý÷ïò / Issue 8 20th century
Ôåý÷ïò / Issue 9 It sounds like a capital
Karaoke Poetry Bar
Kafeneon Project Space Íåïôåñéêüôçôá êáé ðëÞîç /
Modernism and boredom
ÊáëëéôÝ÷íåò / Artists
ÁíäñÝáò ÁããåëéäÜêçò / Andreas Angelidakis
Áéêáôåñßíç ÃåãéóéÜí / Aikaterini Gegisian
Máñßíá Ãéþôç / Marina Gioti
ÃéÜííçò ÃñçãïñéÜäçò / Yiannis Grigoriadis
Ãéþñãïò Äñßâáò / George Drivas
Ìáñßá Æåñâïý / Maria Zervou
Ìáßñç Æõãïýñç / Mary Zygouri
Ëßíá Èåïäþñïõ / Lina Theodorou
ÃéÜííçò Éóéäþñïõ / Yiannis Isidorou
Êáôåñßíá ÊáíÜ / Katerina Kana
ÖùôåéíÞ ÊáñéùôÜêç / Fotini Kariotaki
Íßíá Êïôáìáíßäïõ / Nina Kotamanidou
Ôßíá Êüôóç / Tina Kotsi
ÔÜóïò ËÜããçò / Tassos Langis
ÓÞöçò ËõêÜêçò / Sifis Lykakis
ÍôéÜííá ÌáãêáíéÜ / DeAnna Maganias
ÉùÜííá Ìýñêá / Ioanna Myrka
Ëßá ÐÝôñïõ / Lea Petrou
Áíôþíçò Ðßôôáò / Antonis Pittas
¢ããåëïò ÐëÝóóáò / Angelo Plessas
Ãéþñãïò ÓáðïõíôæÞò / Yorgos Sapountzis
ÁíäñÝáò ÓéôïñÝãêï / Andreas Sitorego
Âáóéëåßá Óôõëéáíßäïõ / Vassiliea Stylianidou
Íéêüëáïò Ôæáöåñßäçò / Nikolaos Tzaferidis (vinsky)
Ðáíáãéþôá ÔæáìïõñÜíç / Panayota Tzamourani
ÓôÝöáíïò Ôóéâüðïõëïò / Stefanos Tsivopoulos
ÌÜêçò ÖÜñïò / Makis Faros
Ó÷åôéêÜ ìå ôï intothepill / About intothepill
Ðåñéå÷üìåíá / Contents
6
8
10
12
14
16
18
20
22
24
26
28
30
34
38
42
46
50
54
58
62
66
70
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78
82
86
90
94
98
102
106
110
114
118
122
126
130
134
138
142
6 I NTO THE PI LL VOL. I
Ôï intothepill óôá ôñßá ÷ñüíéá ôçò ýðáñîÞò ôïõ
Ý÷åé ðáñïõóéÜóåé ðñïâïëÝò Ýñãùí óå öåóôéâÜë,
ìïõóåßá, ãêáëåñß, êéíçìáôïãñáöéêÝò áßèïõóåò
êáé áíåîÜñôçôïõò ÷þñïõò.
Åêäßäåé çëåêôñïíéêÜ ôåý÷ç ðáñïõóéÜæïíôáò
êáëëéôÝ÷íåò áðü üëï ôïí êüóìï, êáé ðáßñíåé
ìÝñïò óå äéåèíåßò êáëëéôå÷íéêÝò äéïñãáíþóåéò,
åíþ åðéìåëåßôáé êáé ïñãáíþíåé óõëëïãéêÜ Ýñãá.
Ìßá áðü ôéò áñ÷éêÝò ìáò ðñïèÝóåéò åßíáé
íá áíáäåßîïõìå ôéò äõíáôüôçôåò ðïõ Ý÷ïõí
ïé êáëëéôÝ÷íåò íá äéá÷åéñéóôïýí ïé ßäéïé ôï
Ýñãï ôïõò êáé íá ðñïóåããßóïõí ôï Ýñãï ôùí
óýã÷ñïíþí ôïõò. Óôçí åðï÷Þ ìáò üðïõ êÜèå
êáëëéôÝ÷íçò åßíáé Ýíá ìïíá÷éêü ðåßñáìá ðïõ
äåí õðïëïãßæåé ðáñÜ óôç äýíáìç ôïõ äéêïý
ôïõ ïñÜìáôïò, ôï äßêôõï äåí åßíáé ïìÜäá,
óõãêñüôçóç äçëáäÞ üðïõ üëá ôá ìÝëç
õðáêïýïõí óå Ýíá êïéíü êþäéêá, åßíáé üìùò
Ýíá åßäïò óõëëïãéêüôçôáò ðïõ áñèñþíåé Ýíáí
êáô’åîï÷Þí ðïëéôéêü ëüãï. Ç ßäéá ç áíÜãêç
äçìéïõñãßáò ôïõ äéêôýïõ åðéâåâáéþíåé ôçí
ðåðåßèçóç üôé ôá Ýñãá êáé ïé óêÝøåéò ðïõ
ôá ãåííïýí äåí åßíáé ðïôÝ ðñïéüí áôüìùí
áðïìïíùìÝíùí, áëëÜ ìÜëëïí áðïôÝëåóìá
êïéíùíéêþí äéåñãáóéþí êáé êõêëïöïñßáò
ðïëëþí êáé óõ÷íÜ áíôéêñïõüìåíùí áíôéëÞøåùí.
Ç éäÝá ôçò ðëáôöüñìáò âáóßæåôáé óå áõôÞí
ôçí áñ÷Þ, êáé ôåëéêÜ óôá ùò ôþñá ôåý÷ç ìáò
áëëÜ êáé óôéò ðñïâïëÝò êáé ôá óõëëïãéêÜ
Ýñãá ðïõ åðéìåëçèÞêáìå, Ý÷ïõìå åìðëáêåß
ó÷åäüí ìå ôï óýíïëï ôùí êáëëéôå÷íþí ðïõ
÷ñçóéìïðïéïýí ôï âßíôåï êáé ôçí øçöéáêÞ
ôå÷íïëïãßá, óôçí ÅëëÜäá, åðéäéþêïíôáò ôçí
äéÜäïóç êáé ôçí áíÜäåéîç ôïõ Ýñãïõ ôïõò.
Ïé ¸ëëçíåò êáëëéôÝ÷íåò äñïõí êáé
äçìéïõñãïýí óå Ýíáí êüóìï, óå ìåãÜëï
âáèìü ïìïãåíïðïéçìÝíï. Åßíáé ï êüóìïò ðïõ
êáèïñßæåôáé áðü ôá Þèç ôçò ìåãáëïýðïëçò,
ôçí ìáæéêÞ ðáñáãùãÞ êáé ôçí ìáæéêÞ
êáôáíÜëùóç, ôçí Üìåóç ñÞîç ìå ôï ðáñåëèüí,
ôïí åêäçìïêñáôéóìü ôçò ãíþóçò êáé ôçí
áëìáôþäç ôå÷íïëïãéêÞ ðñüïäï. ÊÜèå
7 I NTO THE PI LL VOL. I
ðñïóðÜèåéá êáèïñéóìïý êÜðïéùí éäéáßôåñùí
÷áñáêôçñéóôéêþí, üóïí áöïñÜ ôï Ýñãï
ôïõò, êÜèå áðüðåéñá ôáîéíüìçóçò ìå óêïðü
ôç äçìéïõñãßá åíüò åèíéêïý trademark èá
ðñüäéäå ôçí ðïëõäéÜóôáôç êáé ðëÞñùò áíïé÷ôÞ
ó÷Ýóç ôïõò ìå ôï êáëëéôå÷íéêü ãßãíåóèáé ôçò
åðï÷Þò ôïõò êáé ôéò äéáñêþò ìåôáëëáóüìåíåò
üøåéò ôçò óýã÷ñïíçò ôÝ÷íçò ôçí ïðïßá
åîåñåõíïýí. ÓõíõðÜñ÷ïõí åêôüò ãåùãñáöéêþí
êáé Üëëùí óõíüñùí, óôï åëåýèåñï ðåäßï
ôïõ ðåéñáìáôéóìïý, ôåßíïíôáò óôï óçìåßï
óýãêëéóçò üðïõ óõíáíôþíôáé, óõíäéáëÝãïíôáé
êáé áëëçëïóõìðëçñþíïíôáé, ç áìöéóâÞôçóç ôçò
áëÞèåéáò êáé ôï õðïêåéìåíéêþò âéùìÝíï ðáñüí.
Äéáôçñþíôáò ôï óôïýíôéï ôïõò óôïí öïñçôü
õðïëïãéóôÞ ôïõò, åîåôÜæïõí, åñåõíïýí êáé
áðïêáëýðôïõí, ôçí áíáñ÷ßá ôùí äéêôýùí, ôéò
áíáäõüìåíåò êïéíùíéêÝò óõìðåñéöïñÝò êáé
ôá Þèç ôïõò, ôçí äéá÷åßñéóç ôçò ðëçñïöïñßáò.
ÓõëëÝãïõí êáé áíáëýïõí áñ÷åßá êåéìÝíùí,
öéëì êáé öùôïãñáöéêþí åðéêáßñùí êáé
åðáíáêáèïñßæïõí ôéò áñ÷éêÝò áíáöïñÝò
ôïõò, ó÷ïëéÜæïõí êáé åêèÝôïõí óå íÝá
äéáðñáãìÜôåõóç ôá «áìåßëéêôá» ãåãïíüôá,
ðñïêáëþíôáò ôï êýñïò ôçò óõëëïãéêÞò ìíÞìçò.
Åîåñåõíïýí ôçí êéíçìáôïãñáöéêÞ ãëþóóá,
åðéíïþíôáò áíáôñåðôéêÝò áöçãÞóåéò.
Áõôïâéïãñáöïýíôáé «ðñüùñá» åéñùíåõüìåíïé
ôïí åáõôü ôïõò, áðïêçñýôôïõí ôçí
«ìåôáìïíôÝñíá åîÝãåñóç», ÷ëåõÜæïõí ôïí
íáñêéóóéóìü ôïõò åêèÝôïíôáò ôï óþìá ôïõò,
ôéò óõíÞèåéåò êáé ôçí êáèçìåñéíüôçôÜ ôïõò.
Ç åðßêáéñç åßäçóç, ç ôçëåïðôéêÞ åéêüíá, ç ëáúêÞ
êïõëôïýñá ãßíïíôáé óõ÷íÜ óçìåßá áíáöïñÜò
ôïõ ó÷ïëéáóìïý ôïõò.
Ïéêåéïðïéïýíôáé ôçí ðüëç , ôçí ÷áñôïãñáöïýí,
ôçí êáôáêåñìáôßæïõí êáé óõíäéáëÝãïíôáé
ìå ôñüðï êáõóôéêü ìå ôïí äçìüóéï ÷þñï,
áðïäßäïíôáò ôïí óå áðñüóìåíåò ÷ñÞóåéò.
ÓõíäéáëÝãïíôáé Üöïâá ìå ôçí åíäå÷ïìåíéêüôçôá
ôïõ êüóìïõ, ðñáãìáôåýïíôáé ìå êá÷õðïøßá
ôéò äõíáôüôçôåò ôïõ ðñáãìáôéêïý êáé åðéíïïýí
åöÞìåñåò ïõôïðßåò , ðáéãíéþäåéò äñÜóåéò
êáé ðáñÜäïîåò ðñïïðôéêÝò.
×ñçóéìïðïéþíôáò ôçí øçöéáêÞ ôå÷íïëïãßá,
äéá÷åéñßæïíôáé ôï «ìç-õëéêü» áðïìõèïðïéþíôáò
ôç ìïíáäéêüôçôá ôïõ Ýñãïõ ôÝ÷íçò. ÅóôéÜæïõí
óôéò íÝåò äõíáôüôçôåò ôçò åðéêïéíùíßáò
êáé ôçò äéÜäïóçò ôïõ, äéåêäéêþíôáò ôçí
áõôïíïìßá ôïõò, öÝñíïíôáò Ýôóé óå áìç÷áíßá
ôéò êáèéåñùìÝíåò ìåèüäïõò äéáêßíçóçò êáé
äéá÷åßñéóçò ôçò ôÝ÷íçò áðü ôçí ìïíïóÞìáíôá
ðñïóáíáôïëéóìÝíç óôï êÝñäïò, áãïñÜ.
Ç åðïðôåßá êáé Ýñåõíá åíüò íÝïõ
êáëëéôå÷íéêïý ìÝóïõ üðùò åßíáé ôï âßíôåï,
êáé ïé äõíáôüôçôåò ôùí øçöéáêþí ôå÷íïëïãéþí,
ðáñüôé ïé ëéãïóôÝò áíáöïñÝò êÜíïõí ðåñßðëïêç
êÜèå ðñïóðÜèåéá áîéïëüãçóçò, Ý÷ïõí äþóåé
óôï intothepill ôçí äõíáôüôçôá íá óõíôÜîåé
Ýíáí ðñþôï ôüìï üðïõ ðáñïõóéÜæïíôáé 27
êáëëéôÝ÷íåò áðü ôçí ÅëëÜäá, ïé ïðïßïé ìå
óõíÝðåéá åñåõíïýí êáé åöáñìüæïõí ôéò íÝåò
ãëþóóåò ôçò øçöéáêÞò åðï÷Þò.
Ï ðñþôïò áõôüò ôüìïò, áðïôåëåß Ýíá
åã÷åéñßäéï, ï ÷ñÞóôçò ôïõ ïðïßïõ ëáìâÜíåé ôéò
ðëçñïöïñßåò ðïõ ÷ñåéÜæåôáé ãéá íá ðëïçãçèåß
óôïí êüóìï ôçò óýã÷ñïíçò åëëçíéêÞò
ðáñáãùãÞò ôïõ øçöéáêïý åéêáóôéêïý âßíôåï.
Ôá ðåñéå÷üìåíÜ ôïõ ðåñéëáìâÜíïõí ôçí
áíáëõôéêÞ âéíôåïãñáößá, ôéò âáóéêüôåñåò
óõììåôï÷Ýò óå åêèÝóåéò êáé öåóôéâÜë, êáé
ôá óôïé÷åßá ôïõ êÜèå êáëëéôÝ÷íç, êáèþò
êáé öùôïãñáöéêü õëéêü áðü ôá Ýñãá ôïõò.

intothepill
8 I NTO THE PI LL VOL. I
During the three years it has been in existence,
the network of intothepill has organized film
and video showings at festivals, in museums,
galleries, movie theaters and independent
venues.
intothepill publishes an electronic magazine
where it presents the work of artists from around
the world and participates in international art
events, while it also organizes and coordinates
collective projects..
One of our inaugural aims has been to
highlight the capacity of artists to manage their
own work and to establish vital connections
with the work of their contemporaries. In our
age, where every artist tends to be a lonely
experimenter, accountable only to the power
of their individual vision, the network is not a
consolidated group (one, that is, where all the
members adhere to a common code), it is a
collectivity of a kind, aspiring to a discourse
which is primarily political in nature. The need
itself for the creation of the network affirms
the conviction that artworks, and the thought
processes which generate them, are not the
products of isolated individuals but, more likely,
the end result of social processes and of the
circulation of a multitude of often contradictory
constructs.
From this principle is derived the idea of
a platform and the outcome, in our electronic
issues to date, as well as in the video screenings
and in the collective works we have coordinated,
has been that we have become involved with
virtually all of the Greek artists using video and
digital technology, in an attempt to disseminate
and promote their work.
Greek artists act and create in a world which
is, to a large degree, homogenized. It is a world
whose parameters are set by the norms of the
large city, by mass production and mass con-
sumption, by the summary break with the past,
the democratization of knowledge and by the
9 I NTO THE PI LL VOL. I
exponential advance of technology. Every at-
tempt at arriving at a particular set of defining
characteristics of their work, every attempt at
classification aiming at the creation of a ‘national
trademark’, would fall short of their multidi-
mensional and fully open relationship with the
artistic activity of their time and the continually
transforming aspects of contemporary art, which
are the object of their exploration. They coexist
outside national and every other kind of borders,
within the free field of experimentation, tending
to the meeting points where the questioning of
truth and the subjectively lived experience of ‘the
present’ intersect, interact and mutually comple-
ment one another.
Having their studio set up in their laptops,
they examine, research and lay bare the anarchy
of the networks, the emerging social behaviors
and mores, the management of information.
They collect and analyze files of text, film and
photographic news coverage and they redefine
the initial references in these, passing comment
on the «raw» facts and negotiating their meaning
anew, in ways that challenge the established
orthodoxies of collective memory.
They explore the idiom of cinematography,
inventing subversive narratives.
They set out their ‘premature’, self-ironic
autobiographies, they dismiss the ‘post-modern
rebellion’, they mock their narcissism by openly
exposing their body, their habits, their day-to-day.
Items from a news update, a TV image
and popular culture are some of the points
of reference of their commentary. They claim
ownership of the city, they map it out, they break
it up and transact with public space scathingly,
putting it to unforeseen uses.
They engage fearlessly with the different
contingencies the world displays, they deal
suspiciously with reality’s potentials and they
invent ephemeral utopias, playful actions and
paradoxical points of view.
Using digital technology, they manage
the «non-material» in ways that debunk the
uniqueness of the artwork. They focus on
the new possibilities of its communication
and dissemination, staking a claim for their
autonomy and, in the process, discomfiting
the established means of circulation and
management of art by a market that is
unilaterally focused on profit.
Though the scarcity of points of reference
hinders attempts at a systematic evaluation,
the overview of a new artistic medium such as
video and research into the potential of digital
technologies, have provided intothepill with
the opportunity of amassing a first volume
which presents 27 artists from Greece, who are
committed to the exploration and application of
the new codes of the digital era.
This first volume, constitutes a manual,
making available to its user the information
necessary to navigate around the world of
contemporary Greek production of digital art
video.
Its contents include a detailed videography
for each artist, their main collaborations in
festivals and exhibitions and their biographical
data as well as photographic material from their
work.
intothepill
10 I NTO THE PI LL VOL. I
Ôåý÷ïò / Issue 1
Curated by: intothepill
Participants: Lina Theodorou, Katerina Kana,
Vassiliea Stylianidou, Mary Zygouri,
Yiannis Isidorou, Nikos Tzaferidis
Intothepill is not the site of a collective but,
rather, an attempted conjugation that vibrates
incessantly with doubt: the only safe recourse of
the poetic act.
Six videos from the first intothepill exhibition.
Simulation of an election center. Monitors
behind the screens, people queuing for a private
view of the work.
1
Ëßíá Èåoäþñïõ / Lina Theodorou
Addiction
2
Êáôåñßíá ÊáíÜ / Katerina Kana
Dust my Ass
3
Âáóéëåßá Óôõëéáíßäïõ / Vassiliea Stylianidou
Infinity (now)
4
Ìáßñç Æõãïýñç / Mary Zygouri
Way Out
5
ÃéÜííçò Éóéäþñïõ / Yiannis Isidorou
Where is Pablo Frank?
6
Íßêïò Ôæáöåñßäçò / Nikos Tzaferidis
Dog Universe
ÅðéìÝëåéá: intothepill
ÓõììåôÝ÷ïíôåò: Ëßíá Èåoäþñïõ,
Êáôåñßíá ÊáíÜ, Âáóéëåßá Óôõëéáíßäïõ,
Ìáßñç Æõãïýñç, ÃéÜííçò Éóéäþñïõ,
Íßêïò Ôæáöåñßäçò
Ôï intothepill äåí åßíáé ï ôüðïò ìéáò óõëëïãéêü-
ôçôáò áëëÜ ìßá áðüðåéñá óõíåýñåóçò ðïõ äï-
íåßôáé áóôáìÜôçôá áðü ôçí áìöéâïëßá, ôï ìüíï
áóöáëÝò êáôáöýãéï ãéá ôçí ðïéçôéêÞ ðñÜîç.
¸îé âßíôåï áðü ôçí ðñþôç ðáñïõóßáóç ôïõ
intothepill. Ðñïóùìïßùóç åêëïãéêïý êÝíôñïõ
óôç ãêáëëåñß Å31. Ôá ðáñáâÜí êñýâïõí
ìüíéôïñ, ôï êïéíü ðåñéìÝíåé óå ïõñÝò ãéá ôçí
éäéùôéêÞ èÝáóç ôïõ Ýñãïõ.
03/06
11 I NTO THE PI LL VOL. I
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12 I NTO THE PI LL VOL. I
1
Milos Tomic
Hair
2
Matthias Mayer
Porte de Berlin
3
ÉùÜííá Ìýñêá / Ioanna Myrka
Game
4
Íßíá Êïôáìáíßäïõ / Nina Kotamanidou
Between You And Me
5
Ðáíáãéþôá ÔæáìïõñÜíç / Panagiota Tzamourani
I have always been here
6
Rasha Popovic
Expiriance
ÅðéìÝëåéá: intothepill.
ÓõììåôÝ÷ïíôåò: Milos Tomic, Matthias Mayer,
ÉùÜííá Ìýñêá, Íßíá Êïôáìáíßäïõ,
Ðáíáãéþôá ÔæáìïõñÜíç, Rasha Popovic
Âßíôåï êáëëéôå÷íþí áðü ôç Óåñâßá, ôç Ãåñìáíßá
êáé ôçí ÅëëÜäá. Ìå ôéò óõãêåêñéìÝíåò äïõëåéÝò
ç ïìÜäá intothepill óõììåôåß÷å êáé óôï
ÖåóôéâÜë Strangescreen óôç Èåóóáëïíßêç (4-8
Ïêôùâñßïõ 2006). Ï êáëëéôÝ÷íçò Milos Tomic
ìå ôï Ýñãï ôïõ Hair êáôÝëáâå ôçí ðñþôç èÝóç
óôï äéáãùíéóôéêü ìÝñïò ôïõ öåóôéâÜë.
Curated by: intothepill.
Participants: Milos Tomic, Matthias Mayer,
Éoanna Myrka, Nina Kotamanidou,
Panagiota Tzamourani, Rasha Popovic
Videos by artists from Serbia, Germany, and
Greece. With this group of videos intothepill
has participated in Strangescreen Festival in
Thessaloniki (4-8 October 2006). We are happy
to announce that the fist prize was awarded to
the artist Milos Tomic for his work Hair.
Ôåý÷ïò / Issue 2
Soundrugs
11/06
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4 5 6
14 I NTO THE PI LL VOL. I
ÅðéìÝëåéá: Êáôåñßíá Çëéïðïýëïõ,
ÃéÜííçò Éóéäþñïõ
ÓõììåôÝ÷ïíôåò: Milos Tomic, Nenad Jeremic,
Unknown Artist, Aleksandrija Ajdukovic,
Onjin Veljko, Unknown Artist
H ÔáìÜñá ðïôÝ äåí ðáßñíåé ôï ëåùöïñåßï Þ ôï
ôñáì. Ðçãáßíåé ðáíôïý ìå ôá ðüäéá. Êé Ýôóé ôçí
áêïëïõèïýìå óå áôåëåßùôåò äéáäñïìÝò ìÝóá
óôçí ðüëç ÷ùñßò ÷Üñôç. Åßíáé ï ïäçãüò ìáò. Ôï
ôåý÷ïò áõôü äåí åßíáé áðïôÝëåóìá åíäåëå÷ïýò
Ýñåõíáò, ïýôå ðáíüñáìá ôçò ðáñáãùãÞò
âßíôåï ôïõ Âåëéãñáäßïõ. ÐñïÝñ÷åôáé áðü ôç
óïäåéÜ ìéáò êáé ìüíçò âñáäéÜò ìåôÜ áðü äýï
ìÝñåò ðõêíþí ôçëåöùíçìÜôùí. Ùóôüóï åßíáé
áõôü ðïõ Þñèå áõèüñìçôá êïíôÜ ìáò êáé
åëðßæïõìå íá Ý÷åé ôçí áìç÷áíßá êáé ôï ñßóêï ôïõ
ôõ÷áßïõ áëëÜ êáé ôç äüíçóç ôçò óõíÜíôçóçò.
Ôåý÷ïò / Issue 3
Tamara’s Belgrade
Curated by: Katerina Iliopoulou, Yiannis Isidorou
Participants: Milos Tomic, Nenad Jeremic,
Unknown Artist, Aleksandrija Ajdukovic,
Onjin Veljko, Unknown Artist
Tamara never takes the bus or the tram. She
walks to wherever she goes. And so we follow
her in endless routes about the city of Belgrade
without a map. She is our guide. This issue
is not the result of assiduous research, nor a
panorama of Belgrade’s art video production
but only the product of one evening’s harvest
after two days of phone calls and networking
between artists. It is what came to us
spontaneously and we hope that it carries the
uneasiness and the risk of the accidental but
also the vibration of contacting one another.
1
Milos Tomic
Clay pigeon
2
Nenad Jeremic
Cloud machine
3
Unknown Artist
Disciplinary Urban Defence
4
Aleksandriaj Ajdukovic
Tigresses are walking
5
Onjin Veljko
Is there any problem?
6
Unknown Artist
Grand Love theme
02/07
15 I NTO THE PI LL VOL. I
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4 5 6
16 I NTO THE PI LL VOL. I
ÅðéìÝëåéá: ÉùÜííá Ìýñêá
ÓõììåôÝ÷ïíôåò: ÓÞöçò ËõêÜêçò,
Ãéþñãïò Ôïýñëáò, ÂáóéëéêÞ Ëåõêáäßôç,
Ëßíá Èåïäþñïõ, ÁíäñÝáò Mçôñüðïõëïò,
Áíáóôáóßá Äïýêá
Ïé Ýîé êáëëéôÝ÷íåò óôá Ýñãá âßíôåï ðïõ
ðáñïõóéÜæïíôáé åíôïðßæïõí ôçí âßá êáé ôïí ðüíï
ü÷é ùò ìéá áõôïêáôáóôñïöéêÞ ðñÜîç, áëëÜ
ùò ìÝóï ãéá ìéá åìðåéñßá ðïõ ðñïóåããßæåé ôï
âáèýôåñï åðßðåäï ôçò óõíåßäçóçò ìáò. ÊÜèå
ôÝôïéá ðñÜîç âßáò óôçí ôÝ÷íç, Ý÷åé ùò óôü÷ï íá
áëëÜîåé ôçí ðñïïðôéêÞ ôçò ðñáãìáôéêüôçôáò,
÷ñçóéìïðïéþíôáò ìéá íÝá óõìâïëéêÞ ãëþóóá.
Ôåõ÷ïò / Issue 4
Violesence
Curated by: Éoanna Myrka
Participants: Sifis Lykakis, George Tourlas,
Vasiliki Lefkaditi, Lina Theodorou,
Andreas Mitropoulos, Anastasia Douka
The six artists in the video works presented here,
turn violence and pain into themselves not as
a suicidal act but as a means to experience a
deeper level of their conscience. Every such
act of violence, in art, aims to change our
perspective using a new symbolic language.
1
ÓÞöçò ËõêÜêçò / Sifis Lykakis
Autoportrait
2
Ãéþñãïò Ôïýñëáò / George Tourlas
Neoteny
3
ÂáóéëéêÞ Ëåõêáäßôç / Vasiliki Lefkaditi
Body
4
Ëßíá Èåïäþñïõ / Lina Theodorou
File
5
ÁíäñÝáò Mçôñüðïõëïò / Andreas Mitropoulos
Room 310.506
6
Áíáóôáóßá Äïýêá / Anastasia Douka
Rageloop
06/07
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ÅðéìÝëåéá: intothepill
ÓõììåôÝ÷ïíôåò: ÃéÜííçò ÃñçãïñéÜäçò,
Ãéþñãïò Äñßâáò, Ëßá ÐÝôñïõ, ÌÜêçò ÖÜñïò,
ÉùÜííá Ìýñêá, Ëßíá Èåïäþñïõ
Ôá Ýñãá áðïôÝëåóáí ìÝñïò ôùí ðñïâïëþí ðïõ
åðéìåëÞèçêå ç ïìÜäá intothepill ôïí ÓåðôÝìâñéï
ôïõ 2007, óôï Ìïõóåßï ÊõêëáäéêÞò ÔÝ÷íçò,
óôçí ÁèÞíá ìå áöïñìÞ ôçí Ýêèåóç Her (his)tory
óå åðéìÝëåéá Ìáñßíáò Öùêßäç.
Curated by: intothepill
Participants: Yiannis Grigoriadis, George Drivas,
Lea Petrou, Makis Faros, Éoanna Myrka,
Lina Theodorou
The video works were part of the intothepill
screenings in September 2007, at the Museum
of Cycladic Art in Athens in the exhibition Her
(his)tory curated by Marina Fokidis.
Ôåý÷ïò / Issue 5
Asymmetric sight scene
1
ÃéÜííçò ÃñçãïñéÜäçò / Yiannis Grigoriadis
Most wanted
2
Ãéþñãïò Äñßâáò / Giorgos Drivas
Closed circuit
3
Ëßá ÐÝôñïõ / Lea Petrou
I won't let you down
4
ÌÜêçò ÖÜñïò / Makis Faros
X-PICS
5
ÉùÜííá Ìýñêá / Ioanna Myrka
Time concept
6
Ëßíá Èåïäþñïõ / Lina Theodorou
Autoghosts
09/07
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20 I NTO THE PI LL VOL. I
ÅðéìÝëåéá: ¢ããåëïò ÐëÝóóáò
ÓõììåôÝ÷ïíôåò: Lapoupeequipue,
robbie1377, pfict, klayrebear, Kikorabbit,
ChildrenOfTheQuelch
Ôé óõìâáßíåé ìå ôçí âßíôåï ôÝ÷íç óôçí åðï÷Þ ôïõ
YouTube;
¼ôáí ìïõ æçôÞèçêå íá åðéìåëçèþ ôï 6ï ôåý-
÷ïò ôïõ intothepill, áíôß ãéá åéêáóôéêÜ âßíôåï,
åðÝëåîá Ýîé âßíôåï ðïõ âñÞêá óôï YouTube,
ðïõ åóôéÜæïõí óôï èÝìá ôçò áõôïêáôáóôñïöÞò.
Ðëçêôñïëüãçóá óôçí ìç÷áíÞ áíáæÞôçóçò ëÝ-
îåéò êëåéäéÜ üðùò «áõôïêáôáóôñÝöïìáé», «áõôï-
êáôáóôñïöÞ», Þ «áõôïèõóßá» êáé ðñïÝêõøå ìéá
áôåëåßùôç ëßóôá âßíôåïáðïôåëåóìÜôùí. Ôï èÝìá
åóôéÜæåé óôï äßëçììá ðïõ Ý÷ïõí ïé êáëëéôÝ÷íåò
ôåëåõôáßá: óå Ýíá ðéèáíü êïéíü åêáôïììõñßùí
÷ñçóôþí Þ óôçí áðïêëåéóôéêüôçôá êáé ôçí ïé-
êïíïìéêÞ áìïéâÞ ðïõ ðñïóöÝñåé ôï åéêáóôéêü
óýóôçìá;
Curated by: Angelo Plessas
Participants: Lapoupeequipue, robbie1377, pfict,
klayrebear, Kikorabbit, ChildrenOfTheQuelch
What happens to video art in the YouTube
era? When I was asked to curate the 5th
edition of intothepill, instead of choosing artists
videos, I made a selection of six videos that I
found in YouTube that deal with the theme of
self-destruction. I inserted the keywords "self-
destruct", "self-destruction" or "self-sacrifice"
and these videos were indexed in the endless
list. The theme acts as a hint for the dilemma
that video artists are facing lately: a potential
audience of millions or the exclusiveness and
the financial considerations of the art system?
1
lapoupeequipue
Swallow Out
2
robbie1377
physco guy jumps off building
3
pfict
Palestinian Suicide Terrorist's Farewell
Video
4
klayrebear
America's self destructive society
5
Kikorabbit
Kiko's vitamin overdose or suicide attempt?
6
ChildrenOfTheQuelch
Speed
Tåý÷ïò / Issue 6

Self destruction
10/07
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ÅðéìÝëåéá: Áëåîáíäñïò Ãåùñãßïõ
ÓõììåôÝ÷ïíôåò: Majid Massoumi Rad,
Farshad Fozouni, Amirali Ghasemi,
Neda Razavipour, Mahmoud Bahkshi Moakhar,
RozitaSharaf-Jahan.
(...) Ç ôÝ÷íç óôçí Ôå÷åñÜíç ìå åîÝðëçîå, áöïý
äåí áðïôåëåßôáé ìüíï áðü áíôéãñáöÝò ôçò
äõôéêÞò ôÝ÷íçò, áëëÜ ðåñéëáìâÜíåé êáé Ýñãá ìå
äéáöïñåôéêÝò ïðôéêÝò óå ðáñüìïéá æçôÞìáôá
ìå áõôÜ ðïõ áó÷ïëïýíôáé ïé óýã÷ñïíïé
êáëëéôÝ÷íåò äéåèíþò. ÅðÝóôñåøá ôï êáëïêáßñé
êÜíïíôáò êÜðïéá Ýñåõíá ãéá íá äéïñãáíþóù
ìéá Ýêèåóç åäþ óôçí ÁèÞíá, ìå ôÝ÷íç áðü ôçí
Ôå÷åñÜíç.
ÊáôÜ ôçí ðáñáìïíÞ ìïõ åêåß Ýöôéáîá
ìéá óõëëïãÞ áðü video ãéá ôï intothepill ìå
äéáöïñåôéêÝò ðñïóåããßóåéò, ïé ïðïßåò üôáí
éäùèïýí ìáæß áðïôåëïýí ìéá ðñïóðÜèåéá óôï
íá äåßîïõí Ýíá ìÝñïò ôçò ðïëõðëïêüôçôáò
êáé ôçò ðïéêéëßáò, ôçò óýã÷ñïíçò video-art
áðü êáëëéôÝ÷íåò ðïõ æïõí êáé åñãÜæïíôáé óôçí
Ôå÷åñÜíç.
Ôåý÷ïò / Issue 7
Tehran Lust
Curated by: Alexandros Georgiou
Participants: Majid Massoumi Rad,
Farshad Fozouni, Amirali Ghasemi,
Neda Razavipour, Mahmoud Bahkshi Moakhar,
RozitaSharaf-Jahan
(...) Art in Tehran, surprised me as well, since
it was not just copies of western art; instead
the works that I saw, offered different views on
similar subjects that contemporary artists deal
with. I went back this summer and did some
research in order to organize an exhibition here
in Athens with art from Tehran.
During my stay I put together a collection
of videos for intothepill. I find they represent
different approaches, that when seen together
comprise an adequate effort to show a fraction
of the complexity and variety of contemporary
video art, by artists who live and work in Tehran.
1
Majid Massoumi Rad
Edit
2
Farshad Fozouni
Forgotten language
3
Amirali Ghasemi
My video diaries
4
Neda Razavipour
Variations
5
Mahmoud Bahkshi Moakhar
Jesus
6
Rozita Sharaf-Jahan
Depress
12/07
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24 I NTO THE PI LL VOL. I
ÅðéìÝëåéá: ÃéÜííçò ÃñçãïñéÜäçò
Óôéò 21/04/07, óôçí éóôïóåëßäá
www.20thcentury.gr äéáôõðþèçêå ôï åñþôçìá
ó÷åôéêÜ ìå ôçí áíôßëçøç êáé ôçí êáôáíüçóç
ôïõ 20ïý áéþíá ìÝóá áðü ôçí video ôÝ÷íç. Ïé
áðáíôÞóåéò Þôáí Üìåóåò êáé êáôáéãéóôéêÝò. 80
äïõëåéÝò áðü 60 åíåñãïýò âßíôåï êáëëéôÝ÷íåò
äéêáßùóáí ôï åñãáëåßï/äéáäßêôõï, üóï êáé
ôçí ãëþóóá/âßíôåï êáé ìÜëéóôá ÷ùñßò ôçí
äéáìåóïëÜâçóç åîùêáëëéôå÷íéêþí ìç÷áíéóìþí
ðñïþèçóçò êáé ïñãÜíùóçò åíüò åéêáóôéêïý
ãåãïíüôïò.
Óôá âßíôåï áõôÜ êáôáãñÜöïíôáé ôá åõñýôáôá
éóôïñéêÜ, êïéíùíéêÜ, ðïëéôéêÜ, ôå÷íïëïãéêÜ
æçôÞìáôá ìå ôïõò áíáðáñáóôáôéêïýò êþäéêåò
ôçò åéêüíáò êáé ôéò êëáóéêÝò äïìÝò ôçò âßíôåï-
ôÝ÷íçò.
Ôåý÷ïò / Issue 8
20th century
Curated by: Yiannis Grigoriadis
On the 21/04/07, on the website
www.20thcentury.gr the question was set about
the perception and understanding of the 20th
century through video art. The answers were
direct and like a storm: 80 works from 60 active
video artists vindicate the tool/ Internet and
the language/video and doing so even without
the intervention of non-artistic mechanism for
promoting and organizing an art event.
These videos record the wide historical,
social, political and technological issues, using
the representative codes of the image, and the
classical narrative structures of film, the father of
video art.
1
Cindy Malon
The Lab
2
Gerard Freixes
Aislado
3
Paul Gabel
I will always wait (it will never be)
4
Peter George Lewis
Dedicated to the 2 I love
5
Yasmijn Karhof
Rain, Sugar, Eye
6
Zsenchen Liu
Shanghai Shanghai
03/08
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ÅðéìÝëåéá: intothepill
(25 âßíôåï áðü ôï intothepill ãéá ôçí 11ç
ÌðéåíÜëå áñ÷éôåêôïíéêÞò ôçò Âåíåôßáò óôçí
åãêáôÜóôáóç «Athens By Sound», åëëçíéêü
ðåñßðôåñï)
Êéíçìáôïãñáöþíôáò ôçí ðüëç «ðÝñá áðü ôá
êôßñéá» áðïöáóßóáìå íá ÷ñçóéìïðïéÞóïõìå
ôéò åðéìÝñïõò áöçãÞóåéò ùò åñãáëåßï ãéá ôçí
êáôáãñáöÞ ôïõ ÷áñáêôÞñá ôçò.
Ç ãíþóç, ç åìðåéñßá, ìéá ãåíéêÞ êáé óõíåðÞò
êáôáãñáöÞ/ ÷áñôïãñÜöçóç ôùí ç÷çôéêþí êáé
ïðôéêþí åíäåßîåùí ôçò ðüëçò äåí ðáñÝ÷åé
êÜðïéï óôáèåñü ó÷Ýäéï ðïõ èá ìáò áðïêáëýøåé
êáé áðïêùäéêïðïéÞóåé ôá áóôéêÜ äåäïìÝíá.
ÁðëÜ ðáñÝ÷åé ôéò ðëçñïöïñßåò ãéá ôçí
êáôáóêåõÞ åíüò ïìïéþìáôïò.
Áíôßèåôá ç óôéãìÞ, ç ëåðôïìÝñåéá, ôï
«ðïéçôéêü» óõìâÜí, áõôü ôï ìïíáäéêü ãåãïíüò
ðïõ îå÷ùñßæåé, ç áí èÝëåôå ðïõ åìåßò ïé ßäéïé
ôï áíáäåéêíýïõìå ùò ìïíáäéêü, ìðïñåß íá
ëåéôïõñãÞóåé áðïêáëõðôéêÜ, áíáéñþíôáò ôï
ãåíéêü ó÷Ýäéï, ôçí óõíïëéêÞ «áíôéêåéìåíéêÞ»
ðáñïõóßáóç ðïõ åßíáé êßâäçëç, áöïý æïýìå óå
Ýíá äéáñêþò ìåôáëëáóóüìåíï ôïðßï, åìðåéñßáò,
äõíáôüôçôáò êáé åñìçíåßáò.
Ôåý÷ïò / Issue 9
It sounds like a capital
Curated by: intothepill
(25 videos by intothepill for the11th Biennale of
Architecture in Venice, Greek Pavillion, as part of
the installation "Athens By Sound")
Recording the city “beyond buildings” we
decided to employ the individual narratives as a
tool for registering its character.
The knowledge, the experience, a general
and consistent recording/ mapping of the sonic
and visual indications of the city, does not
provide a solid plan that reveals and decodes
the urban condition. It only provides information
for the construction of a replica.
In contrast, the moment, the detail, the
«poetic event», this unique happening that
emerges, or –if you like– that we bring,
ourselves, forth as unique, can become
revealing, reversing the overall plan, the overall
«objective» presentation, which is counterfeiting
since we live within a constantly changing field
of experience, potential and interpretation.
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38º 02´33.28´´ N/23º 44´ 13.82´´ E
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38º 03´ 01.10´´ N/23º 48´ 42.46´´ E
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37º 56´ 40.68´´ N/23º 42´ 27.76´´ E
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37º 59´ 28.71´´ N/23º 44´ 02.26´´ E
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37º 58´ 57.96´´ N/23º 43´ 15.80´´ E
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37º 58´ 16.54´´ N/23º 44´ 12.08´´ E
09-11/08
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ÅðéìÝëåéá êáé ó÷åäéáóìüò ôçò åãêáôÜóôáóçò:
intothepill
(ÐáñïõóéÜóôçêå ôï ÍïÝìâñéï 2007 óôá ðëáßóéá
ôùí ðáñÜëëçëùí åêäçëþóåùí ôçò 1çò Biennale
ôçò ÁèÞíáò Destroy Athens.)
Tï Ýñãï Karaoke Poetry Bar åßíáé Ýíá
ðñáãìáôéêü áëëÜ åöÞìåñï ìðáñ-êáñáüêå, óôï
ïðïßï ôá ëáúêÜ ôñáãïýäéá Ý÷ïõí áíôéêáôáóôáèåß
áðü ðïéÞìáôá íÝùí ÅëëÞíùí ðïéçôþí êáé
óôÝêïíôáé ðñïêëçôéêÜ, áðÝíáíôé óôï èÜññïò êáé
ôéò ðñïèÝóåéò ôùí èáìþíùí, óôçí áðáããåëßá..
Óôï ÷þñï ôïõ êáñáüêå-ìðáñ ëåéôïõñãåß
âéíôåïåãêáôÜóôáóç, üðïõ óýã÷ñïíïé ¸ëëçíåò
êáëëéôÝ÷íåò êáôáãñÜöïõí ìå ôï ìÝóï ôïõ
âßíôåï, performances óôéò ïðïßåò äéåñåõíïýí
ôñüðïõò áðüäïóçò êáé áðáããåëßáò ðïéçìÜôùí
ÅëëÞíùí ðïéçôþí ôïõ 20ïý áéþíá, ìÝóá óå
äçìüóéïõò ÷þñïõò ôçò ÁèÞíáò.
Óôï Karaoke Poetry bar ç Ýêèåóç ôùí
êáëëéôå÷íþí êáé ôïõ êïéíïý óôçí áðáããåëßá
ôçò ðïßçóçò ìå äéÜöïñïõò ôñüðïõò, áðïôåëåß
ìéá ìåôáöïñÜ ãéá ôçí ëåéôïõñãßá ôçò ßäéáò ôçò
ôÝ÷íçò ðïõ ãéá íá ôçí ðñïóåããßóåéò ðñÝðåé íá
ðáñáéôçèåßò áðü ôçí áóöÜëåéá ôçò ðëïêÞò , ôçí
áðáßôçóç ãéá íüçìá êáé ôçí ðñïûðüèåóç ôçò
÷ñÞóçò.
http://karaokepoesie.blogspot.com
Curating and design of the installation: intothepill
(Presented in November 2007 as part of the
parallel projects of the first Athens Biennial
Destroy Athens.)
Karaoke Poetry Bar is a real although temporary
karaoke bar where pop songs on the stage
monitor have been replaced by poems written
by Greek poets who have emerged within the
last 10 years. During recitation, the poems
await to be challenged by the audacity and the
intentions of the audience.
Within the same space, video works by
contemporary Greek artists will be presented
in a video installation. The video works are
documentations of performances in public
spaces around Athens, where the artists explore
ways of rendering/reciting poetry by established
Greek poets of the 20th century.
In Karaoke Poetry Bar, the exposure of
artists and visitors to the recitation of poetry is
intended as a metaphor for the artistic act itself.
Because to approach art is to abandon the
safety of the plot, the expectation for “meaning”
and, ultimately, the demand for function.
Karaoke Poetry Bar
11/07
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ÅðéìÝëåéá: intothepill
Êñáäáóìïß öïñôçãþí, ëõñéêÝò äéáôõðþóåéò,
óôáôéóôéêÝò Ýñåõíåò.
Ôï ðëÞèïò, ôï Ü÷ñùìï ôïðßï ôùí ìïíüôïíùí
øõ÷þí.
Ç ðëÞîç ùò ç íÝá áâåâáéüôçôá.
Ç æùíôáíÞ äéÜëåîç «Íåïôåñéêüôçôá êáé
ðëÞîç» åß÷å óáí èÝìá ôçò ôéò áëëáãÝò ôïõ
áíÜãëõöïõ ôçò ÁôôéêÞò ìÝóá áðü áíôéêåéìåíéêÝò
ìåôñÞóåéò êáé óôáôéóôéêÝò Ýñåõíåò ìå åìâüëéìåò
ðáñåìâïëÝò áðü áíáãíþóåéò êåéìÝíùí
öéëïóüöùí êáé ðïéçôþí ðïõ åðçñÝáóáí ôçí
óêÝøç ôïõ 20ïý áéþíá üðùò: Rene Zirard,
Bernardo Soares, Michel Foucault, Hannah
Arendt, George Steiner, W.G Sebald etc.
Ç äéÜëåîç ðåñéåëÜìâáíå æùíôáíÝò äñÜóåéò
êáé ðñïâïëÝò âßíôåï.
Curated by: intothepill
Truck vibrations, lyrical statements, statistic
surveys.
The crowd, the colorless scenery of the
monotonous souls.
Boredom as the new uncertainity.
The live lecture «Modernism and boredom»
is about the changes in the Attica terrain
through objective measurements and statistic
researches with interpolations of philosophical
and poetical readings that influenced the
thinking of the 20th century like Rene Zirard,
Bernardo Soares, Michel Foucault, Hannah
Arendt, George Steiner, W.G Sebald etc.
The live lecture included performance and
video screenings.
Kafeneon Project Space
Íåïôåñéêüôçôá êáé ðëÞîç / Modernism and boredom
03/08
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Âéíôåïãñáößá / Videography
1996 Zen Garden,
4¨:41 min, loop,
color, sound
2000 5 Flash
Movies About
Architecture,
10 min, loop, color,
2001 My
Anchorage, 1:58
min, loop, b+w
2002 (Through the)
Invisible Home,
10:11 min, loop,
color
2002 (Towards an)
Invisible Home, 10
min, loop, color
ÁíäñÝáò ÁããåëéäÜêçò / Andreas Aggelidakis
ÁèÞíá 1968
2002 Mirrorsite
(build), 1:18 min,
loop, b+w
2002 Mirrorsite
(circle), 0:41 min,
loop, b+w
2002 Mirrorsite
(forest), 6 min, loop,
b+w
2003 Pixelscape, 2
min, loop, color
2003 Mirrorsite
(doublewalk), 1:30
min, loop, color
2003 Mirrorsite
(build cube), 1:20
min, loop, color
2003 Mirrorsite
(walk cube), 2 min,
loop, color
2004 Neen World,
10:30 min, loop,
color, sound
2005 Lichtplein,
5:12 min, loop,
color, sound
2006 Mirrocloud,
2:39 min, loop,
color, sound
2006 Screentree,
3:25 min, loop,
color, sound
2005 Walking
Building, 4:27 min,
loop, color, sound
2005 Hotel Blue
Wave, 4:14 min,
loop, color, sound
2006 Cloud House,
2:03 min, loop,
color, sound
2007 Tetris
Mountain, 4:44 min,
loop, color, sound
2007 First Land,
Second Life, screen
captures of varying
length, loop, color,
sound
2007 Edit
Appearance, 13:31
min, loop, color,
sound
2007 Neighbours,
10 min, loop, color,
sound
2007 My so Called
Second Life circa
Feb2007, 9:94 min,
loop, color, sound
2009 The Angelo
Foundation
Headquarters, in
collaboration with
Angelo Plessas, 6
screen interactive
projection.
Athens, Greece 1968
(Through the) Invisible Home Zen Garden
Walking Building*
Edit Appearance
Mirrorsite (forest)
Cloud House
Neen World
Hotel Blue Wave
My Anchorage
35 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
Andreas Angelidakis is an architect working
at the intersection of digital culture and
architectural production. In these parallel
realities, Angelidakis treats the internet as a
place where ideas are born and get tested,
where new social behaviors define the way
our society will develop in years to come. By
assuming the role of architect inside online
communities such as Second Life, and closely
watching the development of technology’s
effect on our understanding of the world, he
has developed an architecture that responds to
the habits and particularities of the oncoming
generation of citizens that grows up inside social
networking sites like myspace and facebook.
In-between the internet and real life,
Angelidakis has for a long time worked in the
field of contemporary art, and it is this work
which forms a bridge between different realities,
between experimentation and implementation,
between ideas and buildings.
These experiments always have a real life
counterpart, as Angelidakis firmly keeps a base
in both worlds, transferring the ideas from the
internet to exhibition and installation design,
furniture, urban planning, public space and
more recently housing developments. In 2008
the first monograph on his work was published
by Damdi Architectural publishing in Korea.
2008 Cloud House,
Video projection
at YAMA Project,
Istanbul
2008 Sonho da
casa propria,
traveling exhibition,
Cordoba venue
2007 New Trends in
Architecture, Artfront
Gallery, Tokyo
2006 Hotel Blue
Wave, INMO
Gallery, Los
Angeles, California
2006 Manetas-
Angelidakis-
Plessas, Rebecca
Camhi Gallery,
Athens Greece
2003 Neen World,
The Breeder
Projects, Athens
Greece
2003 experimenta
design Bienal,
Lisboa
2002 Big Brother:
Architecture +
Surveillance,
National Museum of
Contemporary Art,
Athens, Greece
2001 Massless
Medium, an
exhibition of new
media by Creative
Time, Brooklyn
Anchorage, USA
2000 Venice
Biennial of
Architecture, Greek
pavilion, cur. Elias
Zenghelis
http://www.angelidakis.com
studio@angelidakis.com
O ÁíäñÝáò ÁããåëéäÜêçò åßíáé áñ÷éôÝêôïíáò ðïõ
áó÷ïëåßôáé ìå ôçí áëëçëåðßäñáóç ôçò øçöéáêÞò
êïõëôïýñáò êáé ôçò áñ÷éôåêôïíéêÞò ðáñáãùãÞò.
Óå áõôÝò ôéò ðáñÜëëçëåò ðñáãìáôéêüôçôåò,
ï ÁããåëéäÜêçò ÷åéñßæåôáé ôï äéáäßêôõï ùò ìéá
ðëáôöüñìá üðïõ ãåííéïýíôáé êáé åîåôÜæïíôáé
éäÝåò êáé üðïõ íÝåò êïéíùíéêÝò óõìðåñéöïñÝò
êáèïñßæïõí ôïí ôñüðï ìå ôïí ïðïßï ïé êïéíùíßá
èá åîåëé÷èåß óôá ÷ñüíéá ðïõ èá áêïëïõèÞóïõí.
ËáìâÜíïíôáò ôïí ñüëï ôïõ áñ÷éôÝêôïíá óå
online êïéíüôçôåò üðùò ôï ðáé÷íßäé Second Life
êáé ðáñáêïëïõèþíôáò áðü êïíôÜ ôçí åîÝëéîç
ôçò åðßäñáóçò ôçò ôå÷íïëïãßáò óôïí ôñüðï ðïõ
áíôéëáìâáíüìáóôå ôïí êüóìï, Ý÷åé áíáðôýîåé
ìéá áñ÷éôåêôïíéêÞ ðïõ áíôáðïêñßíåôáé óôéò
óõíÞèåéåò êáé ôéò éäéáéôåñüôçôåò ôçò åðüìåíçò
ãåíéÜò ðïëéôþí, ðïõ ìåãáëþíïõí åíôüò ôïõ
ðëáéóßïõ éóôïóåëßäùí social networking üðùò
ôï myspace êáé ôï facebook.
ÁíÜìåóá óôï äéáäßêôõï êáé ôçí ðñáãìáôéêÞ
æùÞ, ï ÁããåëéäÜêçò, Ý÷åé åñãáóôåß ãéá Ýíá
ìåãÜëï ÷ñïíéêü äéÜóôçìá óôï ðåäßï ôçò
óýã÷ñïíçò ôÝ÷íçò, êáé åßíáé áêñéâþò áõôü ôï
Ýñãï ôïõ ðïõ äçìéïõñãåß ìéá ãÝöõñá áíÜìåóá
óå äéáöïñåôéêÝò ðñáãìáôéêüôçôåò, áíÜìåóá
óôïí ðåéñáìáôéóìü êáé ôçí åöáñìïãÞ, óôéò éäÝåò
êáé ôá êôßñéá.
ÁõôÜ ôá ðåéñÜìáôá Ý÷ïõí ðÜíôá êáé Ýíá
ñåáëéóôéêü áíôßêñéóìá, áöïý ï ÁããåëéäÜêçò
äéáôçñåß ìéá âÜóç êáé óôïõò äýï êüóìïõò,
ìåôáöÝñïíôáò ôéò éäÝåò ðïõ ãåííéïýíôáé óôï
äéáäßêôõï óå åãêáôáóôÜóåéò êáé åêèÝóåéò,
Ýðéðëá, ôïí áóôéêü ó÷åäéáóìü, ôïí äçìüóéï
÷þñï êáé ðéï ðñüóöáôá óôïí ó÷åäéáóìü
êôéñßùí. Ôï 2008 åêäüèçêå êáé ç ðñþôç
ìïíïãñáößá ôçò äïõëåéÜò ôïõ áðü ôïí åêäïôéêü
ïßêï Damdi Architectural óôçí ÊïñÝá.
38 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
Áéêáôåñßíç ÃåãçóéÜí / Aikaterini Gegisian
Èåóóáëïíßêç 1976 Thessaloniki, Greece 1976
2002 The day
that left, 6:30 min
(Single-screen video
with sound)
2003 Tokyo Tonight,
4:30 min (single-
screen video with
sound)
2003 Taking the
wrong turn, 4 min
(single-screen
video, no sound)
2004 In their
wake…, 7 min
loop (two-channel
audiovisual
installation with
sound) collaboration
with Ella Bissett
Johnson
2005 A little film, 5
min loop (single-
screen installation
with sound)
2005 When I was
there, you had
already left, 5:48
min loop (two-
channel audiovisual
installation with
sound)
2006 10.34 am, 3
min loop (single-
screen installation
with sound)
2007 Passengers,
13:37 min (single-
screen video with
sound)
2007 The City /
Game, 12 min
(single-screen video
with sound)
2007 The image
unfolded, 5:38 min
loop (single-screen
installation with no
sound)
2008 Sevan Boys,
7 min loop (two-
channel audiovisual
installation
with sound)
collaboration with
Lizzy Kalligas
2008 A ray of
Sunshine, 1 min
loop (single-screen
installation with
sound)
10.34 am* A little film
A ray of Sunshine The City / Game
The day that left
In their wake…
The image unfolded
Tokyo Tonight
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ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2008 And Now?
/ Êáé ôþñá;
State Museum
of Contemporary
Art, Thessaloniki,
Greece
2008 6th Gyumri
International
Biennial of
Contemporary Art,
Armenia
2008 Videoclub,
Hold and Freight
Gallery, London
2008 Hold
Everything,
Dear / ÊñÜôåé
óå üëá, ãëýêá,
Kalfayan Galleries,
Thessaloniki
Áðü ôá ðñþôá ÷ñüíéá ôçò åîÜóêçóÞò ìïõ, ç
äéáäéêáóßá ôçò ðáñáôÞñçóçò Ýðáéîå êåíôñéêÞ
óçìáóßá óôçí åîåñåýíçóç ôùí äõíáôïôÞôùí
ðëáóôéêüôçôáò ôçò êéíïýìåíçò åéêüíáò, ôïõ
Þ÷ïõ êáé ôïõ êåéìÝíïõ, êáé åêöñÜóôçêå ìÝóá
áðü ìßá ðïéêéëßá Ýñãùí, ðïõ ðåñéëáìâÜíåé
áðü ïðôéêïáêïõóôéêÝò êéíçìáôïãñáöéêÝò
åãêáôáóôÜóåéò êáé single-screen âßíôåï, Ýùò
ãñáðôÜ êåßìåíá êáé äïõëåiÝò óå óõãêåêñéìÝíåò
ôïðïèåóßåò. Ç äïõëåßá ìïõ áíáðôý÷èçêå âÜóåé
êáé ìÝóá áðü ìéá äéáäéêáóßá áðïäüìçóçò
êáé áíáäüìçóçò ôùí õëéêþí ðïõ óõíÝëåîá
ìÝóá áðü ðáñáôÞñçóç. Ç äéáäéêáóßá áõôÞ
óå óõíäõáóìü ìå ôçí ðñïóùðéêü ìïõ
ôñüðï êáëëéôå÷íéêÞò Ýêöñáóçò, Ýóôñåøáí
ôçí ðñïóï÷Þ ìïõ óå èÝìáôá ìíÞìçò êáé
ìåôáôüðéóçò êáé ãýñù áðü ôï ñüëï ðïõ ìðïñåß
íá äéáäñáìáôßóåé ôï íôïêéìáíôÝñ êéíïýìåíçò
åéêüíáò ùò ìÝóï Ýêöñáóçò ôçò óýã÷ñïíçò
ôÝ÷íçò. Ç ôåëåõôáßá ìïõ äïõëåiÜ ãýñù áðü
èÝìáôá êáëëéôå÷íéêþí ðáñáäüóåùí ôáéíéþí
êáé âßíôåï, áó÷ïëåßôáé ìå ôçí Ýíôáóç ðïõ
õðÜñ÷åé ìåôáîý åíüò ïõäÝôåñïõ ðáñáôçñçôÞ
êáé ìéáò õðïêåéìåíéêÞò åìðåéñßáò, åðéæçôþíôáò
íá ÷ôßóåé ìÝóá áðü ôáîéäéùôéêÝò ðåñéãñáöÝò
«ðñïóùðéêÝò ãåùãñáößåò» êáé «ôïðßá
áíáìíÞóåùí». ÁõôÜ ôá Ýñãá ÷áñáêôçñßóôçêáí
ùò «áðïóôáãìÝíá áöçãÞìáôá åóùôåñéêþí
âéùìÜôùí êáé åîùôåñéêÞò ðáñáôÞñçóçò,
öáíôáóßáò êáé áíáìíÞóåùí» (Lisa LeFeuvre,
Gutter Dreams, 2005).
From early on in my practice, the act of
looking was central in the exploration of the
sculptural qualities of moving image, sound
and text, resulting in projects ranging from
audiovisual cinematic installations to single-
screen videos, text-based and site-specific
works. My work evolved around a practice of
deconstructing and reworking material collected
through observation, which alongside the
realisation of my own cultural specific position
drew my attention to issues of memory and
displacement and the role of moving image
documentary as a contemporary art genre.
Working within the tradition of artists’ film and
video, my most recent work has engaged with
the tension between a neutral observer and
the subjective experience, seeking to construct
through travelogues personal geographies
and ‘landscapes of memory’. These works
were described as “distilled narratives of the
personal and the observed, the imaginary and
the remembered” Lisa LeFeuvre, Gutter Dreams,
2005.
http://www.gegisian.com
agegisian@yahoo.co.uk
2007 Attic with a
view / Óïößôá ìå
èÝá, Action Field
Kodra, Thessaloniki,
Greece
2007 1st
Thessaloniki
Biennale of
Contemporary
Art, Archeological
Museum of
Thessaloniki,
Greece
2006 52nd
International Short
Film Festival
Oberhausen,
Oberhausen,
Germany
2006 Landscape,
Galerie Parissud,
Paris, France
2005 Point-of-view,
Espace Croise
Gallery, Lille, France
2005 prog:me,
1st Festival of
Electronic Media,
Rio de Janeiro,
Brazil
42 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
2009 The Secret
School / Tï Kñõöü
Ó÷ïëåéü, 10 min, bw
2007 Out of the Blue
/ Into the Black,
video installation
2005 Transport
Phenomena
/ Öáéíüìåíá
MåôáöïñÜò,
1:30 min
2005 b-alles, 2 min
Máñßíá Ãéþôç / Marina Gioti
ÁèÞíá 1972
2004 Your Girlfriend
isn’t Coming Back,
2:20 min
2003 Klaxon,
interactive video
2002 Recalling All
Active Agents, 3 min
2001 Heart replica,
10 min, video
installation
Athens, Greece 1972
Out of the Blue / Into the Black
b-alles* Heart replica Recalling All Active Agents
The Secret School / Tï Kñõöü Ó÷ïëåéü Transport Phenomena / Öáéíüìåíá MåôáöïñÜò
43 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
Álthough I have a cinema background, I 've
been mainly engaged in exploring its more
aberrant and hybrid aspects, driven by a
disposition to explore its aesthetic and narrative
capacity and borders.
É believe that cinema is a language which
can be spoken in a variety of media, ‘new'
and ‘old', through hybrid works that expand
cinematic space, time and most importantly re-
establish the role of the viewer. In this light,
I consider some of my installation or interactive
work, as films that have escaped from the movie
theatre.
Large part of my video work uses as main
ingredients films made by other people, ie
found footage. My cinematic Objet trouves,
consist mainly of what I call “forgotten mass
cultural debris” –old tv commercials, ephemeral,
educational, propaganda films– which get
manipulated and inevitably recontextualized on
the editing table.

2007 Her(His)tory,
Museum Of
Cycladic Art,
Athens, Greece
2006-7 Anathena,
Deste Foundation,
Athens, Greece
2006 Transmediale,
Berlin, Germany,
2006 Rencontres
Internationales,
Paris-Berlin
2006 Cinematexas
International Short
Film Festival, Austin,
USA
Áí êáé ðñïÝñ÷ïìáé áðü ôï ÷þñï ôïõ
êéíçìáôïãñÜöïõ, ðéóôåýù ðùò Ý÷ù áó÷ïëçèåß
êõñßùò ìå áðïêëßíïõóåò êáé õâñéäéêÝò üøåéò
ôïõ, ìÝóá áðü ìéá äéÜèåóç äéåñåýíçóçò ôùí
áéóèçôéêþí êáé áöçãçìáôéêþí äõíáôïôÞôùí
áëëÜ êáé ïñßùí ôçò êéíïýìåíçò åéêüíáò.
Áíôéìåôùðßæù ôïí êéíçìáôïãñÜöï ùò
ìéá ãëþóóá, ç ïðïßá ìðïñåß íá ìéëçèåß óå
ðëçèþñá ìÝóùí, «íÝùí» êáé «ðáëéþí» ìÝóá
áðü êéíçìáôïãñáöéêÜ õâñßäéá ðïõ äéåõñýíïõí
ôïí êéíçìáôïãñáöéêü ÷þñï êáé ÷ñüíï áëëÜ êáé
åðáíáðñïóäéïñßæïõí ôï ñüëï ôïõ èåáôÞ. ÊÜôù
áðü áõôü ôï ðñßóìá, èåùñþ ðùò Ýíá ôìÞìá ôçò
äïõëåéÜò ìïõ ðïõ Ý÷åé ôç ìïñöÞ åãêáôáóôÜóçò
óôï ÷þñï Þ óôï äéáäßêôõï, ùò ôáéíßåò ðïõ
Ý÷ïõí äñáðåôåýóåé áðü ôçí êéíçìáôïãñáöéêÞ
áßèïõóá.
¸íá ìåãÜëï êïììÜôé ôçò äïõëåéÜò ìïõ
óôï âßíôåï ÷ñçóéìïðïéåß ùò ðñþôç ýëç ôáéíßåò
ðïõ Ý÷ïõí êÜíåé Üëëïé (found footage) . Ôá
êéíçìáôïãñáöéêÜ ìïõ åõñÞìáôá, áðïôåëïýíôáé
óõíÞèùò áðü áõôü ðïõ áðïêáëþ «èñáýóìáôá
ìáæéêÞò êïõëôïýñáò» –ðáëéÝò äéáöçìßóåéò,
åöÞìåñá, åêðáéäåõôéêÝò ôáéíßåò êáé ôáéíßåò
ðñïðáãÜíäáò– ôá ïðïßá ìÝóá áðü ôï ìïíôÜæ
ìåôáëëÜóóïíôáé êáé áíáðüöåõêôá ìðáßíïõí óå
íÝï ðëáßóéï.
marina.gioti@gmail.com 2006 Chicago
Underground Film
Festival
2006 New York
Underground
Film Festival @
Anthology film
archives, New York,
USA
2005 Animation
Block Party, New
York, USA. Best
computer animation
award
2005 Visions. A
contemporary Art
Show, Kappatos
Gallery, Athens at
Athens Imperial
Hotel (as a member
of ‘syntax error’
group)
2003 Berlin
International Film
Festival, Korsakow
Interactive Film
Workshop
46 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
ÃéÜííçò ÃñçãïñéÜäçò / Yiannis Grigoriadis
2009 Prison break,
miniDV 5 min
2009 Marlboro man,
miniDV 5 min
2008 It sounds
like a capital,
(in collaboration
with intothepill)
20 min, DVD
2007 Sunny
Balkans, DVD,
10 min
2007 Spider’s
parenthesis,
DVD, 4 min
2007 Last Supper,
miniDV, 6 min
2006 Most wanted,
miniDV, 4 min
2005 Charlie and
the Cowgirl, DV,
6 min
2005 Ramalla-
London-Bucharest,
DV, 7 min
2005 National
Anthem, DVD,
3:30 min
2004 Beach boy,
miniDV, 3 min loop
2004 39 steps,
miniDV, 3 min loop
2004 Fireworks,
DVD, 3 min
Athens, Greece 1973 ÁèÞíá 1973
2004 Arabesque,
DVD, 3 min, loop
2004 Mosque,
DVD, 4 min
2003 Video
banners, dual
monitor installation
2003 Crouching
Tiger, Hidden
Dragon, dual
monitor installation
2002 Mercedes
benz, dual monitor
installation
National Anthem Beach boy
Charlie and the Cowgirl Last Supper
Marlboro man
Most wanted*
Prison break
Ramalla-London-Bucharest
Sunny Balkans
47 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2008 11th
International
Biennale of
Architecture, Venice
2008 The 20th
Century on video
project, Trianon
Filmcenter, Athens.
2008 Main details,
cafeneon project
space, Athens
2007 Deste
Prize 07, Deste
Foundation, Athens
2007 Everyday
Stories, Hellenic
American Union,
Athens
Ï 20üò áéþíáò óõìðõêíþíåé, ìÝóù ôùí ñáãäáßùí
ðïëéôéêþí åîåëßîåùí, Ýíôïíåò êáé óçìáíôéêÝò ÷ùñéêÝò
áëëáãÝò. Áðü ôçí ìéêñÞ êëßìáêá ôïõ áñ÷éôåêôïíéêïý
÷þñïõ óôçí ìåãáëýôåñç ôïõ ðïëåïäïìéêïý éóôïý,
ùò ôçí áëëáãÞ óõíüñùí êñáôþí. Ï Â´ Ðáãêüóìéïò
ðüëåìïò êáé ç ìáêñï÷ñüíéá øõ÷ñïðïëåìéêÞ ðåñßïäïò
äçìéïýñãçóå íÝïõò ôïõñéóôéêïýò ðñïïñéóìïýò êáé
áîéïèÝáôá áðïäåóìåýïíôáò ôá áðü ôï öõóéêü êáé
ãåùãñáöéêü êÜëïò. Ôï ðïëéôéêü ãåãïíüò ìÝóù ôçò
ðáãêüóìéáò ðëçñïöïñßáò áíÜãåôáé óå êþäéêá ðïõ
ðáñÝ÷åé óôïí èåáôÞ ôá áíáãêáßá óôïé÷åßá ãéá ôçí
áíÜãíùóç ôçò Éóôïñßáò. Ç áíÜãíùóç ôçò óýã÷ñïíçò
Éóôïñßáò ìÝóá áðü ôçí ÔïõñéóôéêÞ åìðåéñßá äåí åßíáé
ðÜíôá áíôéêåéìåíéêÞ êáé ôåêìçñéùìÝíç áöïý åðçñåÜæåôáé
áðü ôçí ìáôéÜ ôïõ «ôïõñéóôéêïý ïäçãïý», áëëÜ êáé áðü
ôçí áìößäñïìç ó÷Ýóç ðåñéçãçôÞ êáé ôüðïõ.
Ç ðëçñïöïñßá ãéá üëåò áõôÝò ôéò óáñùôéêÝò åíôÜ-
óåéò, ìåôáëëáãÝò êáé áíôéèÝóåéò åßíáé Üöèïíç, óõ÷íÜ
ðñïêëçôéêÞ, ðÜíôá ó÷åäüí óõã÷õôéêÞ. Ðþò, îåðåñíþ-
íôáò ôïí êáôáéãéóìü áóÞìáíôùí ðåñéãñáöþí, ðñïåðé-
ëåãìÝíùí ëåðôïìåñåéþí, êáôåõèõíüìåíùí ãåíéêåýóåùí,
èá äéáêñßíïõìå ôá áüñáôá íÞìáôá ôçò éóôïñßáò, ðïõ
Üëëïôå óõíäÝïõí êáé Üëëïôå äéáéñïýí ôüðïõò êáé áí-
èñþðïõò; Ç ÍÝá Õüñêç, ç ÑáìÜëá, ôï Ëïíäßíï, ôï Âïõ-
êïõñÝóôé, ôï Âåñïëßíï ç ÉåñïõóáëÞì êáé ç Ðñßóôéíá åßíáé
ôüðïé ëåðôþí éóïññïðéþí áëëÜ êáé áíáôñïðþí ìÝóá
óôçí éóôïñßá ôïõò. Ç ñåõóôüôçôá óå ðïëéôéêÞ âÜóç ðïõ
äéÝðåé áõôÝò ôéò ðåñéï÷Ýò åßíáé åíôïíüôåñç óôçí ðåñéöÝ-
ñåéá êáé ç êáôáãñáöÞ ôïõò ìå ôçí õðïêåéìåíéêüôçôá ôçò
ìáôéÜò åìðëÝêïõí ôï ÷ñüíï ùò êñéôéêÞ ãéá ôï óôéãìéáßï
êáé ôï óõíå÷Ýò.
¸÷ïõìå óõíçèßóåé íá áðïäå÷üìáóôå, ïëïêëçñùìÝíá
ìïíôÝëá óêÝøçò (åðéëåêôéêÞ áíôéëçðôéêüôçôá). Ç
áðüðåéñá êáôáãñáöÞò ôçò ðüëçò ôïõ 20ïý áéþíá,
áßñåé ôá ößëôñá, ôá üñéá êáé ôéò ðåðïéèÞóåéò ìáò ìå
ôÝôïéï ôñüðï ðïõ ìáò åðéôñÝðåé íá ãëéóôñÞóïõìå
ìÝóá áðü ôéò ñùãìÝò ôçò áíôßëçøçò, óå åíáëëáêôéêÝò
êáé óõíõðÜñ÷ïõóåò ðñáãìáôéêüôçôåò. ÁõôÞ ç
÷áïôéêÞ óýãêëéóç ðëçñïöïñéþí óôçí áñ÷Þ ìáò
áðïðñïóáíáôïëßæåé, áëëÜ ôåëéêÜ ìðïñïýìå íá
ïäçãçèïýìå óôçí ðçãÞ ôçò ðëçñïöïñßáò êáé ôçò
äéáßóèçóçò ðïõ åß÷å óêåðáóôåß ëüãù ðñïêáôáëÞøåùí
ðïõ êáëëéåñãÞóáìå áðü ôç ãÝííçóÞ ìáò êáé ëüãù ôùí
åðßêôçôùí ößëôñùí ôçò áíôßëçøÞò ìáò. Ï äïìçìÝíïò
÷þñïò åðáíáóõíôÜóóåôáé êáé ç óõìðáãÞò äïìÞ ôçò
ðñáãìáôéêüôçôáò ìïéÜæåé ðëÝïí óáèñÞ êáé äéÜôñçôç.

Recording the city as a political act.
The 20th century, through the many radical political
progress, concentrates intense and important spatial
changes: From the small scale of the architectural space
to the larger one of the urban design and from there to the
changes of the borders of counties. The Second World
War and the long lasting cold war period created new
tourist destinations and sights of sightseeing not related
to the natural and geographical beauty. The political fact
through the universal information becomes a code that
provides the viewer with all the necessary elements for the
decoding of history. The decoding of the contemporary
history through the tourist experience is not always
objective and well documented because it is influenced
by the eyes of the “tourist guide”, and also from the two-
way relation of the tourist with the place of visit.
Information on all these sweeping changes and
on the various forms of tension and discrepancy
they generate abounds, and its abundance is often
provocative; yet this kind of information is almost
always confusing. How can we make out the invisible
threads of history that at times hold places and people
together, at others hold them apart, amidst this hail
of trivial descriptions, 'default' details and imposed
generalizations? New York, Ramala, London, Bucharest,
Berlin, Jerusalem, Nicosia, Pristina are all places of thin
balances and overturning through the course of their
history. The fluidity of the politics that occur on those
areas is more intense on the region and its record with
the subjectivity of the sight embrangles time as a critique
of the instant and the continuous.
We have got used to accepting complete modes of
thought (selective perception). The attempt to record the
city of the 20th century raises the filters, the boundaries
and our beliefs, in such a way that allows us to slip
through the fissures of perception, into alternative
and coexisting realities. This chaotic convergence of
information is initially disorientating us, but finally leads
us to the source of the information and of the intuition
that had been covered, due to the preconceptions that
we developed since when we were born, and due to
the filters of our perception. The built space is being
reformulated and the solid structure of reality seems
henceforth unsound and perforated.
ygrigoriadis@gmail.com 2007 Karaoke
poetry bar, parallel
project of the 1st
Athens Biennial
2006 The
Melancholy of an
Autumn Afternoon,
Els Hanappe
Underground,
Athens
2006 Archaeology
of today, Els
Hanappe
Underground,
Athens - The
Kosova Art Gallery,
Kosovo
2005 Visions,
Byzantine Museum,
Athens
2005 Screenings
work, Els Hanappe
Underground,
Athens
2004 Video Zone2,
2nd International
Video-Art Biennial,
Israel
50 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
Ãéþñãïò Äñßâáò / George Drivas
2009 Empirical
Data, Greece
2007-2008 Case
Study, Germany
2007 The Decision,
Greece
2006 Beta Test,
Germany
2005 Closed Circuit,
USA
2005 Spring Time,
USA
2005 Off Duty,
Greece
ÁèÞíá 1969
2004 March, 1
st
,
Greece
2004 Out of Synch,
USA.
2004 Happy End,
USA
2003 Please step
ahead and choose
a question, Greece
2003 Trash dreams,
Greece
Athens, Greece 1969
2002 Business and
Pleasure, Greece
2002 Am I just
an ordinary
processor?, USA
2001 GPS: Global
Positioning System,
Greece
2000 Second
Generation,
Germany
Beta Test
Case Study
Closed Circuit*
The Decision Empirical Data
Happy End
51 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
SOLO
2009 Íational
Ìuseum of
Contemporary Art,
Athens, Greece
GROUP
2009 Format:
photocinema,
International
Photography
Festival, Derby, UK
2008
Transexperiences
Greece, Space 798,
Beijing, China
ÌåñéêÝò öïñÝò èÝëåé íá ðåé êáíåßò ìéá éóôïñßá.
¢ëëåò öïñÝò èÝëåé êáíåßò íá áíáöåñèåß óå
Ýíá óõãêåêñéìÝíï óçìåßï, óå Ýíá óõãêåêñéìÝíï
ëåðôü ìéáò éóôïñßáò áöÞíïíôáò åêôüò äéÞãçóçò
üëá ôá õðüëïéðá ðñéí Þ ìåôÜ, «ðáãþíïíôáò»
ó÷åäüí óå êÜôé áóÞìáíôï êáé öåõãáëÝï, óå ìéá
ßóùò áðëÞ ëåðôïìÝñåéá.
ÌåñéêÝò öïñÝò ç éóôïñßá Ý÷åé ìéá
óõãêåêñéìÝíç åîÝëéîç.
ÊÜðïéåò Üëëåò öïñÝò ç óçìáóßá ôçò
äéÞãçóçò âñßóêåôáé ðÝñá áðü ïðïéáäÞðïôå
ó÷Ýóç áéôßáò êáé áðïôåëÝóìáôïò. Ç óçìáóßá
ôçò êáé ï óôü÷ïò ôçò âñßóêïíôáé óôïí ôñüðï
äéá÷åßñéóçò åíüò ÷ñüíïõ ðïõ (äåí) êõëÜ.
Ðñüêåéôáé ãéá ìéá Ýíôáóç áíÜìåóá óôçí åîÝëéîç
ôçò äéÞãçóçò êáé ôï óôáìÜôçìÜ ôçò, áíÜìåóá
óôï íá áñ÷ßæåé êáé íá óôáìáôÜ íá ëÝåé êáíåßò
êÜèå óôéãìÞ ôçí éóôïñßá ãéá ÷Üñéí ßóùò ìéáò
áðïëáõóôéêÞò áñãïðïñßáò, åíüò ïíåéñéêïý áíôß-
ñõèìïý.
ÌåñéêÝò öïñÝò ç éóôïñßá áðïêáëýðôåôáé
óôï ôÝëïò ôçò.
¢ëëåò öïñÝò âñßóêåôáé êáíåßò íá
ðáëåýåé áíÜìåóá óå ìéá áðïêÜëõøç, óå ìéá
ïëïêëÞñùóç ôçò éóôïñßáò êáé ôçí áêáôáíßêçôç
åðéèõìßá íá ÷áèåß Þ ßóùò êáëýôåñá íá îå÷áóôåß
ìÝóá ôçò, êÜíïíôáò Ýôóé ôïí áñ÷éêü ôçò óôü÷ï,
ôçí ïðïéáäÞðïôå áñ÷éêÞ óçìáóßá ôçò íá öôÜóåé
íá öáíôÜæåé ó÷åäüí áóÞìáíôç.
ÌåñéêÝò öïñÝò ëÝåé êáíåßò ìéá éóôïñßá.
Óõ÷íÜ äåí ëÝåé ìéá äéáöïñåôéêÞ éóôïñßá áëëÜ
áðëþò ìéá éóôïñßá äéáöïñåôéêÜ.
Êáé åíßïôå óôçí äéÞãçóÞ ôïõ ç éóôïñßá åßíáé
áðëþò ç áöïñìÞ.
http://www.drivas.org
drivas@drivas.org
2008 Young Greek
Artists – In present
tense, National
Museum of
Contemporary Art,
Athens, Greece
2007 Les jeunes
cineastes
d'aujourd'hui,
Centre Pompidou,
Paris, France
2006 Media
Art Forum,
XXVII Moscow
International Film
Festival, Moscow,
Russia
2005 Pixxelpoint,
International
Digital Art Festival,
Slovenia
2004 Machinista,
International Arts
and Technology
Festival, Glasgow,
Scotland
2003 Poetry
International
Festival, Rotterdam,
Netherlands
Sometimes it is just about telling a story.
Some other times it is about referring only to
a particular moment of a story and keeping out
of sight everything before or after it, freezing to
something usually unnoticed and bypassed and
cherishing a rather unseen detail.
Sometimes the story develops to one
specific direction.
Some other times the significance of the
story lies beyond any kind of cause-and-effect
relationship in the narration; its importance and
its primary goal lie on dealing with time, which is
(not) passing, and how this time is represented
or preserved. It is about a tension between
moving the narration forward and stopping at
the same time, telling a story and stop telling
a story every time. It is about creating a new
velocity, building a “fast slowness”, similar to a
dreamlike non-rhythm.
Sometimes the story reveals at the end.
Some other times, storytelling means a
tension between a coherent narrative “whole”
and its forward drive and the desire of the
storyteller to lose, to forget oneself in the story,
so that the fulfillment of the story becomes
relative, unclear almost unimportant.
Sometimes it is all about telling a story.
Sometimes it is not about telling a different
story but about telling a story differently.
And sometimes it is not about the story at all.
2002 Dactyl
Foundation for
the Arts and
Humanities, NY, NY
2002 Zebra
International Poetry
Film Festival, Berlin,
Germany
54 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
Ìáñßá Æåñâïý / Maria Zervou
2008 To be outside
something is
always to be inside
something else,
HDV, 3:50 min loop
2007 Hunting, video
installation, HDV,
4:16 min loop
2007 The Game
(You must play the
game to know why
you are playing
the game), video
installation, mini DV,
1:49 min loop
ÁèÞíá 1977
2006 The red dress
would make her
skin seem more
pale more white,
mini DV, 8 min loop
2005 The Doll, video
installation, mini DV,
3 min loop
2005 One fourth of
a full circle (after
Acconci), mini DV,
3 min loop
2003 Diagnosis,
mini DV, 2:45 min
loop
2003 How far is it
going?, mini DV,
2 min loop
2002 Out of silk,
video installation,
mini DV, 1 min loop
2002 Laundry, video
installation, mini DV,
1:45 min loop
Athens, Greece 1977
To be outside something is always to be inside
something else*
Hunting
The Game (You must play the game to know
why you are playing the game)
Out of silk Laundry
The Game (åãêáôÜóôáóç / installation)
55 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2009 Beyond
the Labyrinth
(group show),
Stichting Outline,
Amsterdam, NL
2009 Sguardi
Altrove Film,
International
Women’s Film
Festival 16
th
edition,
Milan
2008 Emergency
Room (group
show), Galerie
Taiss, Paris
2008 Neoerotica.
Boudoir Street
Stories, Action
Ôá Ýñãá ìïõ ÷áñáêôçñßæïíôáé áðü ôçí Ýêöñáóç
åíüò ðñïóùðéêïý ôñüðïõ íá áéóèÜíåôáé êáíåßò
ôá ðñÜãìáôá. Ãåííéïýíôáé ðñþôá þò åéêüíåò
óôï ìõáëü ìïõ, ãéá íá áðïêôÞóïõí êáôüðéí
äéÜöïñåò ìïñöÝò, ðïõ óõ÷íÜ åðéêáëýðôïõí ç
ìéá ôçí Üëëç. Áõôü ðïõ ÷áñáêôçñßæåé ôéò åéêüíåò
ìïõ åßíáé ôï óôïé÷åßï ôïõ óõíáéóèçìáôéêÜ
ôñùôïý. Ïé éóôïñßåò ðïõ áöçãïýìáé óôçñßæïíôáé
ðÜíôïôå óå ìåôáöïñÝò. Óôá âßíôåï, ôá ó÷Ýäéá
Þ ôéò åãêáôáóôÜóåéò ìïõ, äéåñåõíþ ôç óõ÷íÜ
äéðëÞ üøç ôçò öýóçò ôùí ðñáãìÜôùí.
×ñçóéìïðïéþ óêçíÝò ðïõ áíáöÝñïíôáé
óôçí êáèçìåñéíÞ æùÞ, óå áíôéðáñáâïëÞ ìå
ðáñÜäïîá, Þ óôïé÷åßá ôïõ ðáñáëüãïõ. Ìå
åíäéáöÝñåé éäéáßôåñá ç äéåñåýíçóç ôïõ ïñáôïý,
åîùôåñéêïý êüóìïõ, êáé ôçò äéôôÞò öýóçò
ôçò ðñáãìáôéêüôçôÜò ôïõ, êáèþò êáé áõôïý
ðïõ èåùñïýìå ùò ôçí ðñáãìáôéêüôçôá ôïõ
åóþôåñïõ, öáíôáóéáêïý êüóìïõ ìáò. Óôü÷ïò
ìïõ åßíáé íá áíáôñÝøù ôéò ðñïóäïêßåò ôïõ
èåáôÞ, äßíïíôáò Ýìöáóç óôï óôïé÷åßï ôïõ
ðáñáëüãïõ. Ìßá áðü ôéò ìåèüäïõò ðïõ
÷ñçóéìïðïéþ ãéá íá åîåñåõíÞóù ôéò äéðëÝò,
áíôéèåôéêÝò üøåéò ôçò ðñáãìáôéêüôçôáò åßíáé
ç óõãêÝíôñùóç (óõññáöÞ) äéáöïñåôéêþí
óôïé÷åßùí ðïõ ïäçãåß ôåëéêÜ óôïí äéÜëïãï.
Ï äéÜëïãïò áõôüò óõ÷íÜ êáôáðéÜíåôáé ìå
ôçí åðáíáôïðïèÝôçóç ôïõ õðïêåéìÝíïõ óôï
åóùôåñéêü ãíùóôþí êïéíùíéêþí, éäéùôéêþí êáé
ðïëéôéêþí äïìþí. Ìå åíäéáöÝñåé ç ìåôáôüðéóç
áðü ôï ôåôñéììÝíï óôï áíáðÜíôå÷ï.
maria.zervou@hotmail.com
http://www.mariazervou.com
My works are characterized by the expression of
a personal way of feeling. They are born firstly
as images in my mind, and then take different
forms, at times overlapping. What characterizes
my images is an emotional vulnerability. My
stories are always constructed upon metaphors.
Whether in video, drawing or installations,
I explore the often double sided nature of
things. I use scenes referring to the every
day life in contradiction with absurd elements
or paradoxes. I am very much interested in
exploring the dual views of the reality of the
visible world outside and what we see as
the reality of our inner fantasy world. I aim to
invert the viewer expectations by emphasizing
absurd elements of reality. One of my methods
to explore the dual views of reality is bringing
different elements together in order to create a
dialogue. The dialogue is often engaged with
the re-positioning of the individual into well
known social, personal or political structures.
I am interested in the shift of the banal into the
unexpected.
field Kodra,
Thessaloniki and 1st
Elementary School
of Amfilochia,
Amfilochia, Greece
2008 Women
Only (group
show), Margaris
Foundation, works
from the L. Beltsios
collection, Amfiloxia,
Greece
2007 Here, Now
(solo show),
Ileana Tounta
Contemporary Art
Center, Athens
2007 Geheugen
(solo show),
Kunstfort, with
Nicole Raufeisen,
Ryan Witt
(Vancouver, Can),
Vijfhuizen, NL
2006 The red dress
would make her skin
seem more pale
more white (solo
show), Stedelijk
Museum Central
Station at Club 11,
Amsterdam, NL
2006 Kunstvlaai 6,
Westergasfabriek,
Amsterdam, NL
2002 One Minutes
Biennial, Central
Museum, Utrecht,
NL
Âéíôåïãñáößá / Videography
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
58 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
Máßñç Æõãïýñç \ Mary Zygouri
2002 Ball Attached,
1:12 min loop
2003 Way-out,
2:22 min
2003 Power-Rewop,
2:58 min
2005 Phoney Utopia
/ Êßâäçëç Ïõôïðßá,
2:40 min
2005 Sold Out,
2:32 min
ÁèÞíá 1973
2006 Para-
discipline, 3:44 min
2007 Simbiosis /
Óõìâßùóç, 2:00 min
loop
2007 Decadenza,
2:50 min
Athens, Greece 1973
Simbiosis / Óõìâßùóç* Ball Attached Sold Out
59 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2009 2nd Inter-
national Biennale
of Thessaloniki,
Greece
2008 Fresco Bosco,
Achile Bonito Oliva,
Italy
2008 Women Only,
Beltsios Collection,
Greece
2007 She devil,
Studio Stefania
Miscetti
2007 New:
Illusion or Reality,
4
th
Tashkent
International
Ôá âßíôåï ôçò Ìáßñç Æõãïýñç áðïôåëïýí ôçí
åðåîåñãáóìÝíç êáôáãñáöÞ (documentation)
ôùí äéêþí ôçò äñÜóåùí-ðáñáóôÜóåþí. Ìå ôçí
åðåîåñãáóßá ôïõ õëéêïý ðñïêýðôåé ìéá Üëëç
áíÜãíùóç óôçí áéóèçôéêÞ êáé ôï ðåñéå÷üìåíï
ôùí æùíôáíþí ðáñáóôÜóåùí (live performance).
Åîáéôßáò ôïõ ãñÞãïñïõ ñõèìïý åíáëëáãÞò ôùí
åéêüíùí ìåôáöÝñåôáé ìéá êïéíÞ áßóèçóç áãùíßáò
êáé êëåéóôïöïâßáò.
ÊÜèå äñÜóç-video åßíáé Ýíá ìéêñü åðåéóüäéï,
Ýíá ðáñÜëïãï áðüóðáóìá ôïõ åêÜóôïôå ÷áñá-
êôÞñá. ÁõôÝò åßíáé: Æïõæïý, Æ, Ôï ðåéñáìáôüæùï,
ç ðùëÞôñéá Ýñãùí ôÝ÷íçò Æïæåößíá, ôï «ÐáñÜ-
óéôï» óôï ÔìÞìá Êáèáñéóìïý ôïõ ÄÞìïõ Áèçíáß-
ùí, ç ãñáììáôÝáò Valentina,
Æ. Tarantino.
Êïéíü ÷áñáêôçñéóôéêü ôïõò åßíáé ç ñåõóôü-
ôçôá ìåôáîý äýíáìçò êáé áäõíáìßáò. Ìéá êßíçóç
áíÜìåóá óôï ïîýìùñï êáé ôï ðáñÜëïãï.
Ç ðñïóùðéêüôçôåò-personas áõôÝò âñßóêïõí
ôéò áíáöïñÝò ôïõò óå ëïãïôå÷íéêÜ êåßìåíá,
âéùìáôéêÜ åðåéóüäéá, óå áñ÷åßá, óå åðéóôçìïíéêÜ
ðåéñÜìáôá, óå êïéíùíéêÝò ôáêôéêÝò êáé óå Üëëá.
Ç ðáñïõóßá ôïõò óôïí åêÜóôïôå ÷þñï
Ý÷åé Ýíáí áëëüêïôï, ðáñÜëïãï ÷áñáêôÞñá.
Åìöáíßæïíôáé åêåß üðïõ äåí èá Ýðñåðå íá
âñßóêïíôáé. ÔÝôïéïé ÷þñïé üðùò Ýíá âåíæéíÜäéêï,
Ýíá óéíåìÜ ðïñíü, Ýíá óõíïéêéáêü ìáãáæß
÷áñôéêþí, ìéá áßèïõóá ×ñéóôéáíéêÞò Åóôßáò, Ýíá
ïñíéèïôñïöåßï, óôç ìÝóç åíüò no mans land
ôïðßïõ.
Ïé äñÜóåéò ãßíïíôáé Üëëïôå óå äçìüóéïõò
÷þñïõò, üðïõ ïëïêëçñþíïíôáé ìå ôçí
äéáäñáóôéêüôçôá ôïõ êïéíïý êáé Üëëïôå, ëüãù
ôçò éäéáéôåñüôçôáò ôïõ ÷þñïõ, ðåñéïñßæïíôáé
óôçí êáôáãñáöÞ ôçò performance.
Ç Ýêöñáóç ôçò ðÜëçò áíÜìåóá óôïí
åîïõóéáóôÞ êáé ôïí åîïõóéáæüìåíï, åßíáé åí ôÝëåé
ï óêïðüò ôçò äçìéïõñãßáò áõôþí ôùí âßíôåï
Ýñãùí.
Contemporary
Art Biennale,
Uzbekistan
2007 Evolution
de l’Art vers l’
immateriel.Gallery
EdiA, Bratislava, SK
2005 Hacking
Reality, intervention
- performance at
the Theatre Square,
collaboration-
participation with
the Cleaning Public
System of Athens,
Greece
2006-8 March:
Festa della donna
- Homage: Carolin
Linding, Gina Pane,
Museo d’Arte
Contemporanea,
Calice Ligure, Italy
2006 All about lies,
Apartment Gallery,
Beyoglu, Instabul
2002 House-Space,
Chelsea College
of Art and Design,
London, UK
2001 10th Biennale
of Young Artists,
Serajevo
zygourim@hotmail.com
Mary Zygouri’s videos are the processed
documentation of her action-performances.
The recorded material’s treatment creates a
new reading of aesthetics and live performance
practice. Due to the rapid image change, a sense
of agony and claustrophobia is being transmitted.
Each video-action is a small episode, an
absurd abstract from each character. Where the
characters are Zuzu, Z, the labrat, Zozefine the art
saleswoman, Valentina the secretary, Z. Tarantino
and many more.
Their common characteristic is the fluidity
between power and weakness, moving between
the oxymoron and the straight up absurd.
These personas have references in books,
everyday episodes, scientific experiments, social
practices etc.
Their presence in a specific place has an
outlandish, irrational feel. They appear where they
shouldn’t exist. Spaces like a gas station, a porn
cinema, a Christianity centre, in the middle of a
no man’s land scenery.
The performances take place either in public
spaces, being completed with the interaction
of the audience, or due to the particularity of
certain spaces, they are comprised of just the
performance’s documentation.
Ultimately, the final goal of these videos is the
expression of the battle between the master and
the servant.
62 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
1999 Hippodrome /
Éððüäñïìïò,
15 min, DV/PAL
2000 Distribution of
consecrated bread /
Áñôïêëáóßá, 6 min,
DV/PAL
2001 Living red,
20 min, DV/PAL
2002 Archetypal,
3.30 min, DV/PAL
2002 Eurovision,
flash animation,
1 min,
2002 Wonderpark,
7 min, DV/PAL
Lina Theodorou / Ëßíá Èåïäþñïõ
Athens, Greece 1970
2007 Zig-zag,
flash animation
(Loop-Part of the
installation De-
inventor)
2007 Biopatents,
2 min, flash
animation (loop,
part of the
installation De-
inventor)
2008 It sounds like
a capital, 20 videos,
15:30 min, DV/PAL
(collaboration with
intothepill)
2003 The right arm
of the free world,
3 min, DV/PAL
2004 Fleshpack.
com, 4 flash
animations (part
of the installation,
Invisible Future
Systems Part 3:
Fleshpack.com
Human Delivery)
2004 Bureau, 3 min,
DV/PAL
2004 Trapped in
“Hotel Convention”,
3 min, DV/PAL
2005 Cul-de-sac,
5 min, DV/PAL
2006 Addiction,
3 min, DV/PAL
2006 Le Tailleur,
7 min, DV/PAL
2006 Plumbers,
3.30 min, DV/PAL
2007 Loan / ÄÜíåéï,
15 videos,
15:35 min, DV/PAL
2007 Joke war,
flash animation
(loop, part of the
installation De-
inventor)
ÁèÞíá 1970
Addiction Loan / ÄÜíåéï*
Hippodrome / Éððüäñïìïò Living red
Biopatents
Wonderpark
63 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2008 Athens by
sound, Greek
pavilion, 11th Inter-
national Biennial of
Architecture, Venice
2008 Trans-experi-
ences Greece, 798
Artspace, Bejing,
China
2007 Peacemakers,
Zina Athanassiadou
Gallery, Thessaloniki,
Greece
2007 In present
tense / Óå åíåóôþôá
÷ñüíï, National
Museum of
Contemporary Art,
Athens, Greece
2007 Karaoke
poetry bar, Parallel
project of the 1st
Ôï ìÝóï ôïõ âßíôåï ãéá ôçí Èåïäþñïõ ìïéÜæåé íá
ëåéôïõñãåß óáí ìéá áõôüìáôç ìç÷áíÞ üñáóçò ðïõ
åñãÜæåôáé ìÝóá óôïí ÷þñï ìéáò åî ïëïêëÞñïõ
åéêïíïðïéçìÝíçò ãåùãñáöéêÞò ðñáãìáôéêüôçôáò.
Ìáæß ôçò êáëïýìáóôå íá áíôéëçöèïýìå äéáöïñåôéêÜ
êáôáóôÜóåéò ðïõ íïìßæïõìå ïéêåßåò, ìÝóù ìéáò
ðåñéóóüôåñï áðïìáêñõóìÝíçò åìðåéñßáò üðùò
áõôÞ ôçò ôçëåèÝáóçò. ¼ðùò êáé ãéá áõôÞí ç
êÜìåñá, Ýôóé êáé ãéá åìÜò ç ïèüíç ìåôáôñÝðïíôáé
óå åñãáëåßá ðáñáãùãÞò ðñïóùðéêïý íïÞìáôïò êáé
èÝóçò áðÝíáíôé óôá ðñÜãìáôá.
Ôï óéíåìÜ âÜæåé óôïëÞ óôï ìÜôé ãñÜöåé ï
ÊÜöêá. Óôçí åðï÷Þ ôçò ôçëåìáôéêÞò áíôßëçøçò
ôçò ðñáãìáôéêÞò ôñïìïêñáôßáò óå üëï ôçò ôï
ìåãáëåßï êáé ïðïéáäÞðïôå Üëëçò áëÞèåéáò ðïõ ùò
ôþñá öÜíôáæå ïõôïðéêÞ, ç øçöéáêÞ åðåîåñãáóßá
ôçò åéêüíáò äåí ìïéÜæåé íá Ý÷åé ðëÝïí èÝóç. Ç
÷ñÞóç ôïõ ìÝóïõ ãéá ôçí Èåïäþñïõ ìïéÜæåé íá
áðïôåëåß Ýíá ü÷çìá óõíåéäçôïðïßçóçò Ýîù áðü
ôï óþìá, ôï ìõáëü êáé ðÝñá áðü ôçí ãëþóóá. Ìéá
æùíôáíÞ ðåñöüñìáíò ðïõ ÷ñçóéìïðïéåßôáé ùò
ìÝóï åðéêïéíùíßáò, ÷ùñßò ôå÷íéêÝò Þ áéóèçôéêÝò
áëëïéþóåéò ðáñÜ ìå åðåìâÜóåéò óôï ìïíôÜæ, ïé
ïðïßåò åîõðçñåôïýí ôçí ðñïóùðéêÞ ôçò åðéìÝëåéá
óå áõôü ðïõ ïíïìÜæåôáé áëÞèåéá. Óôçí åñþôçóç
ìïõ ãéá ôçí ÷ñÞóç ôïõ óõãêåêñéìÝíïõ ìÝóïõ
óå áõôÞ ôçí ÷ñïíéêÞ óôéãìÞ ç Èåïäþñïõ ìïõ
áðáíôÜ: «Ìå åíäéáöÝñåé ç åéêüíá óôçí áðëïýóôåñç
ìïñöÞ ôçò êáèþò êáé ôï óôïé÷åßï ôçò Ýêðëçîçò
êáôÜ ôçí äéÜñêåéá ôïõ ãõñßóìáôïò. Êáé áõôÜ
ðñïûðïèÝôïõí ìéá ó÷åäüí áüñáôç ÷ñÞóç ôçò
êÜìåñáò. Èåùñþ ðïëý óçìáíôéêü ôï óçìåßï óôï
ïðïßï ç ðñáãìáôéêüôçôá ïäçãåßôáé óå ìéá õðÝñâáóç
ôïõ åáõôïý ôçò êáé áõôü åßíáé Ýíá æçôïýìåíï
ðïõ ìðïñåß íá åðéôåõ÷èåß ìÝóù ôïõ âßíôåï. Äåí
ðñïóðáèþ íá êáôáëÞîù óå êÜðïéá óõìðåñÜóìáôá
Þ áðëÜ íá áíáêïõöéóôþ áðü ôçí êáôáíüçóç ìéáò
êáôÜóôáóçò, ðåñéóóüôåñï ìå åíäéáöÝñåé Ýíá åßäïò
äéåñåýíçóçò ôçò ðñáãìáôéêüôçôáò ìå ôçí ÷ñÞóç
ôïõ ìÝóïõ».
Ìáñßíá Öùêßäç
ÁíåîÜñôçôç åðéìåëÞôñéá êáé ôå÷íïêñéôéêüò
To Theodorou the medium of video seems to work
like an automatic ‘seeing machine’ which operates
within a fully virtualised geographic reality. As a
result we are called upon to perceive differently,
through a more remote experience like that of
television watching, some situations which we
thought were familiar. The screen becomes for us
—as the camera becomes for the artist— a tool for
generating personal meanings and attitudes towards
things.
The cinema dresses the eye in uniform, writes
Kafka. In an era of telematic perception of real
terrorism in its true scale as well as of any other
truth which looked utopian till recently, the digital
processing of images seems to have no place
any more. The medium appears to serve for
Theodorou as a vehicle of realisation outside the
body or the mind and beyond language; a live
performance used as a communication medium
with no technical or aesthetic distortions, only with
montage interventions as part of her personal
editing of what is called truth. To my question about
the use of this specific medium at this juncture,
Theodorou answers: "I am interested in the image
in its simplest form, and in the element of surprise
during the shooting of the film. These things require
an almost invisible use of the camera. I think that
the point where reality is led to transcend itself
is very important, and this is something that can
be achieved through the video. I am not trying to
reach any conclusions or simply to find relief in
understanding a situation; I am more interested in a
kind of exploration of reality through the use of this
medium."
Marina Fokidis
Independent curator and critic
lina@dreamzpace.com
lina.theodorou@gmail.com
http://www.linatheodorou.com
Athens Biennial
2007 53rd
International Short
Film Festival
Oberhausen,
Germany
2006 The Grand
Promenade / Ï
ìåãÜëïò ðåñßðáôïò,
National Museum of
Contemporary Art,
Athens, Greece
2006 Give(a)way,
6th Biennial
exhibition of
contemporary art,
Limerick, Ireland
2005 The Gesture.
A visual library in
progress, Mace-
donian Museum
of Contemporary
Art, Thessaloniki
Greece; Quarter,
The New Center of
Contemporary Art in
Florence, Italy
2004 Channel
Zero, Montevideo
TBA, Amsterdam,
Netherlands
2004 Monument
to now, the Dakis
Joannou Collection,
Deste Foundation
for Contemporary
Art, Athens
2003 Testimonies:
Between Myth and
Reality, National
Museum of
Contemporary Art,
Athens, Greece
2003 Poetic justice,
8th international
Istanbul Biennial
2003 In the
gorges of the
Balkan, Museum
Fridericianum,
Kassel, Germany
2003 M-ars. Art and
War, Neue Galerie
am Landesmuseum
Joanneum, Graz,
Austria
2002 Big Social
Game, International
Biennial of Young
Art, Turin, Italy
2001 Tirana
Biennale 2001,
Albania
64 I NTO THE PI LL VOL. I
65 I NTO THE PI LL VOL. I
66 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
2004 Haiku videos,
7 videos 1 min each
miniDV/CVHS
2004 Motorbreath,
10 min, DVC
2005 Where is
Pablo Frank?,
2 min, miniDV
2005 Few Things I
Know About Them,
3 min, miniDV
2006 Cravanism,
2 min, miniDV
2006 Kidwalkin,
30 min loop, video
installation miniDV
ÃéÜííçò Éóéäþñïõ / Yiannis Isidorou
ÁèÞíá 1969
2006 Rough Cut,
40 min loop,
video and sound
performance miniDV
2007 Ecstatic
Segment, 5:30 min,
miniDV
2007 Haiku videos,
3videos about 1 min
each, miniDV
2007 Missing link,
1 min, miniDV
2008 Il Consiglere,
7 min, miniDV
Athens, Greece 1969
2008 It sounds like
a capital, 25 videos
1 min each (in
collaboration with
intothepill), miniDV
2008-2009 Disquiet
Videos, video sound
installation
Disquiet Videos Disquiet Videos
Disquiet Videos
Disquiet Videos*
Where is Pablo Frank? Il Consiglere
67 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2008 And Now?
Visual Arts In
Greece 3, State
Museum of
Contemporary
Art, Thessaloniki,
Greece
2008 Athens by
sound, Greek
pavilion, 11th
Biennial of
Architecture, Venice
2008 Digital
Romance, Aris
Stoidis collection,
Vilka Artforum,
Thessaloniki,
Greece
2008 Videoholoca
08, International
Biennial August in
Art, Varna
2008 4th
International
dance film festival,
Yokohama, Japan
2008 Napoli
Teatro Festival,
Il Coreografo
Elettronico Napoli,
Italy
2008 20th Century
on video project,
Trianon cinema,
Athens, Greece
2007 Karaoke
poetry bar, parallel
project of the 1st
Athens Biennial
2006 Clips, Galerie
Nord, Berlin,
Germany
2006 Soundrugs,
Dr. Sorovits Lab,
Athens, Greece
2006 intothepill, E31
Gallery, Athens,
Greece
jisicore@gmail.com
http://www.isidorou.com
Åñåõíþ ôñüðïõò ìå ôïõò ïðïßïõò ôá
ðñÜãìáôá ìðïñïýí íá ãßíïõí áíôéëçðôÜ.
Åðéóçìáßíù ôéò åíáëëáóóüìåíåò èÝóåéò
êáé ôéò ìåôáôïðßóåéò. Ôçí ó÷Ýóç ôïõò.
Ðéóôåýù üôé áõôü ðïõ âëÝðù ìå âëÝðåé.
Ìðåñäåýïìáé êáé åêðëÞóóïìáé.
Ðáßæù áãùíéþíôáò íá äéáôçñÞóù ôçí
áíåîáñôçóßá ôïõ âëÝììáôïò ìïõ. ÐëçóéÜæù
êïíôÜ. ÓôÝêïìáé.
Ðñïóðáèþ íá äçìéïõñãþ óõãêåíôñùìÝíïò
óå áõôü ðïõ êáôáðéÜíïìáé, äß÷ùò íá
áðïäÝ÷ïìáé äéá÷ùñéóìïýò åðéôçäåýóåéò
êáé éäéüôçôåò.
Äåí õðÜñ÷åé èÝóç ãéá ôçí âáñåìÜñá, ãéá
ôçí áðåëðéóßá Þ ôçí åëðßäá ôùí ôåôñéììÝíùí.
Äåí õðÜñ÷åé ÷ñüíïò.
ÅíäéáöÝñïìáé ãéá üóá äåí óõìâáßíïõí.
Áðå÷èÜíïìáé ôçí ðëçñüôçôá, ôçí ôÝëåéá
ôÜîç ôïõ íïÞìáôïò, ôçí ôõöëÞ âåâáéüôçôá.
ÅðéìÝíù áêüìç, óôçí åîåñåýíçóç Ýíáíôé
ôçò åöåýñåóçò, êáé óôçí åðéíüçóç Ýíáíôé ôçò
áíáêÜëõøçò.
Åßìáé óå èÝóç íá õðïóôçñßîù áõôÞí ôçí
ðñïóÝããéóç.
Ðáñüëá áõôÜ íéþèù áçäßá...
I investigate means by which things may
become perceptible.
I locate their interchangeable positions
and shifts. Their relationships.
I believe that what I see, also sees me.
I become bewildered and startled.
While I’m playing the game I agonize over
maintaining the independence of my gaze.
I get close. I stand still.
While creating, I strive to stay focused on
what I set about to do, without yielding
to arbitrary distinctions, affectation or status.
There is no place for boredom, despair
or trivial hope.
There is not enough time.
I am particularly interested in that which
does not happen.
I detest the quest for fulfillment, the perfect
order of meaning, the unseeing certainty.
I still persist in research over invention and
in invention over discovery.
I am in a position to defend this approach.
Nevertheless, I feel disgusted…
Âéíôåïãñáößá / Videography
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
70 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
2005 Magik’s
house, DVD PAL,
3 min
2006 The rabbit
& the hunter,
DVD PAL, 3 min
2005 Dust one,
mini DV, 5 min, bw
Êáôåñßíá ÊáíÜ / Katerina Kana
Λευκωσία, Κύπρος
2006 Dust two, mini
DV, 14 min, bw
2007 Dust three,
mini DV, 15 min, bw
2007 Dynasty, DVD
PAL, colour, 9 min
Nicosia, Cyprus
Magik’s house The rabbit & the hunter
Dynasty
Dust one*
Dust two Dust three
71 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
1996 Be your guide,
Galerie Renos
Xippas, Paris, France
1999 Day nine,
The Kitchen
Theater, New York,
USA
2000 Magic
software, sponsor
3M group, Gazi
art center, Athens;
Mylos art center,
Thessaloniki, Greece
2000 Images
Mobiles, Pierides
Museum of
Contemporary Art,
Dust is a series of short stories. In the style of
home made video, ‘dust’ was filmed mostly in
the streets or public places in Athens. Running
not to get caught by authorities is how filming
usually ends! The urban landscape is always
present. I have been working on Dust over an
extended period of time. I assembled a cast
of characters by asking my friends to play
and participate in these stories as: the human
animals, the orthodox priests, the ancient
Greeks, the apostles of dust super..
The first video was done in 2005 and after
that the next ones just happened naturally as a
group of shifting situations. A hyper adventure
that recreates and revives itself... the dust
journey is a mental journey to conscience and
finds inspiration in the Greek tradition of Theater
and film noir cinema. Each episode resides
in time from dust 1 to dust 4. Each absurd
escapade with license to provoke, searches to
find deep humanity. ‘Dust my ass’, ‘Eat my dust’
and ‘In dust we trust’, ‘Dust the past’ is the right
for individual subjectivity.
In his famous Studies George Bataille
describes “It is always a matter of detachment
from society and tradition, an indifference to the
rules that make society, an agony experienced
in such conditions where the forces of being are
thrown out of balance, eventually an opening
up to the direct move of life, which is usually
suppressed, and all of a sudden is liberated
within an overflow of joy towards infinity”.
Nicosia Municipal
Arts Center, Cyprus
2001 La belle et la
bete, Laiki cultural
group - Apollonia
Art Exchanges, Frac
Corse, Corcica
2001 Drac Alsace,
Strasbourg, France
2001 Centre d’art
contemporain,
Brussels, Belgium
2002 Through
the eyes of a
one use camera,
a.antonopoulou
Gallery, Athens,
Greece
2006 Masquerade,
Selini Gallery,
Athens, Greece
2006 intothepill,
E31 Gallery, Athens,
Greece
2006 Bac, Inter-
national festival of
contemporary art in
Barcelona, Spain
2007 Dust, E31
Gallery, Athens
2007 Karaoke
poetry bar, parallel
project of the 1st
Athens Biennial
2009 Dust, video
series projection,
The Breeder,
Athens, Greece
Ôï Dust åßíáé ìéá óåéñÜ áðü ìéêñÝò éóôïñßåò.
Õéïèåôþíôáò ôï ýöïò óðéôéêþí ôáéíéþí, ôï ìåãá-
ëýôåñï ìÝñïò ôçò óåéñÜò Dust êéíçìáôïãñáöÞ-
èçêå óôïõò äñüìïõò êáé óå äçìüóéïõò ÷þñïõò
ôçò ÁèÞíáò. Ïé ôáéíßåò âÝâáéá ôåëåéþíïõí
óõíÞèùò ìå ôçí êáëëéôÝ÷íéäá íá ôñÝ÷åé ãéá íá
áðïöýãåé ôéò Áñ÷Ýò! Ôï áóôéêü ðåñéâÜëëïí åßíáé
ðÜíôá ðáñüí. Ç ÊáíÜ åñãÜóôçêå ðÜíù óôçí åí
ëüãù óåéñÜ âßíôåï ãéá Ýíá ìåãÜëï ÷ñïíéêü äéÜ-
óôçìá, äçìéïõñãþíôáò ìéá óåéñÜ ñüëùí, ôïõò
ïðïßïõò áíÝèåóå óå ößëïõò ôçò. Ïé ôåëåõôáßïé
êëÞèçêáí íá åñìçíåýóïõí áíèñþðéíá æþá,
ïñèüäïîïõò éåñåßò, Áñ÷áßïõò ¸ëëçíåò êáé
Üëëïõò…
Ôï ðñþôï âßíôåï ìáãíçôïóêïðÞèçêå ôï
2005 êáé êáôüðéí áêïëïýèçóáí üëá ôá õðüëïé-
ðá. Ðñüêåéôáé ãéá ìéá óõíáñðáóôéêÞ ðåñéðÝôåéá
ðïõ áíáäçìéïõñãåß êáé áíáâéþíåé ôïí åáõôü
ôçò. Ôï «ôáîßäé ôçò óêüíçò» åßíáé Ýíá åãêåöáëé-
êü ôáîßäé óôç óõíåßäçóç ðïõ åìðíÝåôáé áðü ôçí
ÅëëçíéêÞ ðáñÜäïóç ôïõ èåÜôñïõ êáé ôïí noir
êéíçìáôïãñÜöï. ÊÜèå åîùöñåíéêü ôüëìçìá ðïõ
Ý÷åé óêïðü íá ðñïêáëÝóåé, áíáæçôÜ íá öôÜóåé
óôï âÜèïò ôçò áíèñþðéíçò ýðáñîçò. Ôá «Dust
my ass», «Eat my dust», «In dust we trust» êáé
«Dust the past» âñïíôïöùíÜæïõí ôï äéêáßùìá
ãéá ôçí áôïìéêÞ õðïêåéìåíéêüôçôá.
¼ðùò Ý÷åé ãñÜøåé ï Æïñæ ÌðáôÜéã, «åßíáé
ðÜíôá èÝìá áðïóýíäåóçò áðü ôçí êïéíùíßá êáé
ôçí ðáñÜäïóç, ìéá áäéáöïñßáò ãéá ôïõò êáíü-
íåò ðïõ äéÝðïõí ôçí êïéíùíßá, ìéá áãùíßáò ðïõ
äçìéïõñãåßôáé óå óõíèÞêåò üðïõ ïé äõíÜìåéò
ôçò ýðáñîçò Ý÷ïõí ÷Üóåé ôéò éóïññïðßåò ôïõò,
ïäçãþíôáò ôåëéêÜ óå ìéá ðéï Üìåóç ðñïóÝããéóç
ôçò æùÞò, ðïõ åíþ Þôáí êáôáðéåóìÝíç, îáöíéêÜ
áðåëåõèåñþíåôáé ìÝóá áðü Ýíá îå÷åßëéóìá åõ-
ôõ÷ßáò, ïäçãþíôáò ìáò ðñïò ôçí áéùíéüôçôá».
lillies@otenet.gr
74 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
1992 Catastrophe I
ÊáôáóôñïöÞ, video,
6 min
1995 Vibrations VII
(The drama of an
idea) / ÄïíÞóåéò
VII (Ôï äñÜìá ìéáò
éäÝáò), video,
5:35 min
2003 Streaming
Media (Cry Me
A River), video
installation, four
videos 22 min
ÖùôåéíÞ ÊáñéùôÜêç / Fotini Kariotaki
×áíéÜ 1962
2003 Innocent II,
video installation,
4 min
2004 419 Steps /
419 ÂÞìáôá, video,
4:04 min
2006 Hidden Time /
Ëáèñáßïò ×ñüíïò,
video installation,
3 videos,17:51,
18:30, 16:02 min
Chania, Greece 1962
419 Steps / 419 ÂÞìáôá
Catastrophe / ÊáôáóôñïöÞ* Streaming Media (Cry Me A River)
Hidden Time / Ëáèñáßïò ×ñüíïò Innocent II
Vibrations VII (The drama of an idea) /
ÄïíÞóåéò VII (Ôï äñÜìá ìéáò éäÝáò)
75 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2008 Collage
- Cut - Paste,
State Museum
of Contemporary
Art, Thessaloniki,
Greece
2008 Gyumri
Biennial 10, Gyumri,
Armenia
2007 In-Situations,
Municipal Gallery
of Kalamata,
Kalamata, Greece
2006 Local Heroes,
Action Field Kodra
06, Thessaloniki,
Greece
…«ãíùñßæåé üôé ïé íÝåò ôå÷íéêÝò øçöéïðïßçóçò
ôçò åéêüíáò êáé ç ôå÷íïëïãßá ôçò
ðáñáêïëïýèçóçò ðñïêáëïýí óÞìåñá ìßá
ðïëýðëïêç êáé åðéêßíäõíç õâñéäéêÞ ó÷Ýóç,
âáóéæüìåíç óå åðéâåâëçìÝíåò Ýííïéåò üðùò:
ðñïóïìïßùóç, åéêïíéêÞ ðñáãìáôéêüôçôá,
ðáãêïóìéïðïßçóç, áñéèìïðïßçóç, ìåôÜëëáîç
ôïõ åéêïíéêïý ÷ùñï÷ñüíïõ, óå áíôßèåóç ìå ôïí
ðñáãìáôéêü ÷ñüíï, ãåãïíüò ðïõ åíéó÷ýåé ôéò
ó÷Ýóåéò áëëçëåðßäñáóçò êáé ôçò ðáñåìâáôéêÞò
óõìâïëÞò ôïõ åöÞìåñïõ Þ ôïõ ôõ÷áßïõ. Áðü ôçí
ðåñßïäï ôùí åãêáôáóôÜóåùí ðïõ áíáöÝñïíôáé
óôçí ó÷åôéêüôçôá ôùí ðñáãìÜôùí “ÁëÞèåéá
åßíáé øÝìáôá” 1998, ìÝ÷ñé ôçí ðñüóöáôç
åãêáôÜóôáóç “Thing-Én-Étself” 2002, ç ÖùôåéíÞ
ÊáñéùôÜêç äçìéïõñãåß áõóôçñÝò ìéíéìáëéóôéêÝò
äéáäñáóôéêÝò åãêáôáóôÜóåéò (äéóäéÜóôáôåò,
ôñéóäéÜóôáôåò, åðéôïß÷éåò, ôïðïèåôçìÝíåò
óôï ðÜôùìá) üðïõ ï èåáôÞò êáëåßôáé íá
âéþóåé åìðåéñßåò ðñüóëçøçò, óýëëçøçò êáé
ôáõôü÷ñïíá “áðïûëïðïßçóçò” ôùí áíôéëçðôéêþí
öáéíïìÝíùí, ãåãïíüò ðïõ åíéó÷ýåé ôçí
Ýííïéá ôçò ó÷åôéêüôçôáò ôùí öáéíïìÝíùí, ôçò
ñåõóôüôçôáò, ôçò “áêñéâïýò” áëÞèåéáò êáé ôçò
äåäïìÝíçò ðñáãìáôéêüôçôáò».
Dr. ÓÜíéá ÐáðÜ, èåùñçôéêüò ôçò ÔÝ÷íçò
Áðüóðáóìá êåéìÝíïõ áðü ôïí êáôÜëïãï ôçò
áôïìéêÞò Ýêèåóçò ìå ôßôëï ÃíùóôÜ-¢ãíùóôá
ðïõ ðñáãìáôïðïéÞèçêå óôçí Ãêáëåñß Ëüëá
ÍéêïëÜïõ, Èåóóáëïíßêç, ÄåêÝìâñéïò 2004
2004 Athina by Art,
Monastiraki Square,
Athens, Greece
2004 Arco’04, Lola
Nikolaou Art Gallery,
Madrid, spain
2003 Atoma -
Individus, Ecole
Superieure des
Beaux-Arts,
Marseille, France
2003 Blurring
Boundaries,
Borusan Art Gallery,
Istanbul
2002 Open Studio,
International Studio
and Curatorial
Program (ISCP),
New York, USA
1999-2000
Inventing a People,
Contemporary Art
in the Balkans,
National Gallery for
Foreign Art, Sofia,
Artexpo Foundation,
Bucharest,
Macedonian
Museum of
Contemporary
Art, Thessaloniki,
Greece
lightnow@graffiti.net
…”she herself is aware that the new techniques
of image digitalization and the technology of
surveillance are generating a complex and
dangerous hybrid relationship, one based on
such inescapable concepts as simulation, virtual
reality, globalization, numeralization, alteration
of virtual space-time in opposition to real time
– all reinforcing the relations of interaction
and the intervention of the random and the
ephemeral. From the period of her installations
exploring the relativity of things “It's true, it's a
lie” 1998, up until her recent installation “Thing-
In-Itself” 2002, Kariotaki has been creating
severe, minimalist and interactive installations
(two or three dimensional, wall-installed, floor-
based) which invite the spectator to perceive,
conceive and at the same time ‘de-materialize’
perceptual phenomena – emphasizing the ideas
of relativity, of flux, of ‘accurate’ truth and given
reality”.
Dr. Sania Papa, Art theorist
From the text of the catalogue of the solo show
under the title Known-Unknown that was held
in Lola Nikolaou Art Gallery, Thessaloniki,
December 2004
78 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
1999 Floral
Patterns, VHS, PAL,
5:40 min, color
& audio
1999 Domestic
Pleasures, VHS,
PAL, 5 min, color
& audio
2002 Recipe
cooked, miniDV,
PAL, 7 min, color
& audio
2003 Between you
and me, miniDV,
PAL, 7 min, color
& audio
Íßíá Êïôáìáíßäïõ / Nina Kotamanidou
Σέρρες 1966
2003 Tonight’s the
night, miniDV, PAL,
7 min, color & audio
2003 Am I special or
what?, miniDV, PAL,
7 min, color & audio
2004 On halva and
semolina, miniDV,
PAL, 8 min, color &
audio
2007 Figs, miniDV,
PAL, 4:20 min, color
& audio
2007 Comfort Food,
miniDV, PAL, 1:40
min, color & audio
2008 Bucolic Life,
miniDV, PAL, 2:40
min, color & audio
2009 Zombie,
miniDV, PAL, 11:40
min, color & audio
Serres, Greece 1966
Am I special or what?* Between you and me
Figs
Floral Patterns
On halva and semolina
79 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2008 Strange
Screen, Macedonian
Museum of
Contemporary
Art, Thessaloniki,
Greece
2008 Platforma
Video, Technopolis,
Athens, Greece
2007 Start from
zero / Îåêßíá áðü ôï
ìçäÝí, video venue,
Multispace Alegton,
Athens, Greece
Ç äïõëåéÜ ìïõ óôï âßíôåï åßíáé áõôïâéïãñáöéêÞ.
Äåí åßíáé üôé èÝëù íá êÜíù ãíùóôÞ ôçí éóôïñßá
ìïõ Þ íéþèù ôçí áíÜãêç íá áðïôõðþóù ôçí
öõóéêÞ ìïõ ðáñïõóßá. ºóá-ßóá, áõôü ìïõ åßíáé
óõ÷íÜ äýóêïëï. ‘Ïìùò ìïõ áñÝóåé íá äïõëåýù
ìå õëéêü öïñôéóìÝíï óõíáéóèçìáôéêÜ, áõôÜ
ðïõ áðïêáëþ ôá ìéêñá-ìåãÜëá ãåãïíüôá.
¸ôóé ÷ñçóéìïðïéþ áõôü ðïõ îÝñù êáëýôåñá,
ôéò äéêÝò ìïõ óôéãìÝò ðáñïõóéáóìÝíåò êáé
ôñáâçãìÝíåò áðü ìÝíá. ÊÜèå âßíôåü ìïõ
êáôáëÞãåé íá áðïôåëåß Ýíá áõôïðïñôñÝôï
ðïõ ó÷ïëéÜæåé ôï ìÝóï óôï ïðïßï óõíôÜóóåôáé
åìðëÝêïíôáò ðñïóùðéêÝò áíáöïñÝò ìå Ýíá
ðëÝãìá êïéíùíéêþí åììïíþí.
ÁíáöïñÜ ãéá ôéò âßíôåï óõìðåñéöïñÝò êáé
áéóèçôéêÝò ðïõ áêïëïõèþ åßíáé ç ôçëåïðôéêÞ
åéêüíá êáé åõñýôåñá ç ðïð êïõëôïýñá. Ôï
êÝöé, ç áßóèçóç ôçò ðáñÝáò ôùí ôçëåïðôéêþí
åêðïìðþí, ç ðñïóùðéêÞ Ýêèåóç, ôï êýñïò
ðïõ áðïäßäåôáé óôçí ðñïóùðéêüôçôá ôïõ
ðïëéôéóìéêÜ åíçìåñùìÝíïõ ôçëåïðôéêïý
ðáñïõóéáóôÞ åßíáé óôïé÷åßá ðïõ ìåôá÷åéñßæïìáé
ãéá íá óôÞóù ôá ðåñéóóüôåñá âßíôåï. Ïé áðëÝò
ôå÷íéêÝò óôï ôñÜâçãìá êáé ôçí åðåîåñãáóßá ôïõ
õëéêïý, ôï êëåéóôü êýêëùìá ôùí áíáìíÞóåùí
êáé óõãêéíÞóåùí, ç åðéìïíÞ óôçí éäéáéôåñüôçôá
ôçò óôéãìÞò åßíáé óôïé÷åßá ôá ïðïßá óõíäõÜæù
ìå ÷éïýìïñ. Ç óõíåýñåóç ôïõ ðñïóùðéêÜ
öïñôéóìÝíïõ êáé ôïõ êùìéêïý äçìéïõñãåß
áõôïáíáéñÝóåéò êáé åîÜñóåéò, îáöíéêÜ
áíïßãìáôá óå êÜôé ðéï ãåíéêü áðü ôéò éóôïñßåò
ðïõ äéçãïýìáé.
2007 Karaoke
poetry bar, parallel
project of the 1st
Athens Biennial
2007 Miden Festival
/ ÖåóôéâÜë ÌçäÝí,
Kalamata, Greece
2007 Strange
Screen, Museum
of Cinema,
Thessaloniki, Greece
One could easily file my work as
autobiographical. It is not that I particularly
fancy the telling of my story or that I enjoy
placing myself physically in the work. On the
contrary, quite often this is something that I find
difficult to do. Nevertheless I choose to work
with emotionally charged matter, what I call the
small-grand affairs. Thus I use what comes more
handy and I have better knowledge of, namely
my own affairs, my body, my camera handling.
This personal material is set to work in a
background of culturally cultivated fascinations.
So each of my videos ends up as a self-portrait,
that comments on the medium with which is
being realized.
The video conduct and the aesthetics that I
utilize refer to the televised image and the pop
culture. The congenial sociability that marks
certain TV shows, the thrill of personal exposure,
the status of TV personality as a synthetic entity
always in the cultural know, are all key concepts
for me. In addition to the track of private thrills
and memories and a penchant for the special
moment, in handling the videos I employ
simple, low-fi techniques. Moreover I want to
accommodate a comical, laughable aspect in
my work as this prompts unexpected insights
in an area of humane conditioning by far wider
than my personal worries.
artistique@hotmail.co.uk 2007 Her(his)tory,
Museum of Cycladic
Art, Atnens, Greece
2007 Athens Video
Art, video festival,
Tehnopolis, Athens,
Greece
2006 intothepill,
E31 Gallery, Athens,
Greece
82 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
2005 Off for a while,
3:35 min
2005 Áct 1,
3:26 min
2005 Scrap paper,
5:50 min, stop
motion animation
2006 Âus 75,
20 min
2006 Jump,
6:13 min
2006 Draw away,
3:13 min
Tina Kotsi / Ôßíá Êüôóç
ÁèÞíá 1975
2007 Round n
round, 7:20 min
2007 City...Oh!,
2:48 min
2008 p. 85 /ó. 85,
3:17 min, stop
motion animation
2008 [o/i] strap /ï/ç
ëïõñÜêé,
3:25 min, stop
motion animation
Athens, Greece 1975
Áct 1 Âus 75
City...Oh! Draw away Jump*
Scrap paper
83 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2008 Visionaria
17, Visual arts
in movement,
International
Toscana video
festival, Gallery
Agora Piombino,
Italy
2008 Athensville,
intothepill
screenings, Art
Athina 08, Athens,
Greece
2008 Games
without frontiers,
Zoumboulakis
Galleries, Athens,
Greece
Áóôéêü ôïðßï, óêïõðßäéá, áðïìåéíÜñéá
áíôéêåéìÝíùí, ñõèìüò ìïõóéêÞò, âéïìç÷áíéêÜ
ìïôßâá, ãßíïíôáé åñåèßóìáôá ãéá ôçí êáôáãñáöÞ
ìéáò ðñïóùðéêÞò äéåñãáóßáò üðùò áõôÞò ôïõ
ó÷åäßïõ-ß÷íïõò. Ç éäéüôçôá ôçò áíôßëçøçò ìáò
ãéá ôï ÷þñï ìå ùèåß íá âñßóêù ôñüðïõò íá
óôéãìáôßæù ôá ðñÜãìáôá ãýñù ìïõ.
Ìå åíäéáöÝñåé ôï åöÞìåñï óôïé÷åßï, ç
áðïôýðùóç ôçò óôéãìÞò ìÝóá óôï ÷ñüíï êáé
ç áëëçëåðßäñáóç ôïõ áðñüâëåðôïõ Þ ôõ÷áßïõ
óõìâÜíôïò ìå ôçí ðñïêáèïñéóìÝíç, ìåèïäéêÞ
ðñÜîç.
Åðéèõìþ íá åéóâÜëëù ìÝóá óôçí ðñáãìáôéêÞ
åéêüíá ôçò ðüëçò êáé ìÝóù ôçò ÷åéñïíïìßáò íá
ôçí áíáäçìéïõñãÞóù, íá áíôéêáôáóôÞóù åéêïíéêÜ
ôçí õëéêÞ ôçò õðüóôáóç êáé íá äçìéïõñãÞóù
ó÷Ýóåéò áíÜìåóá óôï ìåãáëåéþäåò ôçò ðüëçò
êáé ôçí áíôßëçøç ðïõ äçìéïõñãåßôáé áðü áõôÞí.
Ç óçìåßùóç ðÜíù óôçí åéêüíá ôçò ðõêíÜ
äïìçìÝíçò ðüëçò áðïêáëýðôåé ôçí ôåñÜóôéá
äéáöïñÜ êëßìáêáò ìåôáîý ðñáãìÜôùóçò ôçò
öáíôáóßùóçò ìïõ êáé ôïõ ðñáãìáôéêïý ÷þñïõ.
ÅðéëÝãù íá åðåìâáßíù óôï ôïðßï óå ãñáììéêü
÷ñüíï Ýôóé þóôå íá öÝñíù óå äéÜëïãï ôï
öáíôáóéáêü ìå ôïí ðñáãìáôéêü ÷þñï.
Óå Üëëï ìÝñïò ôçò äïõëåéÜò ìïõ, üðùò
ãéá ðáñÜäåéãìá óôá âßíôåï «óåëßäá 85» êáé «ï/ç
ëïõñÜêé», ôá ðñùôáñ÷éêÜ ìïñöéêÜ óôïé÷åßá,
ìáæß ìå åõôåëÞ Ü÷ñçóôá áíôéêåßìåíá ðïõ
áíôéêáèéóôïýí ôá ôõðïðïéçìÝíá áíôéêåßìåíá
ðáé÷íßäéá, åìøõ÷þíïíôáé êáé ãßíïíôáé «Þñùåò»
öáíôáóôéêþí éóôïñéþí. ÁõôÜ ôá óêïõðéäÜêéá
(÷áñôÜêé, êïììÜôé áðü ëïõñÜêé) ùèïýí ôç
öáíôáóßá íá ôá æùíôáíÝøåé êáé íá ôá êáôáóôÞóåé
«Þñùåò» óôç äéáäéêáóßá ôïõ ðáé÷íéäéïý. Ïé áðëÝò
éóôïñßåò ôùí óêïõðéäéþí áöÞíïõí ôá ß÷íç ôïõò
óôïí ôüðï ôçò äñÜóçò. Óå ìåãÜëï Þ ìéêñü ôüðï
ç åìðåéñßá ôçò äéáäéêáóßáò ôïõ ðáé÷íéäéïý ðëÜèåé
ìéá Üëëç ðñáãìáôéêüôçôá.
2007 Public Screen,
Heterotopias,
1st Thessaloniki
Biennale of
Contemporary Art,
State Museum of
Contemporary Art,
Thessaloniki, Greece
2007 ProÔÜóåéò,
“Meatspace” /
“Åôåñïôïðßåò”,
Action Field
Kodra, 7
th
visual
arts festival,
Thessaloniki,
Greece
2007 East and
West.Tashkent
crossroa,
International Festival
of Photo and Video
Art, Tashkent House
of Photography,
Uzbekistan
2006 Marks
and comments,
Tramway, Glasgow,
UK
2006 Bacos
international Video
Show, Alternative
space, Setubal,
Portugal
2004 Memory
Game, collaborative
project, Zoumberi,
Attiki; 9
th
Biennale of
Architecture,
Venice
2003 Locus Solus,
An Experiment on
the Collectivity of
Artistic Project / ¸íá
ðåßñáìá ðÜíù óôç
óõëëïãéêüôçôá ôçò
åéêáóôéêÞò ðñÜîçò,
1
st
part: Frikes,
Ithaki, 2
nd
part:
Gazonrouge gallery,
Athens, Greece
constacotsi@yahoo.com
http://www.tinakotsi.com
The Urban landscape, waste, remnants of
objects, rhythms of music, industrial patterns,
all become stimuli for the recording of personal
activity like that of drawing - trace. The attribute of
our perception of space prompts me to find ways
to stigmatize the surroundings.
I am interested in the ephemeral element,
the imprinting of the moment in time and the
interaction of the unanticipated or accidental
incident using a predetermined, methodical action.
I wish to invade the real side of city and by
means of this gesture to reconstruct and replace
its material substance visually and thus create a
relationship between the magnificent element of
the city and the perception created by this.
The note on the picture of a densely built city
reveals the enormous difference of scale between
the materialization of my fantasy and real space. I
select to intervene in the landscape in linear time
so as to create a dialogue between fantasy and
reality.
In another part of my work, as, for example,
in the videos “page 85” and “ strap”, the
fundamental formal elements and the cheap,
useless objects which replace the standardized
objects games, are animated and become
“heroes” of imaginary stories. These tiny useless
objects, (pieces of paper, strap) prompt the
imagination to bring them to life and render them
as “heroes” in the process of a game. The simple
stories of waste leave their mark in the place of
action. In a big or small place the experience of
process of the game creates another reality.
86 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
1997 Feather Time
/ Ï ×ñüíïò ôïõ
Öôåñïý, video,
super16 mm, 5 min
2005 Adamah,
miniDV, 7 min, color
2005 The mes-
senger, miniDV, 12
min, color, video
installation
2006 From the
graves of our slain
/ Áð’ ôá êüêáëá
âãáëìÝíç, miniDV,
10 min, color
ÔÜóïò ËÜããçò / Tassos Langis
ÁèÞíá 1968
2007 Body Donation
/ ÄùñåÜ Óþìáôïò,
miniDV, 7 min, color
2007 Spineline,
miniDV, 7 min, color
2007 On Death
/ Ðåñß ÈáíÜôïõ,
miniDV, 6 min, color
Athens, Greece 1968
Adamah* From the graves of our slain /
Áð’ ôá êüêáëá âãáëìÝíç
On Death / Ðåñß ÈáíÜôïõ
87 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2006 Frame Festival
Internacional de
Video-Dance, 5th
Edtion, Spain
2006 No words,
4 film festival,
Bolzano, Italy
2008 Festarte,
Roma, Italy
2006 Apolis, group
exhibition, Hellenic
American Union,
Athens, Greece
“Story is the enemy”.*
All my works are derived from an enunciation
of logos either as biblical or historical, fictional
or poetic. They arise from fragments that
wedge in my conscience and provoke my
memory. In my videos I try to combine three
distinct elements: narrational, performative and
visual. My main focus is on the human figure
against and/or in relationship to myth, history,
memory and culture, all of which I apprehend
as space. Theatricality and frontal composition
are mobilized for maintaining this focus on the
figure while being as abstract as possible in
terms of storytelling representation. Since my
education and vocational training is around
cinema I prefer to embody cinematic techniques
of lighting, framing, format and shot duration.
“Story is the enemy” though. I document events
(not happenings), that ideally, their significance
is stored in video form for future reference or
use. Events that mostly envision/ visualize the
psychic agitation caused by the collision of my
narcissism with the collective memory. Exactly
the type of memory that my generation mostly
abhors or is indifferent to. In contradistinction
to the psychological use of character in
mainstream cinema I prefer a corporeal
approach through a discrete performance. The
performances are staged in a variety of public
spaces, often against a law-given public ritual
and always as a query in point of death.
* Quoted from Lars Von Trier’s artistic manifesto Defocaliser,
for Jorgen Leth’s documentary film “De Fem benspaend” (aka
“The Five Obstructions”), 2003.
2007 Videologia, 4th
International Festival
of Audiovisual Arts,
Volgograd, Russia
2008 Riccione TTV
Festival, Riccione,
Italy
2008 Action Field
Kodra, Thessaloniki,
Greece
2008 Directors’
Lounge, Berlin,
Germany
2007 8th Media
Forum, Program
«Open video»,
Moscow, Russia
2008 4th Zebra
Poetry Film Festival,
Berlin, Germany
«Ç éóôïñßá åßíáé ï å÷èñüò».*
Ôá Ýñãá ðïõ Ý÷ù ðáñïõóéÜóåé ùò ôþñá
ó÷åôßæïíôáé ìå êÜðïéï ôñüðï ìå ôïí ëüãï: ôïí
âéâëéêü , ôïí éóôïñéêü, ôïí ìõèéóôïñçìáôéêü,
ôïí ðïéçôéêü. Ðñïêýðôïõí áðü èñáýóìáôá
ðïõ óöçíþíïíôáé óôç óõíåßäçóÞ ìïõ êáé
ðñïêáëïýí ôç ìíÞìç ìïõ. Óôá video óõíäõÜæù
ôñßá îå÷ùñéóôÜ óôïé÷åßá ðïõ ôá ÷ñçóéìïðïéþ
ùò äéáêñéôÝò ðáñáìÝôñïõò, ùò «åíÝñãåéåò»:
ôï áöçãçìáôéêü, ôï åðéôåëåóôéêü êáé ôï ïðôéêü.
ÅóôéÜæù óôçí ìïíá÷éêÞ áíèñþðéíç öéãïýñá
åíÜíôéá Þ óå ó÷Ýóç ìå ôïí ìýèï , ôçí Éóôïñßá,
ôç ìíÞìç êáé ôïí ðïëéôéóìü, Ýííïéåò ðïõ ôéò
áíôéëáìâÜíïìáé óáí ÷þñï êáé ôåëåôïõñãßá.
Èåáôñéêüôçôá êáé ìåôùðéêÞ óýíèåóç ôùí
êÜäñùí êéíçôïðïéïýíôáé ãéá íá äéáôçñÞóù
üóï ôï äõíáôü ìéá ðéï áöáéñåôéêÞ ó÷Ýóç ìå ôç
êåíôñéêÞ öéãïýñá áíôß ôçò áíáðáñáóôáôéêÞò
ðïõ Ý÷ïõìå óõíçèßóåé. «Ç éóôïñßá åßíáé ï
å÷èñüò». ÊáôáãñÜöù óõìâÜíôá, ðïõ éäáíéêÜ
ç óçìáóßá ôïõò áðïèçêåýåôáé óôï video ãéá
ìåëëïíôéêÞ ÷ñÞóç. ÓõìâÜíôá ðïõ êõñßùò
áðåéêïíßæïõí ôç øõ÷éêÞ ôáñá÷Þ ðïõ ðñïêáëåßôáé
áðü ôç óýãêñïõóç ôïõ íáñêéóóéóìïý ìïõ ìå
ôç óõëëïãéêÞ ìíÞìç, ìíÞìç ðïõ ç ãåíéÜ ìïõ
ðñïôéìÜ íá ôçí áðïóôñÝöåôáé Þ íá áäéáöïñåß
ãé’áõôÞí. Óå áíôéäéáóôïëÞ ìå ôç øõ÷ïëïãéêÞ
÷ñÞóç ôïõ ÷áñáêôÞñá óôïí mainstream
êéíçìáôïãñÜöï, ðñïôéìþ ìéá óùìáôéêÞ
ðñïóÝããéóç ìÝóù ìéáò éäéáßôåñçò åðéôåëåóôéêÞò
ðñÜîçò. Ïé ðñÜîåéò áõôÝò óêçíïèåôïýíôáé óå
äéÜöïñïõò äçìüóéïõò ÷þñïõò, óõ÷íÜ åíÜíôéá
óå Ýíá èåóìïèåôçìÝíï ôåëåôïõñãéêü êáé ðÜíôá
ùò äéåñþôçóç ó÷åôéêÜ ìå ôï èÜíáôï.
* ÐáñÜèåóç áðü ôï êáëëéôå÷íéêü ìáíéöÝóôï ôïõ Lars Von
Trier Defocaliser, ãéá ôï íôïêéìáíôÝñ ôïõ Jorgen Leth “De Fem
benspaend” (aka “The Five Obstructions”), 2003.
tassoslangis@gmail.com
90 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
ÓÞöçò ËõêÜêçò / Sifis Lykakis
2002 Disagreement
/ Äéáöùíßá,
4:35 min, miniDV,
after effects
2002 Collision /
Óýãêñïõóç,
6:10 min, miniDV
2002 Animation,
3:04 min, miniDV,
video installation,
after effects, particle
illusion, ãëõðôü
ôñáðÝæé-tv,
2003 Fisherman /
ØáñÜò,
13:19 min, miniDV,
video installation
ÁèÞíá 1977
2003 Round of
death / Ãýñoò ôïõ
èáíÜôïõ, 8:09 min,
miniDV
2003 Turbanion,
minDV, after effects,
particle illusion
2004 Toovetheeoo
Lai Lai, 7:34 min
(cooperation with
D. Kavalieratos),
miniDV
2005 ¢îéíôåíô,
2:35 min, miniDV
(cooperation with
D. Kavalieratos)
2005 On Days Like
These, 5:14 min,
miniDV
2006 Self-portait /
Áõôïðñïóùðïãñá-
ößá, 1 min, miniDV
2007 Sacrifice /
Èõóßá, 2:2 min,
miniDV
2007 Alarm System,
interactive video
installation
2007 I’m gonna
got in jail / Èá ìå
âÜëïõí öõëáêÞ,
6:43 min, miniDV
2008 Çeart of
Glass, 4:52 min,
3d animation video
installation
2005 Klein My
Poots, 5:45 min,
miniDV
2006 Ôik, 5:37 min,
miniDV (cooperation
with D. Kavalieratos)
2006 Deus ex
machine / Áðü
«Ìç÷áíÞò» Èåüò,
video installation,
miniDV, åðéôïß÷éï
ãëõðôü
2006 Artistique,
2:12 min
(cooperation with
D. Kavalieratos),
miniDV
2008 Portrait
of a friend / Ôï
ÐïñôñÝôï Åíüò
Ößëïõ, 4:34 min,
miniDV (cooperation
with S. Karamanolis)
2008 Zabrisky Point,
2:12 min,
3d animation
2008 Le Bombe,
3:13 min,
3d animation
2008 Scull,
1:56 min,
3d animation
Athens, Greece 1977
Animation
Artistique
¢îéíôåíô
Collision / Óýãêñïõóç Fisherman / ØáñÜò
I’m gonna get in jail / Èá ìå âÜëïõí öõëáêÞ
On Days Like These
Ôik*
Turbanion
91 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2009 George
Tourlas and friends,
Kappatos Art
Gallery, Athens,
Greece
2008 Katagrafi,
A.S.F.A., Athens,
Greece
2008 Oraioi San
Amerikanoi,
Kafeneon art space,
Athens, Greece
2008 Untitled,
PhotoBiennale,
Action Field Kodra,
Ôï ìåãáëýôåñï ìÝñïò ôùí Ýñãùí ôïõ êáëëéôÝ÷íç
Ý÷ïõí óáí áöåôçñßá ôïí êéíçìáôïãñÜöï, ìéá ìïñöÞ
ôÝ÷íçò ðïõ Ý÷åé åðçñåÜóåé óçìáíôéêÜ ôçí åîÝëéîç
ôçò ïðôéêÞò áíôßëçøçò ôïõ êüóìïõ êáé ü÷é ìüíï.
Ìéá ìïñöÞ ôÝ÷íçò ðïõ åßíáé óõíäåäåìÝíç ìå ôçí
ôå÷íïëïãßá êáé éêáíÞ íá áðïäïìÞóåé ôçí Ýííïéá ôïõ
÷ñüíïõ. Ï êéíçìáôïãñÜöïò ðáßæåé ðïëý ìåãÜëï
ñüëï ðéá êáé óôçí êïéíùíéêÞ åîÝëéîç ôïõ áíèñþðïõ
ìå éäéáßôåñç éêáíüôçôá åðéññïÞò óôéò ìÜæåò.
ÖõóéêÜ ç åðéññïÞ ôïõ óôï êïéíùíéêü ãßãíåóèáé äåí
åîáñôÜôáé ìüíï áðü ôéò åðáíáóôáôéêÝò áëëáãÝò
ôçò ôå÷íïëïãßáò, áëëÜ êáé áðü ôçí åêìåôÜëëåõóç
ôçò ôå÷íïëïãßáò ðïõ ãßíåôáé óå êÜèå óõãêåêñéìÝíç
åðï÷Þ áðü ôá äéÜöïñá êïéíùíéêï-ïéêïíïìéêÜ
óõìöÝñïíôá ðïõ êáôÝ÷ïõí ôçí åîïõóßá.
Ôá ìÝóá äéáóôáõñþíïíôáé óôï ÷ñüíï áëëÜ ï
÷ñüíïò äåí åßíáé ðéá éóôïñßá. Ç äéáöïñïðïßçóç ôùí
ôå÷íéêþí ìÝóùí áíïßãåé ôáõôü÷ñïíá ôï äñüìï êáé ôç
äõíáôüôçôá óõíäõáóìïý ôïõò. Áðü ôç óôéãìÞ ðïõ ïé
ìíÞìåò ïðôéêþí, áêïõóôéêþí, ãñáðôþí äåäïìÝíùí
÷ùñßóôçêáí, áõôïìáôïðïéÞèçêáí êáé ìåôñÞèçêáí,
ïé äéáöïñåôéêÝò ñïÝò ôïõò ìðïñïýí êáé ðÜëé
íá äéï÷åôåõôïýí óôçí ßäéá êïßôç. Óôç äåäïìÝíç
ðåñßðôùóç ï êïéíüò ôüðïò åßíáé ç øçöéáêÞ
ôå÷íïëïãßá ðïõ åìðåñéÝ÷åé üëá ôá ðáñáðÜíù.
Áõôü ðïõ ï ËõêÜêçò èåùñåß óçìáíôéêüôåñï áð´
üëá óôïõò íÝïõò êáíüíåò ïðôéêÞò áíôßëçøçò, åßíáé
áõôü ðïõ äåí ìðïñåß íá äåé ôï áíèñþðéíï ìÜôé áðü
ìüíï ôïõ. ÊáôÜ óõíÝðåéá, ôá ðåñéóóüôåñá Ýñãá
ðïõ öôéÜ÷íåé ôïí ôåëåõôáßï êáéñü áíáðáñéóôïýí
åêñÞîåéò, ðïõ ðñþôá Ý÷ïõí äçìéïõñãçèåß óå
ðñüãñáììá êáôáóêåõÞò ôñéóäéÜóôáôùí ìïíôÝëùí
(3d studio max). ¸ôóé ìðïñåß íá êáôáóêåõÜæåé,
ëåðôïìåñþò, âÞìá ðñïò âÞìá áíôéêåßìåíá ðïõ
áíáôéíÜæïíôáé Ý÷ïíôáò ôïí ðëÞñç Ýëåã÷ï ôçò
Ýêñçîçò. Ïñßæåé ôçí ïðôéêÞ ãùíßá, ôçí Ýíôáóç, ôï
ìÝãåèïò ôïí áñéèìü, ôç èÝóç ôùí èñáõóìÜôùí,
ôï õëéêü, ôï ðåñéâÜëëïí, ôçí êßíçóç, ôçí ôá÷ýôçôá.
Åí ïëßãïéò, êáôÝ÷åé üëåò ôéò ðáñáìÝôñïõò ðïõ èá
ìðïñïýóáí íá ïñßóïõí ôï ÷Üïò ìéáò Ýêñçîçò. Ç
Ýêñçîç ðñïêáëåß Ýêðëçîç üðùò êé áõôÞ ôïõ «Big
Bang» ðïõ õðïôßèåôáé ðùò åßíáé õðåýèõíç ãéá ôçí
äçìéïõñãßá ôïõ óýìðáíôïò…
seefees@hotmail.com
http://sifislykakis.blogspot.com
Thessaloniki, Greece
2008 Art Athina 08,
intothepill projection,
Athens, Greece
2007 Art Athina 07,
Greek contemporary
art, Athens, Greece
2006 What remains
is the future, Patra,
Greece
2005 Art athina 05,
Gazonrouge galery,
Athens, Greece
2005 oi arhomenoi,
Gazonrouge galery
2005 5 days of
videoprojections,
A.S.F.A., Athens,
Greece
2004 Video Zone
02, video Biennale,
Tel Aviv, Israel
2004 Rheinschau,
Art Cologne
projects, under
the spices of The
Breeder
Most part of Sifis Lykakis’ work uses cinema, as
its point of departure, based on the fact that it
constitutes a form of art that has greatly affected
people’s visual perception. Cinema, being
closely linked to technology, can deconstruct
the concept of time. It also plays an important
role in human’s social evolution, with a major
influence upon the public opinion. Of course, its
influence in society is depending not only on the
revolutionary technological innovations, but also on
the exploitation of these innovations by the socio-
economic interests that hold the power.
Mediums are intersecting in time, but time is no
longer history. The variety of technical means opens
up the road to combine them. From the moment
that the memories of visual, audio and written data
were segregated, measured and automatized, their
different streams can be directed to the same river
bed. In this specific case, the common ground is the
digital technology that enfolds all the above. Lykakis
reckons that the most significant aspect of visual
perception’s new rules is that which eludes the
human eye. Therefore most of the artist’s recently
works represent explosions, that have originally
been constructed using 3D animation software (3d
studio max). In this way, the artist can construct step
by step each object’s explosion, retaining full control
of the process. The explosion surprises like «Big
Bang» which originally created the universe.
2003 20 Rooms,
Kappatos Art Galery
(collaboration with
D. Kavallieratos),
Athens, Greece
SOLO EXHIBITION
2006 Untitled,
Gazonrouge galery,
Athens, Greece
94 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
2003 The ape
house, 11 min,
DV/PAL, video
installation
2004 Mediterranean
view, 1:24 min,
DV/PAL
2005 The Citibank
Building, Sunset,
23:32 min, DV/PAL
ÍôéÜííá ÌáãêáíéÜ / DeAnna Maganias
OõÜóéãêôïí, ÇÐÁ 1967 Washington D.C, USA 1967
2006 Getting to
Saint Peter, mixed
media, internal
videos, loop,
DV/PAL
The ape house Mediterranean view*
The Citibank Building, Sunset
Getting to Saint Peter
95 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2007 Present Tense,
National Museum of
Contemporary Art,
Athens, Greece
2007 The View from
Bed, solo show,
Thomas Erben
gallery, N.Y, USA
2007 Do not step
outside this area,
solo show Rebecca
Camhi galery,
Athens, Greece
2007 Her (His)Story,
Museum of Cycladic
Art, Athens, Greece
DeAnna Maganias uses video in combination with
constructions, circumstances and installation to show
points of view that undermine an ostensibly predictable
reality. In the installation, “The ape house” there is a
dialogue between the points of view of the spectator and
the spectacle. The piece is a simultaneous video installation
in two rooms. In one room we see the perspective of the
visitors to the ape house at the Washington National Zoo in
which the gorilla, Mopaya, is staring out at the audience. In
the second video the viewer adopts the gaze of the gorilla
who watches the spectators from behind the protective
glass of his cage.
“Mediterranean view”, (made for an exhibition entitled,
The Mediterraneans) shows a deadpan video image of
the view outside an airplane window shot in real-time that
remains virtually unchanged, offering no visual information
as to the plane’s location- only the pilot’s voice is heard
as he describes the route the plane will be flying, ”… we
proceed over Corsica over Sardinia and then proceed over
south of Rome and south of Naples over southern Italy then
we enter Greek airspace…”
Other videos undermine mundane reality by capturing
details that expose the fragile nature of the world. For
example, the video, “The Citibank building, Sunset”, is a 23
minute real-time image of the building in Long island city,
New York, illuminated by the setting sun. The structure’s
façade reflects the adjacent presence of the East River’s
undulating surface like a liquid mirror, rendering the solid
and monumental piece of architecture ethereal.
Often architectural situations are explored through
recording passages moving through enclosed spaces
or from fixed points of view from within. In “Getting to St
Peter”, for example, (a project made site- specifically for a
gallery space in Rome) a video inside one of two 62x62x78
cm. egg shaped structures, shows a perspective from
directly underneath the main dome of the church of Saint
Peter in Vatican city. The video was shot in the basement
where the Popes are buried. You can see the dome of
Michelangelo above through an opening in the floor,
obscured by a grate. In the second egg, we see the corridor
from inside the structure of the dome. We proceed in the
film up through the narrow passage and then down again.
The video is looped so that the circle of going around
behind the dome is never complete, giving a sense of an
unending journey.
2006 Getting to St.
Peter, solo show
Paolo Bonzano
Arte Conteporanea,
Rome, Italy
2005 Expanded
Painting, Prague
Biennale2, Czech
Republic
2004 The
Mediterraneans,
Museum of
Contemporary Art
of Rome Macro,
Rome, Italy
2003 Outlook:
international
exhibition for
contemporary art,
Athens, Greece
2003 8th
International
Istanbul Biennale,
Istanbul, Turkey
Maganias.Deanna@gmail.com
Ç ÍôéÜííá ÌáãêáíéÜ ÷ñçóéìïðïéåß âßíôåï óå óõíäõáóìü
ìå êáôáóêåõÝò, êáôáóôÜóåéò êáé åãêáôáóôÜóåéò ãéá íá
åðéóçìÜíåé èÝìáôá ðïõ õðïíïìåýïõí ìéá öáéíïìåíéêÜ
ðñïâëÝøéìç ðñáãìáôéêüôçôá.
Ç åãêáôÜóôáóç «The ape house» åßíáé Ýíáò äéÜëïãïò
áíÜìåóá óôéò äéáöïñåôéêÝò ïðôéêÝò ôïõ èåáôÞ êáé ôïõ
èåÜìáôïò. Ôï Ýñãï áðïôåëåßôáé áðü äýï ðáñÜëëçëåò
åãêáôáóôÜóåéò âßíôåï óå äýï äùìÜôéá. Óôï Ýíáí ÷þñï
ìðïñïýìå íá äïýìå ôçí ïðôéêÞ ðïõ Ý÷ïõí ïé èåáôÝò ðñïò
ôï êëïõâß åíüò ãïñßëá ðïõ âñßóêåôáé óôïí æùïëïãéêü
êÞðï ôçò ÏõÜóéãêôïí, ìå ôïí Mopaya íá êïéôÜåé ðñïò
ôï êïéíü. Óôï äåýôåñï âßíôåï ï èåáôÞò ðáßñíåé ôçí èÝóç
ôïõ ãïñßëá ðïõ ðáñáêïëïõèåß ôïõò èåáôÝò ðßóù áðü ôá
ðñïóôáôåõôéêÜ êÜãêåëá ôïõ êëïõâéïý ôïõ.
Ôï Ýñãï «Mediterranean view» (äçìéïõñãÞèçêå ãéá
ôçí Ýêèåóç The Mediterraneans) äåß÷íåé ôçí ïõäÝôåñç
åéêüíá ôçò èÝáò Ýîù áðü ôï ðáñÜèõñï åíüò áåñïðëÜíïõ,
ãõñéóìÝíç óå ðñáãìáôéêü ÷ñüíï, ç ïðïßá ðáñáìÝíåé
áíáëëïßùôç, ÷ùñßò íá ðñïóöÝñåé ïðïéáäÞðïôå ïðôéêÞ
ðëçñïöïñßá ó÷åôéêÜ ìå ôçí èÝóç ôïõ áåñïðëÜíïõ, ôç
óôéãìÞ ðïõ ìðïñïýìå íá áêïýóïõìå ôçí öùíÞ ôïõ
ðéëüôïõ íá ðåñéãñÜöåé áðü ôá ìåãÜöùíá ôçí ðïñåßá ôïõ
áåñïðëÜíïõ: «… êáôåõèõíüìáóôå áðü ôçí ÊïñóéêÞ óôç
Óáñäçíßá, Ýðåéôá èá ðåñÜóïõìå ðÜíù áðü ôçí íüôéá Ñþìç
êáé ôç ÍÜðïëç êáé ìåôÜ èá ðåñÜóïõìå óôïí Åëëçíéêü
åíáÝñéï ÷þñï».
Ôá õðüëïéðá âßíôåï õðïíïìåýïõí ôçí êïéíüôïðç
ðñáãìáôéêüôçôá, êáôáãñÜöïíôáò ëåðôïìÝñåéåò ðïõ
ôïíßæïõí ôçí åýèñáõóôç öýóç ôïõ êüóìïõ. Ãéá ðáñÜäåéãìá,
ôï âßíôåï «The Citibank building, Sunset», åßíáé ç 23ëåðôÞ
ëÞøç åíüò êôéñßïõ óôï Long Island ôçò ÍÝáò Õüñêçò, êáôÜ
ôç äéÜñêåéá ôïõ çëéïâáóéëÝìáôïò. Ç ðñüóïøç ôïõ êôéñßïõ,
áíôáíáêëÜ ôçí ôáñáãìÝíç åðéöÜíåéá ôïõ East River,
áðïêôþíôáò ôçí åéêüíá åíüò õãñïý êáèñÝöôç ðïõ ôåëéêÜ
ðñïóäßäåé óôï óõìðáãÝò êôßñéï ìéá ðéï áéèÝñéá åéêüíá.
¢ëëåò áñ÷éôåêôïíéêÝò êáôáóôÜóåéò äéåñåõíþíôáé
ìÝóá áðü ìáãíçôïóêïðçìÝíåò ìåôáâÜóåéò áðü êëåéóôïýò
÷þñïõò Þ áðü óõãêåêñéìÝíá óçìåßá èÝáóçò áðü ôï
åîùôåñéêü. Ôï «Getting to St Peter» ãéá ðáñÜäåéãìá, Ýíá
âßíôåï óôï åóùôåñéêü äýï êáôáóêåõþí óå ó÷Þìá áõãïý
êáé äéáóôÜóåùí 62x62x78 åêáôïóôþí, äåß÷íåé ôç èÝá
áêñéâþò êÜôù áðü ôïí ôñïýëï ôçò åêêëçóßáò ôïõ ¢ãéïõ
ÐÝôñïõ óôï Âáôéêáíü. Ôï âßíôåï ãõñßóôçêå óôï õðüãåéï
üðïõ Þôáí èáììÝíïé ïé ÐÜðåò. Ìðïñåß êáíåßò íá äéáêñßíåé
ôïí ôñïýëï ôïõ Ìé÷áÞë ¢ããåëïõ ìÝóá áðü Ýíá Üíïéãìá
óôï Ýäáöïò, áí êáé ôïí åìðïäßæïõí êÜðïéá êÜãêåëá. Óôï
äåýôåñï áõãü ðáñáêïëïõèïýìå ôïí äéÜäñïìï áðü ôï
åóùôåñéêü ôïõ ôñïýëïõ. Ôï öéëì ìáò ïäçãåß ìÝóá áðü ôï
óôåíü ðÝñáóìá êáé ìåôÜ áðü ðßóù. Ôï âßíôåï ëïõðÜñåôáé,
Ýôóé þóôå ï êýêëïò ôçò ðïñåßáò ìÝóá óôïí ôñïýëï íá
ìçí ïëïêëçñþíåôáé ðïôÝ, äßíïíôáò ôçí áßóèçóç åíüò
áôåëåßùôïõ ôáîéäéïý.
98 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
1995 ÊïììùôÞñéï/
Haidresser’s, VHS,
PAL, 8 min, color
1995 ¢ôéôëo, VHS,
PAL, 3 min, color
1997 Bear’s
sculpture, VHS,
PAL, 0:20 min, color
1997 100 years,
VHS, PAL, 1 min,
color
1998 Be horny,
VHS, PAL, 1 min,
color
1998 Postponement,
VHS, PAL, 1 min,
color
ÉùÜííá Ìýñêá / Ioanna Myrka
ÁèÞíá 1966
2001 Nature 1, VHS,
PAL, 1 min, negative
2000 Time concept,
VHS, PAL, 3 min,
color
2000 Vagina, VHS,
PAL, 2 min, color
2000 Doubling,
VHS, PAL, 1 min,
color
2004 Daily, 12
videos, miniDV,
0:30 to 1 min each
2005 Game,
miniDV, PAL, 3 min,
color
2006 Weather,
miniDV, PAL, 1 min,
color
2006 Frustration,
miniDV, PAL, 3 min,
color
2006 Metabasi,
miniDV, PAL,
1 min, bw
2006 Sorry mum,
miniDV, PAL, 3 min,
color
2006 Saying a word,
miniDV, PAL, 2 min,
color
2006 Akolouthia,
miniDV, PAL, 4 min,
color
2006 The other
days, miniDV, PAL,
4 min, color
2007 Walking on
lines, miniDV, PAL,
1 min, color
2007 No elements,
miniDV, PAL, 1 min,
color
2007 The forest
ship, miniDV, PAL,
2 min, color
2007 Kaiwa,
miniDV, PAL, 2 min,
color
Athens, Greece 1966
Be horny Daily
Frustration The other days* No elements
Time concept
99 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2008 Katagrafi
/ ÊáôáãñáöÞ
2004-2007, Áthens
School of Fine Arts
2007 Karaoke
poetry bar, parallel
project of the 1st
Athens Biennial
2007 Trauma
Queen, Meditera-
nean hotel, Athens,
Greece
2006 Zeugma
/ Æåýãìá, RCA
Rethimno Art
Center, Rethimno,
Creta, Grece
Ç ÉùÜííá Ìýñêá ÷ñçóéìïðïßçóå áñ÷éêÜ ôï
âßíôåï, èÝëïíôáò íá êáôáãñÜøåé óêçíÝò ìå
åéêüíá êáé Þ÷ï. Îåêßíçóå ðåéñáìáôéêÜ ôï 1994,
óõëëÝãïíôáò óêçíÝò áðü Ýíá óõíïéêéáêü
êïììùôÞñéï êáé óôç óõíÝ÷åéá áêïëïõèþíôáò ìå
ôï êéíçìáôïãñáöéêü ðëÜíï ôçò ôçí êáôáãñáöÞ
ôùí óôïé÷åßùí ðïõ Þèåëå íá èßîåé, åðÝëåãå
ôï âßíôåï óáí ìÝóï, ìÝ÷ñé ðïõ ôï Ýêáíå
ðñïóùðéêü åñãáëåßï ãñáöÞò.
ÌÝ÷ñé ôï 2004 ìå ôç óåéñÜ «Daily» êáôÝãñá-
öå ðñÜãìáôá áðü ôï ðåñéâÜëëïí ôçò. Óôçí ßäéá
óåéñÜ äåß÷íåé 12 êáèçìåñéíÝò ìáò ðñÜîåéò, ðïõ
ëüãù óõíÞèåéáò äåí ãßíïíôáé áíôéëçðôÝò.
ÌåôÜ ôï 2004, óôñÝöåé ôçí êÜìåñá óôïí
åáõôü ôçò êáé áíáöÝñåôáé óôá ðñïóùðéêÜ ôçò
âéþìáôá.
2006 Ôime Based
Arts, Agia Paraskevi,
Athens, Greece
2005 Rebirth,
Eugenidio
Planitariium
Foundation, Athens,
Greece
2004 Et in Iraq ego,
a-station, Athens,
Greece
2004 Åveryday
Hellas, Whitebox
Galllery, New York,
USA
2002 Leaving
inside, Interior #1,
Athens, Greece.
2001 Kiss from
Greece, Gallery
Wohnmashine,
Berlin, Germany
2000 Elvis has left
the Building, Project
Space, Athens,
Greece
1997 ExpoArte,
Galery Icebox,
Mexico
1997 Liste 97,
Gallery Icebox,
Basel
1996 Spring
Collection, Deste
Foundation Athens
myrk156@yahoo.com
http://www.ioannamyrka,com
Ioanna Mirka utilized video, trying to record
scenes with image and sound. She began
experimenting with video in 1994, collecting
scenes from a local hairdressing salon and con-
tinued recording with her cinematic lens, issues
she wanted to bring on the surface, until she
made the camera her personal recording tool.
Until 2004, and the «Daily», series she con-
tinued to record things from her surroundings.
The aforementioned series presents twelve
everyday actions that due to the fact that we are
so accustomed to doing them, we don’t notice
them.
After 2004, she turned her camera onto
herself to speak about her personal experiences.
102 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
2007 Acro-poli acro-
ligo, 10 greeting
cards, 7:30 min,
color
2007 Greeting /
×áéñåôéóìüò,
3:30 min, color
2007 This is you,
this is me / Áõôüò
åßóáé åóý, áõôüò
åßìáé åãþ, 60 min,
color, double video
installation
Ëßá ÐÝôñïõ / Lea Petrou
ÊñÞôç 1978
2006 Lovember
gun, 3 min, bw
2005 20:00 -
22:00 handmade
[Kitakyushu
- Athens], 120
min, color, video
installation out of 6
videos
2004 I thought I was
at youme town,
6:30 min, color, with
sound
Crete, Greece 1978
2003 I won’t let you
down, 2 min, color
2003 131 bpm,
2:30 min, color
2002 Too many
cooks spoil the
broth, 17 min, color
131 bpm
I thought I was at youme town*
I won’t let you down Too many cooks spoil the broth
This is you, this is me /
Áõôüò åßóáé åóý, áõôüò åßìáé åãþ
Lovember gun
103 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2008 Love
Difference Ice-
cream and
sweets as cultural
passports, curated
& organized
by Cittadellarte
Fondazione
Pistoletto, CAMeC
Modern &
Contemporary Art
Center, La Spezia,
Italy & Cake pastry
shops, Athens
2008 Intrude Art
& Life 366, MoMA
Museum, Shanghai
2008The World One
Ôï åéêáóôéêü ìïõ Ýñãï ìïõ áðïôåëåß ìéá
ðñïóðÜèåéá ðñïóÝããéóçò äéáöïñåôéêþí
ôñüðùí áíÜãíùóçò êáé áíôéìåôþðéóçò ôçò
ðñáãìáôéêüôçôáò. Ç ìåôÜöñáóç, ïé ìåôáôñïðÝò,
ïé êþäéêåò êáé ôá ìåôñéêÜ óõóôÞìáôá åßíáé Ýííïéåò
ðïõ ìå åíäéáöÝñïõí ðïëý êáé ðñïêýðôïõí óôçí
ðñáêôéêÞ ìïõ ìå äéáöïñåôéêïýò ôñüðïõò. Ðéï
óõãêåêñéìÝíá áó÷ïëïýìáé ìå åñìçíåßåò ðïõ
ðñïóäéïñßæïíôáé ãåùãñáöéêÜ, üðùò ç áíôßëçøç
ðïõ Ý÷ïõìå ó÷åôéêÜ ìå ôï ÷ñüíï, ôçí êßíçóç êáé ôçí
ïìéëßá.
Ç åéêüíá óõíôßèåôáé áðü äéáöïñåôéêÜ óçìåßá êáé
ìå åíäéáöÝñåé ðïëý íá åîåôÜæù ôÝôïéåò ðñïóùðéêÝò
åðåîåñãáóßåò.
¢íèñùðïé ðïõ ðåñðáôïýí óôï äñüìï Þ ðïõ
åñãÜæïíôáé óôá êáôáóôÞìáôÜ ôïõò êáëïýíôáé íá
óõììåôÝ÷ïõí, íá ðáñïõóéÜóïõí Þ êáé íá óõíèÝóïõí
Ýñãá ìïõ. ÌåñéêÝò öïñÝò ðåñéãñÜöïíôáò Ýíá
ðáãêïóìßùò ãíùóôü ìíçìåßï, Üëëåò öïñÝò
åêèÝôïíôáò ôïõò öüâïõò ôïõò ìðñïóôÜ óôç
âéíôåïêÜìåñÜ ìïõ. Ïé åéêüíåò ôùí ðáéäéþí ðïõ æïõí
óôï ÷ùñéü El Max ôçò ÁëåîÜíäñåéáò óõíèÝôïõí
ôçí ôñßôç, áéãõðôéáêÞ åêäï÷Þ åíüò øçöéáêïý
ñïëïãéïý, üðïõ ïé öùôïãñáößåò ôùí ÷åñéþí ôïõò
áíôéðñïóùðåýïõí ôá øçößá.
Ïé ç÷çôéêÝò êáôáãñáöÝò ôùí ðáéäéþí áèçíáúêïý
äçìïôéêïý ó÷ïëåßïõ ðïõ äéáâÜæïõí ôéò ðñùôüôõðåò,
ìïíüëåðôåò ñáäéïöùíéêÝò åéäÞóåéò, ðáñïõóéÜæïõí
ìéá, ìáêñýôåñç óå äéÜñêåéá, áíôßëçøç ãéá ôá
ãåãïíüôá. Óå êÜðïéï Üëëï ìÝñïò ôçò ðüëçò, ìÝóá
óå Ýíá êáôÜóôçìá êáëëõíôéêþí, ïé áéóèçôéêïß
áðáããÝëëïõí Ýíá ðïßçìá ëÝîç ðñïò ëÝîç. Óôï Cite
International Des Arts ôïõ Ðáñéóéïý, ïé êáëëéôÝ÷íåò
ðïõ äéáìÝíïõí óôï êÝíôñï ðáñïõóéÜæïõí ôéò
ðñïóùðéêÝò ôïõò åñìçíåßåò æùéêþí Þ÷ùí. Óôï
CCA Kitakyushu ôçò Éáðùíßáò ïé óõììåôÝ÷ïíôåò
êáëëéôÝ÷íåò êáëïýíôáé íá ìå ðñïóêáëÝóïõí ãéá
ìåóçìåñéáíü ãåýìá Þ âñáäéíü, åíþ óôï óôïýíôéü
ìïõ óôï Ëïíäßíï ïé åðéóêÝðôåò áêïëïõèïýí ôéò
ïäçãßåò äéáíåìçìÝíùí óõíôáãþí æá÷áñïðëáóôéêÞò.
Ìå áõôïýò êáé ðïëëïýò Üëëïõò ôñüðïõò, ôï
Ýñãï ìïõ áðïêôÜ Ýíáí áíèñùðüìïñöï ÷áñáêôÞñá
þóôå ôï áêñïáôÞñéï íá ãßíåôáé ôï ðëáßóéï áëëÜ êáé
ôï ðåñéå÷üìåíï ôçò äïõëåéÜò ìïõ.
My art - work is an attempt to approach different
ways of reading and encountering reality.
Translation, conversions, codes and metric systems
are notions that intrigue me and emerge in my
practice in different ways. More specifically I deal
with interpretations that get defined geographically,
like the understanding we have concerning time,
movement and speech.
An image is made out of different view – points,
and I get fascinated by investigating such personal
elaborations.
People walking on the streets or working at
their shops have been invited to either participate
in, or host and construct my projects. Sometimes
by giving a description of a world wide-known
monument, other times by discussing their fears in
front of my video camera. Photographs of children
living at El Max village of Alexandria construct the
third, Egyptian version of a digital clock, where
images of hands represent the digits.
The sound recordings of Athenian primary
school children while reading out the original, one-
minute radio news, present a longer in duration
perception of facts. At some other part of the
city, inside a cosmetic center, a poem is recited
word by word by the shop assistants. In Paris, the
Cite International Des Arts residents present their
personal interpretations of animal sounds. In Japan,
the CCA Kitakyushu residents are invited to invite
me for lunch or dinner, while visitors of my studio in
London follow the instructions of handed out recipes
for desserts.
In those and many other ways, the work
acquires an anthropomorphic character and the
audience becomes both the content and the context
of my work.
Minutes, Beijing
Today Art Museum,
Beijing, China
2007 Karaoke
poetry bar, parallel
project of the 1
st
Athens Biennial
2007 Nightcomers,
Istanbul Foundation
for Culture and
Arts, 10
th
Istanbul
Biennial, Istanbul,
Turkey
2007 Public Screen,
Contemporary
Art Center of
Thessaloniki,
1
st
Thessaloniki

Biennial, Greece
2007 Visibility,
Athens, fruit market
of Attiki & Cheap
Art gallery, Athens,
Greece
2007 Trauma Queen,
Mediterranean hotel,
Athens, Greece
2007 Athens Video
Art Festival 07,
Technopolis, Gazi,
Athens, Greece
2006 The Scarecrow
/ Ôï ÓêéÜ÷ôñï,
Averoff Museum,
Metsovo, Greece
lea@leapetrou.info
http://www.leapetrou.info
2005 Visions,
Imperial &
Macedonia Palace
Hotels, Athens
& Thessaloniki,
Kappatos Art
Gallery, Greece
106 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
2002 Am I Not I,
video installation
2002 Cicle, video
installation
2003 Stay and Here,
video installation,
2004 Closet, video,
2006 Proportion 2,
video installation
2008 8,83 x 7,20,
video installation
2008 20 cm except
the corners, video
Áíôþíçò Ðßôôáò / Antonis Pittas
ÁèÞíá 1973 Athens, Greece 1973
Am I Not I (installation)
Closet*
Stay and Here
8,83 x 7,20 Proportion 2
107 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2009 Untitled,
Pompgemaal,
Den Helder, The
Netherlands
2008 Untitled (Four
Steps), Ileana
Tounta Centre of
Contemporary Art,
Athens, Greece
2008 20 cm except
the corners, video,
Art Athina08,
Athens, Greece
2007 8,83 x 7,20,
video installation,
TodaysArt Festival,
at Zaal 5, filmhuis
Den Haag, The
Hague, The
Netherlands
The potential of space to structure and organize
narratives is one of my personal fascinations.
Hence, the site-specific parameters of a space
and its relation to a personal or collective
narrative are an important point of departure
for my artistic practice. With every new work, I
start with the given conditions of the physical
space and the existing functions or concepts
it is associated with. By re-conceptualizing
the space, manipulating and re-presenting
it, I explore on the one hand the possibility of
highlighting the space as such, and on the other
hand, the fact that specific spatial settings have
the tendency to (re-)activate memory.
In my work, space functions as a stage
- in a very literal understanding, or in a more
metaphorical way. The concept of a stage offers
different possibilities concerning the position of
the audience and the engagement of the viewer
within my work, which I like to investigate. These
modes of communication and dialogue with the
audience, is of great importance to me.
The symbiotic relationship of engagement
plays a central role, whether it is the
replacement of my personal narrative with
the visitor’s own, or the mere triggering of
associations and relations. In this context I
question my position as an author of the work,
whether it is me, the artist (the creator of the
stage) or the viewer (the actor on the stage),
who holds the key to the memories evoked.
2006 Proportion 2,
video installation,
group show Kodra
06, Kalamaria,
Thessaloniki,
Greece
2006 Always
Want It, video
installation, group
show Gazonrouge
Gallery, Athens,
Greece
2005 Proportion,
video installation,
group show
Monument,
Kunstfort Vijfhuizen,
Vijfhuizen, The
Netherlands
2004 Interscape,
presentation,
publication-
exhibition Stedelijk
Museum Bureau
Amsterdam,
Amsterdam, The
Netherlands
2003 Stay and Here,
video installation,
group show Tremor,
Kunstbunker
Tumulka, Munich,
Germany
2002 Circle,
video installation/
performance
Centraal Museum,
Utrecht,
The Netherlands
2002 Am I not,
video installation,
group show De
Branderij, Antwerp,
Belgium
a.pittas@chello.nl
http://www.antonispittas.info
Ç äõíáôüôçôá ôïõ ÷þñïõ íá äïìåß êáé íá
ïñãáíþíåé áöçãçìáôéêÝò, åßíáé Ýíá áðü ôá
óôïé÷åßá ðïõ ìå óõíáñðÜæïõí. Ãé’ áõôü êáé ïé
site-specific ðáñÜìåôñïé åíüò ÷þñïõ êáèþò êáé
ç óýíäåóç ôïõ ìå ìéá ðñïóùðéêÞ Þ óõëëïãéêÞ
áöçãçìáôéêÞ, áðïôåëïýí Ýíá óçìáíôéêü óçìåßï
åêêßíçóçò óôç äïõëåéÜ ìïõ. Óå êÜèå íÝï Ýñãï,
ëáìâÜíù õðüøéí ìïõ ôéò äåäïìÝíåò óõíèÞêåò
åíüò öõóéêïý ÷þñïõ êáé ôéò õðÜñ÷ïõóåò
ëåéôïõñãßåò Þ Ýííïéåò ìå ôéò ïðïßåò óõíäÝåôáé.
Åðáíåñìçíåýïíôáò ôï ÷þñï, åðåîåñãáæüìåíïò
êáé åðáíáðáñïõóéÜæïíôÜò ôïí, åîåñåõíþ áðü
ôç ìéá ðëåõñÜ ôç äõíáôüôçôá íá õðïãñáììßóù
ôçí Ýííïéá ôïõ ÷þñïõ, êáé áðü ôçí Üëëç ôï
ãåãïíüò üôé óõãêåêñéìÝíåò ðáñÜìåôñïß ôïõ,
Ý÷ïõí ôçí ôÜóç íá åíåñãïðïéïýí ôç ìíÞìç.
Óôï Ýñãï ìïõ, ï ÷þñïò ëåéôïõñãåß ùò
ìßá óêçíÞ. Ç Ýííïéá ôçò óêçíÞò ðñïóöÝñåé
äéáöïñåôéêÝò äõíáôüôçôåò áíáöïñéêÜ ìå ôç
èÝóç ôïõ êïéíïý êáé ôçí áëëçëåðßäñáóç ôïõ
ìå ôï Ýñãï ìïõ. ÁõôÝò ïé ìÝèïäïé åðéêïéíùíßáò
êáé äéáëüãïõ ìå ôï êïéíü åßíáé êáßñéáò óçìáóßáò
ãéá ìÝíá.
Ç óõìâéùôéêÞ ó÷Ýóç åìðëïêÞò ôïõ êïéíïý,
ðáßæåé êåíôñéêü ñüëï, åßôå Ý÷åé íá êÜíåé ìå
ôçí õðïêáôÜóôáóç ôçò ðñïóùðéêÞò ìïõ
áöçãçìáôéêÞò áðü áõôÞ ôïõ êïéíïý, åßôå áðëÜ
ìÝóù ôçò åíåñãïðïßçóçò êÜðïéïí óõó÷åôéóìþí
êáé óõíåéñìþí. Õðü áõôü ôï ðëáßóéï, áìöéóâçôþ
ôç èÝóç ìïõ ùò äçìéïõñãïý ôïõ Ýñãïõ,
äéåñùôþìåíïò áí åßìáé ï ßäéïò ï êáëëéôÝ÷íçò (ï
äçìéïõñãüò ôçò óêçíÞò) Þ ï èåáôÞò (çèïðïéüò
åðß óêçíÞò), ðïõ êñáôÜåé ôï êëåéäß ãéá ôçí
åíåñãïðïßçóç ôçò ìíÞìçò.
110 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
2009 TheAngeloFo
undationHeadquar
ters.com, website,
(in collaboration
with Andreas
Angelidakis)
2009 ZigZag
Philosophy.com,
website
2008 Electricity
ComesFrom
AnotherPlanet.com,
website
2008 www.
youtube.com/
webcamseeker111,
YouTube channel,
¢ããåëïò ÐëÝóóáò / Angelo Plessas
2008 www.youtube.
com/FantasyGates,
YouTube channel
2008 UnwhiteMe.
com, website,
2008 IWantToBe
AMachine.com,
website
2007 TheHistoryOf
ADecadeThatHasN
ot YetBeenNamed.
com, website
2006 AllDayDoing
Nothing.com,
website
2006 What
RemainsIsFuture.
com, website
2006 SheNever
ToldHerLove.com,
website
2005 MeLookingAt
You.com, website
2004 Elastic
Enthusiastic.com,
website
2003 FutureIsFake.
com, website
2002 HeelsAnd
Balls.com, website
2002 OneAfter
TheOther.com,
website
OneAfterTheOther.com MeLookingAtYou.com FutureIsFake.com
AllDayDoingNothing.com TheAngeloFoundationHeadquarters.com IWantToBe AMachine.com
ElasticEnthusiastic.com What RemainsIsFuture.com
111 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2009 International
Portrait Gallery
(solo), Think 21
gallery, Volta New
York, USA
2009 The Angelo
Foundation
Headquarters
(in collaboration
with Andreas
Angelidakis), project
for Jeu De Paume,
Paris, France
2009 Straylight
Cavern, Cell Project
Space, London, UK
2007 Fischerspoon-
er World Tour
Ç äïõëåéÜ ôïõ ¢ããåëïõ ÐëÝóóá ôïðïèåôåßôáé ìÝóá êáé
ãýñù áðü ôï ßíôåñíåô. Ï êáëëéôÝ÷íçò áíÞêåé óå ìéá ãåíéÜ
êáëëéôå÷íþí ðïõ ìåãÜëùóáí ìå ôï Google êáé äéáôçñïýí
ôï óôïýíôéü ôïõò óôïí öïñçôü õðïëïãéóôÞ ôïõò. ¸ôóé ôï íá
«áíåâÜæïõí» ðáñáäïóéáêÜ ìÝóá üðùò Ýíá ó÷Ýäéï óå ìéá
éóôïóåëßäá åßíáé ìßá öõóéïëïãéêÞ åíÝñãåéá. ÌåôáôñÝðïíôáò
ôïí ôßôëï ôùí Ýñãùí ôïõ óå Ýíá êáôï÷õñùìÝíï ßíôåñíåô
domain, äçìéïõñãåß êéíïýìåíåò äéáäñáóôéêÝò åéêüíåò ïé
ïðïßåò åßíáé çëåêôñïíéêÝò êáé ìïíáäéêÝò, áíáðáñáãþìåíåò
óå åêáôïììýñéá õðïëïãéóôÝò áëëÜ õðáñêôÝò ìüíï
óå óõãêåêñéìÝíç äéåýèõíóç. Ôá Ýñãá áõôÜ óõíÞèùò
åóôéÜæïõí óå èÝìáôá ôáõôüôçôáò êáé åîïõóßáò êáé
ãßíïíôáé ÷áñáêôÞñåò êáé ðïñôñÝôá, åíáëëÜóóïíôáò
ìåôáîý ðáñÜîåíïõ êáé êáõóôéêïý, åêöñÜæïíôáò
áöçñçìÝíá óõíáéóèÞìáôá üðïõ óõíÞèùò âéþíïíôáé
óôçí êáèçìåñéíÞ ìáò çëåêôñïíéêÞ åðéêïéíùíßá. ¸ñãá
üðùò ôï «MeLookingAtYou.com» (2005) åßíáé ðïñôñÝôá
ôá ïðïßá ïöåßëïíôáé ôüóï óå «êåéìåíéêïýò ÷áñáêôÞñåò»
üóï óôçí áöÝëåéá êáé ðïëýðëïêç óõíáéóèçìáôéêÞ
ðíåõìáôéêüôçôá ôùí Ýñãùí ôïõ Ðïë Êëå. Ôá Ýñãá áõôÜ
óõ÷íÜ «ìåôáöñÜæïíôáé» óå áíôéêåßìåíá Ýîù áðü ôïí êüóìï
ôçò ïèüíçò óáí åãêáôáóôÜóåéò, åðéôïß÷éá ó÷Ýäéá, íÝïí êáé
äñÜóåéò. Ðáñüëï ðïõ åêåß äåí ìðïñåßò íá ôá êëéêÜñåéò,
áéóèÜíåóáé üìùò áêüìá ôçí éíôåñíåôéêÞ ôïõò ïíôüôçôá.
Êáé áõôü ãéáôß ç äïõëåéÜ ôïõ ÐëÝóóá äåí åßíáé ôõðéêÜ
øçöéáêÞ áëëÜ âáèåéÜ åíóùìáôïìÝíç óôï óêåðôéêü ôçò
ãåíéÜò ôïõ ßíôåñíåô êáé åðçñåáóìÝíç áðü ðáñáäåßãìáôá
üðùò ç êïõëôïýñá ôùí wiki, ôá site êïéíùíéêÞò äéêôýùóçò
êáé ç çëåêôñïíéêÞ ðåéñáôåßá.
Ìå ôçí ðñïûðüèåóç üôé «åßìáóôå ü,ôé óõëëÝãïõìå»
ï ÐëÝóóáò «åîùèåß» ôá üñéá ôïõ ôé ìðïñåß íá åßíáé Ýíá
ðïñôñÝôï óÞìåñá ìå ôï íá äéáìïñöþíåé ðïñôñÝôá
õðïôéèÝìåíùí ÷áñáêôÞñùí êÜíïíôÜò ôïõò YouTube
ëïãáñéáóìïýò (youtube.com/webcamseeker111).
O êáëëéôÝ÷íçò óõãêåêñéìÝíá áíôëåß êáé äçìéïõñãåß
áñ÷åéáêü õëéêü óõëëÝãïíôáò âßíôåï óå ëïãáñéáóìïýò ðïõ
ïíïìÜæåé õðáéíéêôéêÜ áíÜëïãá ìå ôçí èåìáôïëïãßá ôïõò
äçìéïõñãþíôáò Ýôóé åíüôçôåò óáí ôá «áãáðçìÝíá» âßíôåï
åíüò öáíôáóôéêïý ÷ñÞóôç.
Ðñüóöáôá, èÝìáôá üðùò ôáõôüôçôáò êáé åîïõóßáò
Ý÷ïõí ðÜñåé ìåãáëýôåñç èÝóç óôç äïõëåéÜ ôïõ ÐëÝóóá
üðùò óõãêåêñéìÝíá ìå ôï Ýñãï «Ôï ºäñõìá ¢íôæåëï»,
Ýíáò ôõðéêüò éíôåñíåôéêüò ïñãáíéóìüò êáé ðëáôöüñìá
ãéá äéÜöïñá Ýñãá üðùò Äéáêçñýîåéò ÌáíéöÝóôùí,
ÑïìðïôéêÞ Áíáãíþóç ÐïéçìÜôùí ê.Ü. ÁõôÜ ôá Ýñãá
óõíäõÜæïõí êáôáóôÜóåéò åðéóÞìùí åêäçëþóåùí åîïõóßáò
ïðïý ôáõôü÷ñïíá óáìðïôÜñïíôáé áðï ôçí áíáñ÷ßá ôçò
éíôåñíåôéêÞò êïõëôïýñáò. ¸ôóé ï êáëëéôÝ÷íçò ìðïñåß íá
ãßíåé ï âáóéëéÜò ôïõ êÜóôñïõ, íá äéáêçñýîåé ôï «êñÜôïò»
ôïõ êáé íá ìåôáëëÜîåé ôïí ðáãêüóìéï éóôü óå óôïýíôéü ôïõ.
Angelo Plessas’ work positions itself in or around the
internet. He is part of a generation of artists that grew
up with Google and maintain a studio in their laptop, so
pasting traditional media such as drawing onto a website is
a natural act. By turning the title of the work into a registered
web-domain, he makes animated drawings that are at once
electronic and unique, the image reproducible on millions
of computers but existing only on its particular location
of the singular internet address. Often focusing on the
themes of authority and identity, Plessas’ web drawings
become characters and portraits, alternating between
funny and poignant, they reflect the abstract emotions often
experienced in electronic communication and everyday
misunderstandings. Works such as “MeLookingAtYou.
com” (2005) are indeed portraits that owe as much to text
emoticons as to Paul Klee’s naïve and complex emotional
spirituality. These works often find themselves translated
into objects outside the realm of the screen, such as
murals, neon signs, paper collages or performances, and
even though you cannot click on them, you still feel the
presence of an internet entity. That is because Angelo
Plessas’ work is not a typical “new media” but is deeply
embedded into the thinking of the internet generation
and influenced by examples as the wiki culture, social
networking sites and online piracy.
On the premise that we are what we collect, Plessas
pushes the boundaries of what can be considered a portrait
by configuring portraits of supposed characters rendered
as youtube accounts (youtube.com/webcamseeker111).
The artist specifically takes and creates archival material
collecting videos in accounts that he names accordingly
depending on their themes creating playlists like the
”favorites” of an imaginary user.
Recently the themes of identity, and authority have
become more established in Plessas’ work especially with
projects such as The Angelo Foundation, a typical internet
start-up as a platform for a number of projects ranging from
Manifesto declarations, Robot Poetry Readings, etc. These
projects paste together aspects of ceremonial authority
demonstrations sabotaged by the anarchy of internet
culture, where the artist can become king of his castle, once
he declares his domain and turns the world wide web into
his studio.
2007 In Present
Tense: Young
Greek Artists,
National Museum of
Contemporary Art,
Athens, Greece
2007 Her(His)tory,
Museum of Cycladic
Art, Athens, Greece
2007 Mulher
Mulheres, SESC
Paolista Museum,
Sao Paolo, Brazil
2006 Anathena,
Deste Foundation,
Athens, Greece
2006 The Grande
Promenade,
National Museum of
Contemporary Art,
Athens, Greece
2005 III Valencia
Bienial, Convent
of the Carmen,
Valencia, Spain
ap@angeloplessas.com
http://www.angeloplessas.com
114 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
2009 Generator
that creates myths,
2:10 min, loop video
projection on fabric,
music by Joar
P. Nordtuns
2008 After electricity
- The festival, 9:30
min, music by Joar
P. Nordtuns
2008 After electricity
- From the life of the
people, music by
Joar P. Nordtuns
2008 After electricity
- Hunt, 1:50 min,
music by Joar
P. Nordtuns
Ãéþñãïò ÓáðïõíôæÞò / Yorgos Sapountzis
ÁèÞíá 1976
2004 Gold
(trumpet), 1 min,
music by Ïyvind
Torvund
2004 Knock Knock
Monument,
1:30 min, music by
Oyvind Torvund.
2001 Night Life,
2:35 min
2000 Untitled (rose
petals), 11 min
2000 Untitled (egg),
1:20 min
2007 Somsok,
6 min, music by
Oyvind Torvund
2007 Somsok-key,
1:33 min, music by
Joar P. Nordtuns
2006 Around the
clock, 6 min loop,
music by Joar
P. Nordtuns
2006 Forgotten
Tactic, 3:50 min,
music by Joar
P. Nordtuns
2006 Yeti-Lines,
3:30 min, music by
Joar P. Nordtuns
2005 Half Star,
1:10 min, music by
Joar P. Nordtuns
2005 Nightly, video
projection on pvc,
1:10 min loop,
music by Joar
P. Nordtuns
2005 Green Night,
1:40 min, music by
Joar P. Nordtuns
2005 Yucca, 2:50
min, music by Joar
P. Nordtuns
2005 Impact Vision,
4:20 min, music by
Ïyvind Torvund.
2005 Gold
(Thessaloniki),
5:50 min loop
2004 Encyclopedia
and the 3rd Spring,
45 min loop
Athens, Greece 1976
Encyclopedia and the 3rd Spring
Gold (Thessaloniki) Green Night
Knock Knock Monument
Yucca*
Untitled (rose petals)
115 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
SOLO EXHIBITIONS
2009 Menschen
Tiere Sensationen,
with Assume
Vivid Astro Focus,
Kunstverein
Arnsberg, Germany
2009 Horizon Drop,
Hermes und der
Pfau, Stuttgart,
Germany
2008 Art Basel 08,
Statement, with
Loraini Alimantiri/
Gazonrouge
2006 Forgotten
Tactics, Isabella
Bortolozzi Gallery,
Berlin, Germany
Ôá ôåëåõôáßá ÷ñüíéá, ï Ãéþñãïò ÓáðïõíôæÞò,
ìÝóá áðü ôï Ýñãï ôïõ Ý÷åé åíóôåñíéóôåß
ìéá ðñáêôéêÞ åíüò åíäéÜìåóïõ ÷þñïõ,
êÜôé ðïõ ðñïêýðôåé áðü ôçí áíôáðüäïóç
áíÜìåóá óôïí éäéùôéêü êáé äçìüóéï ÷þñï.
Ìå ôéò ðåñöüñìáíò, ðïõ åßíáé åöÞìåñá
(«ðáñáóéôéêÜ») ãëõðôÜ-õðïóôõëþìáôá
êáé ôá âßíôåï ôïõ, äçìéïõñãåß Ýíá áóôéêü
ëßìðï óôï ïðïßï üëá áíáðñïóäéïñßæïíôáé,
áíáðñïóäéïñßæïíôáò ìå ôç óåéñÜ ôïõò üëá
üóá ôá ðåñéâÜëëïõí. ÓõãêåíôñùìÝíïò, áðü
ôç ìéá óå ìéá ðñáêôéêÞ üðïõ ïéêåéïðïéåßôáé ôçí
ðüëç êáé ôç ÷áñôïãñáöåß åê íÝïõ, óõíôÜóóåé
ôï êáèçìåñéíü áíôéêåßìåíï ùò ìíçìåéáêü êáé
ôï ìíçìåéáêü, êïéíüôïðï. Áðü ôçí Üëëç, ìå
ôç äéáäéêáóßá ôçò åîÜëåéøçò ôùí óõíüñùí, ç
Ýêèåóç ôïõ ðñïóùðéêïý ôïõ óýìðáíôïò ôïí
áíáãêÜæåé íá áíáðáñáóôÞóåé Ýíá êïéíùíéêü
êáèþò êáé éóôïñéêü ÷þñï ôïõ ïðïßïõ ç åìðåéñßá
âéþíåôáé óá èÝáìá. ÁëëçëåðéäñÜ ìå ôï öõóéêü,
ìíçìåéáêü ðåñéâÜëëïí äçìéïõñãþíôáò
åöÞìåñá ãëõðôÜ, óôá ïðïßá ç äéêÞ ôïõ öõóéêÞ
ðáñïõóßá ãßíåôáé áíáðüóðáóôï êïììÜôé. ÌÝóá
áðü áõôïýò ôïõò ìç÷áíéóìïýò, ðñïóåããßæåé
ôçí éäÝá êáé ôïõò ðåñéïñéóìïýò ôïõ äçìüóéïõ
÷þñïõ, ôéò óõìâÜóåéò êáé ôçí Üñóç ôïõò ìÝóá
áðü ôçí ïéêåéïðïßçóç êáé ôç êáôáóêåõÞ ìéáò
ðñïóùðéêÞò åôåñïôïðßáò.
info@gazonrouge.com
info@bortolozzi.com
http://www.gazonrouge.com
http://www.bortolozzi.com
Over the last few years through his work
Yorgos Sapountzis has adopted a practice of
a space in between, something that results
from the reciprocation from private to public
space. Through his performances, ephemeral
(‘parasitic’) sculptures-props and videos he
creates an urban limbo where everything is
redefined, redefining in its turn everything that
surrounds them. Focused on the one hand in
a practice where he appropriates the city and
maps it anew, he constitutes the everyday object
monumental and the monument commonplace.
On the other hand, through the elimination
of boundaries the exposure of his personal
universe makes him an enactment of a social as
well as historical space that is experienced as
a spectacle. He interacts with the monumental
physical environment by creating ephemeral
structures of which his physical presence
becomes an integral part. Through these he
approaches the concept and limitations of
public space, its convention and abrogation
through the appropriation and construction of a
personal heterotopia.
2005 Nightly,
Loraini Alimantiri/
Gazonrouge,
Athens, Greece
GROUP EXHIBITIONS
2009 Hidden in
Remembrance is
the Silent Memory of
Our Future, The 4
th

Biennial of Moving
Image, Mechelen,
Belgium
2009 Deste
prize, Deste
Foundation,
Cycladic Museum of
Contemporary Art,
Athens, Greece
2008 Social
Diagrams. Planning
reconsidered, 2008
Kuenstlerhaus,
Stuttgart, Germany
2007 In Present
Tense, National
Museum of
Contemporary Art,
Athens, Greece
2007 Up to, and
Including the Limits,
Media Lounge,
Argos Centre,
Brussels, Belgium
2007 1st Athens
Biennale, Destroy
Athens, Athens,
Greece
2007 Her(His)Story,
Museum of Cycladic
Art, Athens, Greece
2007 The Tree
Bring Forth
Sweet Ecstasy,
Ausstellungsraum
Klingental, Basel,
Switzerland
118 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
1997 Heart, 1 min
loop, miniDV
2001Cosmotheory,
5 min, animation
2002 Desire,
1:03 min, miniDV,
loop installation on
the floor
2002 Dromos,
1:26 min, miniDV
2003 Babel,
4:53 min, muted,
miniDV
2003 Breath,
0:30 min, miniDV
(loop installation)
ÁíäñÝáò ÓéôïñÝãêï / Andreas Sitorego
ÓéÝííá, Éôáëßá 1972 Sienna, Italy 1972
2003 Myspace,
3:51min, miniDV,
paralel projection
instalation
2003 Between,
20:37 min, miniDV
2004 Dry soul,
3:50 min, miniDV
2005 3d zevgma,
3d animation, loop
instalation
2006 Dyo, 1:23 min
loop, miniDV
2007 Code /
Êþäéêáò, interactive
installation, miniDV,
muted
2007 Karaoke,
2:42 min, miniDV
Fish memory,
interactive
installation, miniDV
(kibos-sfera-
trigono), 0:07 min
Liquid breath,
6:19 min, miniDV
Pangaki, 3:40 min,
miniDV
Red line, 0:19 min,
muted, loop
Solve breeth,
1:47 min, miniDV,
muted, loop
installation
Thermokrasia,
3:05 min, miniDV,
2008 Sub, 1:26,
loop, miniDV
2008 Psihosoma,
1:55 min, miniDV
(loop installation)
Breath
Sub Solve breeth* kibos-sfera-trigono
Code / Êþäéêáò Dry soul
119 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2008 Festival
miden, Kalamata,
Greece
2007 Athens video
festival, Athens,
Greece
2007 Platforma
video, Athens,
Greece
2006 Synch festival,
Lavrio, Greece
2006 Wo-man, Third
Festival for Human
Rights, Cheap-Art
Gallery, Athens,
Greece
Ç ðáñáôÞñçóç ôçò æùÞò ùò öáéíüìåíï åßíáé
áðïôÝëåóìá áíôéëçðôéêþí äéåñãáóéþí. Ôï
óþìá, ìå ôç äõíáôüôçôá ôùí áéóèÞóåùí êáé ìå
áíÜëïãï íåõñéêü óýóôçìá ìðïñåß íá ôïðïèåôåß
ôçí ýðáñîÞ ôïõ ùò ìÝñïò åíüò ãåíéêüôåñïõ
óõíüëïõ ôï ïðïßï ïíïìÜæåé óýìðáí.
ÊÜèå æùíôáíüò ïñãáíéóìüò,
ïñãáíþíåôáé ìå ãíþìïíá ôçí áðáñáßôçôç
ðñïóáñìïóôéêüôçôÜ ôïõ ùò ðñïò ôéò áëëáãÝò
ôïõ ðåñéâÜëëïíôüò ôïõ.
ÐåñéâÜëëïí, óþìá êáé åðéâßùóç åßíáé
êáôáóôÜóåéò Üññçêôá óõíäåäåìÝíåò. ÊáôÜ
óõíÝðåéá, ãéá êÜèå óþìá ôï ðåñéâÜëëïí ôïõ
ìðïñåß íá ïñéóôåß ùò ôï Üëëï ôïõ «óþìá».
The observation of life as a phenomenon is the
result of comprehensive fermentations. The
body, with the use of the senses and with a
respective neurological system can place its
existence as part of a general whole, which is
called universe.
Any living organism can orchestrate
its survival using as a ruler the necessary
adaptiveness that has to develop towards the
environmental changes.
Body and survival are indissoluble
connected situations and as a result, for every
organism, the concept “environment” can be
defined as “its other body”.
2005 Strange
Screen festival,
Cinematography
Museum,
Thessaloniki,
Greece
2004 Medi@terra
festival, Athens,
Greece
2003 1st, 2nd,
4th and 5th
International Festival
Medi@terra,
Athens, Greece
andreas@sitorengo.com
http://www.sitorengo.com
2003 International
Triennale of Echigo-
Tsumari Short Video
Festival, Japan
120 I NTO THE PI LL VOL. I
121 I NTO THE PI LL VOL. I
122 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
2009 Im Park_I Lie
to History_Let´s
build your beautiful
tower, you charming
boy, installation with
sound,
8:30 min loop
2008 Involved
Vol.1, 5:14 min,
9:32 min loop
(in collaboration
with McLovla),
installation with
sound
Óôõëéáíßäïõ Âáóéëåßá / Stylianidou Vassiliea
Èåóóáëïíßêç 1967
2007 PlaceLine
Lack, installation
with sound, 4:23
min, 6:32 min loop
2007 Soft Target,
two-channel video
installation with
sound, 10:39 min,
1:43 min loop
2006 The three
musketeers,
installation, sound,
5:49 min loop
2006 24h
penetrating,
installation, 24h
2004 Pro.fiction01
perpetuum
mobile01-02,
five-channel video
installation, 14:25
min, 10:12 min loop
2004 Pro.fiction01
perpetuum
mobile03,
installation, 1:40
min loop.
2003 Infinity (now),
single-channel
video installation,
1:33 min loop
2002 Do you want
to kill me, baby?,
three-channel video
installation, 1:04
min, 2:06 min,
4:24 min loop
2001 In[frame]03,
eight-channel video
installation, mute,
each video 2:34
min loop
Thessaloniki, Greece 1967
Soft Target
nfinity (now) In[frame]03 Pro.fiction01 perpetuum mobile03
PlaceLine Lack* Im Park_I Lie to History_Let´s build your
beautiful tower, you charming boy
123 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2008 The Plotless
Room, Friedman
Galerie, Berlin,
Germany
2005 Perpetuum
mobile, Galerie
Francoise Heitsch,
Munich, Germany
2003 Playcities,
Gallery Kappatos,
Athens, Greece
GROUP EXHIBITIONS
2009 Sculptural
Narration, BM-Suma
Contemporary Art
Center, Istanbul,
Turkey
Ï äñüìïò ðñïò ôçí åðßãíùóç ìðïñåß íá åßíáé
ïõóéáóôéêÜ ç ìç êáôáðßåóç ôïõ õðïóõíåéäÞôïõ, ôï
íá áöÞóåé êáíåßò ôçí éóôïñßá íá âéùèåß ìÝóá áðü
ôï ßäéï ôïõ ôï õðïóõíåßäçôï, Ýôóé þóôå ç óõíåßäçóç
ôçò éóôïñßáò íá ãßíåé êáôåõèåßáí ìÝóù áõôïý ôïõ
õðïóõíåéäÞôïõ.
– Theweleit, Klaus (1977): Male Fantasies, Volume 1:
Women, Floods, Bodies, History
Ãéá ôçí Âáóéëåßá Óôõëéáíßäïõ, ç êáëëéôå÷íéêÞ
ðáñáãùãÞ åßíáé ìéá áäéÜêïðç äéáäéêáóßá
óýãêñïõóçò ìå ôç äçìüóéá êáé ôçí áôïìéêÞ
éóôïñßá, äçëáäÞ ìå ôïí äçìüóéï êáé éäéùôéêü
÷þñï. Ç êáëëéôÝ÷íéäá åñãÜæåôáé ðÜíù óôï
âßíôåï êáé ôéò åãêáôáóôÜóåéò, ÷ñçóéìïðïéþíôáò
ó÷åôéêÜ êáëëéôå÷íéêÜ ìÝóá üðùò ôï êåßìåíï êáé
ï Þ÷ïò. Ç Óôõëéáíßäïõ äéáðñáãìáôåýåôáé êáé
Üëëá èÝìáôá üðùò ç ïéêïãÝíåéá, ç äýíáìç êáé ç
ãëþóóá. ÌÝóá áðü ôç äïõëåéÜ ôçò, äçìéïõñãåß
Ýíá éäéáßôåñá ðëïýóéï ìïíôÝëï óõó÷åôéóìþí ãéá
ìéá ïõôïðéêÞ éóôïñéêÞ áíáèåþñçóç ðïõ ìáò
ðñïêáëåß íá åðáíáäéáìïñöþóïõìå ôï ðáñüí
ìáò ìÝóá áðü ôçí ðñïóùðéêÞ ìáò éóôïñßá.
Ines Doleschal
2008 I Know it is
Here Somewhere,
collaboration with
ShiftyTongue
performance group,
Bios, Athens,
Greece
2007 In present
tense / Óå åíåóôþôá
÷ñüíï. Young
Greek Artists,
National Museum of
Contemporary Art,
Athens, Greece
2007 Karaoke
poetry bar, parallel
project of the 1
st

Athens Biennial
2006 Emergency
Room, Galerie Olaf
Stueber, Berlin,
Germany
2005 Old Habits
Die Hard, within
the exhibition
Situation, Museum
of Contemporary
Art (MCA), Sydney,
Australia
2004 Archive of
Old Habits Die
Hard, within the
exhibition Berlin
North Hamburger
Bahnhof Museum
fur Gegenwart,
Berlin, Germany;
Platform Garanti
Contemporary Art
Center Istanbul,
Turkey; Art in
General, NY, USA
2003 1 Prague
Biennale, National
Gallery, Prague
2002 Familistere 1,
KW-Berlin, Institute
for Contemporary
Art, Berlin, Germany
The path to awareness might be to not suppress ones
own unconscious, to let history (..) be lived through
by ones own unconscious, so that the awareness of
history finally occurs through an experience of ones
own unconscious.
– Theweleit, Klaus (1977): Male Fantasies, Volume 1:
Women, Floods, Bodies, History
For Vassiliea Stylianidou artistic production
is a continuous process of confrontation with
public and private history, that is, public and
private spaces. Stylianidou works as a video
and installation artist, also using related artistic
media such as text and sound in her works.
Stylianidou addresses further themes in her
work such as family, power and language. In
doing so, she creates a richly associative model
for utopian historical revision that challenges us
to re-cycle and re-construct ones own present
within ones personal history.
Ines Doleschal
mail@stylianidou.com
http://www.stylianidou. com
126 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
1997 Mad Object
- Maddened Subject
/ Ôñåëü Áíôéêåßìåíï
-ÔñåëáìÝíï
Õðïêåßìåíï,
8:35 min, VHS
1998 Where is my
head? / Ðïõ åßíáé ôï
êåöÜëé ìïõ;,
6:40 min, VHS
1998 Untitled I,
2 min, VHS
1999 Untitled ÉÉ,
5:30 min, VHS
2000 Untitled I,
4 min, VHS
Ðáíáãéþôá ÔæáìïõñÜíç / Panayota Tzamourani
ÊáëáìÜôá 1973
2000 Untitled II,
2:40 min, VHS
2001 2+2=5,
(with Dimitris
Tzamouranis),
5 min, VHS
2002 Hear to
the emptiness /
Áêïýãïíôáò ôï
êåíü, 7:10 min, VHS
2002 Dreams /
¼íåéñá, 8:40 min,
VHS
2004 Routes /
ÄéáäñïìÝò, 7 min,
VHS
2006 I have always
been here / ¹ìïõí
ðÜíôá åäþ, 2 min,
miniDV
2006 Golden Cage /
Ôï ×ñõóü Êëïõâß,
2 min, miniDV
2007 The window
the door and
the street / Tï
ðáñÜèõñï ç ðüñôá
êáé ï äñüìïò,
4 min, miniDV
2007 A myth about
public spaces /
¸íáò ìýèïò ãéá
ôï äçìüóéï ÷þñï,
2min, miniDV
2008 The man the
olive tree and the
fire / Ï Üíèñùðïò
ç åëéÜ êáé ç öùôéÜ,
3:47min, miniDV
Kalamata, Greece 1973
2+2=5
Hear to the emptiness / Áêïýãïíôáò ôï êåíü
Untitled I
Routes / ÄéáäñïìÝò
Untitled II*
The man the olive tree and the fire /
Ï Üíèñùðïò ç åëéÜ êáé ç öùôéÜ
127 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
SOLO EXHIBITIONS
2004 Training the
past, Batagianni
Gallery, Athens,
greece
2001 2+2=5,
Stigma Gallery
(with Dimitris
Tzamouranis),
Athens, Greece
GROUP EXHIBITIONS
2007 Karaoke
poetry bar, parallel
project of the 1st
Athens Biennale
2007 By and
opposite / Ðëçóßïí
êáé ÁðÝíáíôé, private
space, Athens,
Greece
Ãéá ôçí Ðáíáãéþôá ÔæáìïõñÜíç Þ÷ïé, êáèçìåñéíÜ
áíôéêåßìåíá åîùôåñéêïß ÷þñïé, ïéêïãåíåéáêü ðåñé-
âÜëëïí, áëëÜ êáé ïôéäÞðïôå ðåñéâÜëåé ôçí êáèç-
ìåñéíüôçôÜ ìáò åßíáé ôï õëéêü áðü üðïõ ðçãÜæïõí
ðåéñáìáôéóìïß ãéá ìéá áðüðåéñá íá ðñïóäéïñßóåé
Ýííïéåò êáé êáôáóôÜóåéò ðïõ ó÷åôßæïíôáé ìå ôïí
÷þñï ãýñù ôçò. Ç áßóèçóç áíáæÞôçóçò ãéá ôï ôé
åßíáé áëçèéíü ìÝóá áðü ôçí áíáóêåõÞ Þ÷ùí êáé
åéêüíùí, åßíáé ïñãáíéêü ìÝñïò ôùí ðåéñáìáôéóìþí
áõôþí. Åßíáé áíôéëçðôü ôï áðïôÝëåóìá áõôü áí äåé
êáíåßò ôá âßíôåï ôçò ÔæáìïõñÜíç.
Åýêïëá äéáðéóôþíåé üôé áêüìá êáé ôõ÷áßåò
ëÞøåéò äÝíïõí ëåéôïõñãéêÜ ôá ìÝñç þóôå íá
åêðëçñþíïõí ôçí áðïóôïëÞ ôïõò, ôï áéóèçôéêü êáé
åííïéïëïãéêü áðïôÝëåóìá.
Ïé äéáöïñåôéêÝò ðåñßïäïé óôçí äïõëåéÜ
ôçò îåêéíïýí áðü ôï 1995 ìå ôïõò ðñþôïõò
ðåéñáìáôéóìïýò ãéá ôçí äçìéïõñãßá ÷þñïõ
ç ìÜëëïí ôçí øåõäáßóèçóç ôïõ. Áðü ôï 2000
âëÝðïõìå ìÝóá áðü ôõ÷áßá ãõñßóìáôá ôõ÷áßåò
éóôïñßåò ìå êõñßáñ÷ï óõíáßóèçìá ôï ðÝñáóìá.
Åéêüíá êáé Þ÷ïò ëåéôïõñãïýí áëëçëÝíäåôá
ðñïóðáèþíôáò íá ðñïóäéïñßóåé ôï ÷þñï ãýñù
ôçò. Ôï 2001, óôï ðëáßóéï ôçò åêèÝóçò 2+2=5
óå óõíåñãáóßá ìå ôïí áäåñöü ôçò ÄçìÞôñç
ÔæáìïõñÜíç äçìéïõñãïýí ðåíôÜëåðôï öéëì
åîéóôïñþíôáò ôç æùÞ ôïõ èåßïõ ôïõò ÈáíÜóç ðïõ
êÜôù áðü óõãêåêñéìÝíá ãåãïíüôá áëëÜæåé ñéæéêÜ.
Ðñïò ôï ôÝëïò ôïõ 2001 êáé ôï 2002
äçìéïõñãåß âßíôåï ðïõ ðñïâÜëïíôáé óå
÷ïñïèåáôñéêÝò ðáñáóôÜóåéò üðïõ ç ðñïâïëÞ ôçò
åóùôåñéêÞò êáé åîùôåñéêÞò êßíçóçò ìÝóá áðü ôç
ìíÞìç ôïõ óþìáôïò åßíáé ôï êýñéï óôïé÷åßï.
Ôï 2003-4 ðáñïõóéÜæåé ôçí Ýêèåóç
ÃõìíÜæïíôáò ôï ðáñåëèüí ç ïðïßá áðïôåëåßôáé
áðü ôï âßíôåï «ÄéáäñïìÝò» êáé ìßá åãêáôÜóôáóç.
Áðü ôï 2005 Ýùò óÞìåñá äçìéïõñãåß
÷ñçóéìïðïéþíôáò ãõñßóìáôá ðïõ ðåñéëáìâÜíïõí
ðñüóùðá áíôéêåßìåíá êáôáóôÜóåéò äåìÝíá ìå ôï
áóôéêü-öõóéêü ôïðßï óõíå÷ßæïíôáò ìéá ìåãÜëç
ðåñéðÝôåéá.
For Panagiota Tsamurani sound, everyday
materials, external environment, family and
everything that forms our everyday routine give the
inspiration for experimentation attempting to define
the meanings and the conditions of the space that
surrounds her. Organic part of this experimentation
is the esthetic pursue of what is real through the
modification of sounds and images. This is easily
noticeable for everyone watching the videos of
Panagiota Tsamurani.
It is easy to discover that even random video
shootings functionally combine the parts in order to
fulfill their mission giving an esthetic and semantic
outcome.
The different periods of her work begin in 1995
with the first experimentation on creating space or
rather the elusion of space. Since 2000 through
random video shootings someone can see random
stories dominated by the feeling of transition.
Image and sound are interconnected attempting
to define the space around her. In 2001, for the
exhibition 2+2=5, she cooperates with her brother
Dimitri Tzamurani and they produce a 5 minuets
film. In this sort film they narrate the life of their
uncle Thanasi Tzamurani which had been changed
dramatically under certain circumstances.
At the end of 2001 and during 2002 she
creates videos which had been used as backstage
screenings during the performances of a dance
theater group. Her main purpose is to show the
inner and outer movement through body’s memory.
In 2003 and 2004 she presents the exhibition
titled as Training the past which includes the video
‘Courses’ and a construction.
Since 2005 up to now she is still active and
creative, by shooting persons, objects and
situations related to the urban environment as a
part of a long, continuous adventure.
ptzamourani@hotmail.com 2006 Common
place 2 / Êïéíüò
ôüðïò 2, Epi Colono
theater, Athens,
Greece
2004 Hola Grecia!,
Contemporary
Greek Art and
Architecture in
Madrid in 2004,
Cultural Olympiad,
Nine muses, I
Presume?, Recent
Video Art from
Greece, Caja
Madrid, La Casa
Encendida, Madrid,
Spain
2002 Senses
/ ÁéóèÞóåéò,
Technopolis of
Athens Municipality,
Athens, Greece
2001 Blue Stage
– European
exchanges, Haus
Der Kulturen
Der Welt, Berlin,
Germany
1999 Videodrom,
Public Access
Gallery, New
Museum of
Contemporary Art,
New York, USA
1999 Metro,
New Trends in
Contemporary
Greek Art /
ÍÝåò ôÜóåéò óôç
óýã÷ñïíç ÅëëçíéêÞ
ÔÝ÷íç, Deste
Foundation for
Contemporary Art,
Athens, Greece
130 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
2007 Light Observer,
7:40 min DV, time
lap photography,
computer color
2005 Territories,
5:18 min DV, bw
2005 Dog Universe,
5:39 min, DV-super
8 video, computer
color
2005 Resemblance
of things, 2:35 min,
DV, computer color
2004 S=v.t 17’,
DV, super 8, 8mm,
video, computer
color
Íéêüëáïò Ôæáöåñßäçò / Nikolaos Tzaferidis (vinsky)
Èåóóáëïíßêç 1968
1999 Geography of
a certain Phrenitis,
6:06 min, HI8 video-
computer color
1998 Views,
1:42 min, hi8 video,
computer color
1998 Counter flight,
1:22 min, hi8 video,
computer color
1997 Music kitchen,
1:13 min, 8mm
video, super 8,
computer color
1997 Machine-ing,
4:04 min, 8mm
video, computer
color
1997 Roman
Statue, 0:55 min,
scan photography,
computer color
1997 4 Short
Studies on
Representation,
4:05 min, 8mm
video, super 8,
computer color
1996 Umbilical
Cord, 6:15 min,
8mm, video color
1996 35 Thornhill
Place, 1:08 min,
roster photography
color
1996 Red Riding
Hood after Freud,
1:42 min, 8mm
video color
1995 Cortizone,
1:38 min, roster
photography color
1995 Antanaklasis,
3:17 min, super 8
color
Thessaloniki, Greece 1968
Thornhill Place
Dog Universe Light Observer Machine-ing*
Red Riding Hood after Freud Roman Statue
131 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2007 Her(his)tory,
Museum Goulandri
of Cycladic Arts,
Athens, intothepill
(screenings)
2005 Strange
Screen 4, video
art festival, 1st
prize experimental
video, Thessaloniki,
Greece
2004 Open routes,
cinema and music,
Athens Olympics,
thessaloniki, Greece
Ç äïõëåéÜ ìïõ ìÝ÷ñé ôþñá äéáêáôÝ÷åôáé áðü
ìéÜ åðéèõìßá íá îáíáäþ ôá ðñÜãìáôá, ìÝóá
áðü ôéò äõíáôüôçôåò ôïõ ìÝóïõ íá áíáðëÜèåé
ôï ÷þñï êáé ôçí áíáðáñÜóôáóç. ÕðÜñ÷ïõí
óôïé÷åßá óýíèåóçò óôç äïõëåéÜ ìïõ ìáêñéÜ
áðü ñåáëéóôéêÝò áíáðáñáóôÜóåéò. Ðáßñíïíôáò
õð’üøç üôé óå áõôü ôï ìÝóï äåí õðÜñ÷åé ôßðïôá
ôï ñåáëéóôéêü åêôüò áðü ôá óôïé÷åéþäç ìÝñç
ðïõ ôï áðïôåëïýí üðùò ôá ìç÷áíÞìáôá,
ç äéåíÝñãåéá ôïõ öùôüò êáé ïé åðéöÜíåéåò,
ðñïóðáèþ íá áíáðáñÜãù ïðôéêÝò óõíèÝóåéò
âáóéóìÝíåò óôçí öùôéóôéêÞ ôïõò áíáöïñÜ. Ôï
öùò êáé ç áðïõóßá ôïõ óôéò áðëÝò ôïõ ìïñöÝò
óõíèÝôïõí Ýíá ìåãÜëï ìÝñïò ôçò äïõëåéÜò
ìïõ. Ôï ßäéï êáé ç ÷ñÞóç ÷ñþìáôïò êáé öüñìáò
óôá ðëÜéóéá ôçò éóôïñßáò ôçò ôÝ÷íçò. Êáíôßíóêé,
Ñüèêï, Ìáí ÑÝé, ×áíò Ñß÷ôåñ, Óôáí ÌðñÜêåéôæ
Ý÷ïõí áðïôåëÝóåé ìÝñïò ôùí ãåíéêüôåñùí
åðéññïþí ìïõ.
My work so far is a desire to re see things,
through the ability of the medium to manipulate
space, time and representation.There is an
element of composition in my work away from
realistic representations. Taking the fact that
nothing in this medium is realistic except the
very basic elements that compose it such as
equipment, light projection and surfaces, I have
the notion that I work with an illusive medium,
and I try to concentrate on the experience of
seeing as such. Light and its absence in their
simplest forms have been my interest. The
use of color and form within the history of art
tradition. Kadinsky, Rothko, Man Ray, Hans
Richter,Stan Brakhage have been some of my
early influences.
1999 Film and
Video Umbrella
(Heavy Rotation),
National Film
Theatre, London, UK
1998 Tate Gallery
of Modern Art, Tate
Modern (Performing
Buildings), London,
UK
1998 Pandaemo-
nium, London’s
Festival of the
Moving Images,
London, UK
1998 Onedotzero2,
ICA, London, UK
1998 London
Electronic
Arts (Digital
Conference),
The Lux Centre,
London, UK
1997 BBC British
Short Film Festival,
London, UK
1996 14o Film
and Video
Creators Festival,
Goethe Institut,
Thessaloniki,
Greece
vinskymail@gmail.com
134 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
2008 Untitled (In
Plato's Cave), HDV,
20 min, 2 channel
video installation
2008 Reverse,
HDV, 25 min, single
channel video
installation
2007 The Remake,
HDV, 13 min, film
2007 The Interview,
DV CAM, 33 min,
two channel video
installation
2006 Land, Digi
Beta, 9 min, film
2006 Play, DV CAM,
35 min, two channel
video installation
2005 Three men, DV
CAM, 25 min, film
2005 True Fiction,
DV CAM, 36 min,
three channel video
installation
2005 Occupation
Unknown, DV
CAM, 10 min,
documentary
ÓôÝöáíïò Ôóéâüðïõëïò / Stefanos Tsivopoulos
ÐñÜãá 1973 Prague 1973
2004 Actors, DV
CAM, 36 min, three
channel video
installation
2004 Under
Construction, DV
CAM, 15 min,
documentary

Play*
The Interview
Land
The Remake
Actors
Untitled (In Plato's Cave)
135 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2009 Reading the
City, Open ev+a,
Limerick, Ireland
2008 The Real
- The Story - The
Storyteller, Museum
of Contemporary
Art Belgrade,
Belgrade, Serbia
Winner of Golden
Cube Award
2008, 25th Kassel
Documentary
Festival, Kasseler
Kunstverein, Kassel,
Germany
Ç áëÞèåéá îåêéíÜåé ìå Ýíá áîßùìá áëÞèåéáò. ÎåêéíÜåé
ìå ìéá áðüöáóç. Ìéá áðüöáóç íá ðåéò üôé Ýíá
ãåãïíüò óõíÝâç.
– Alain Badiou, The Political As A Truth Procedure
Óôï êÝíôñï ôçò êáëëéôå÷íéêÞò ìïõ ðñáêôéêÞò
åßíáé ç Ýñåõíá, ç óõëëïãÞ êáé áíÜëõóç
áñ÷åéáêþí öùôïãñáöéþí êáé öéëì,
êéíçìáôïãñáöéêþí åðßêáéñùí êáé Üëëùí
éóôïñéêþí åéêüíùí ðïõ áðïôåëïýí ìÝñïò ôçò
óõëëïãéêÞò ìáò ìíÞìçò. ÁõôÜ ôá ôåêìÞñéá
áðïóðþíôáé áðü ôï éóôïñéêü ôïõò ðëáßóéï êáé
÷ñçóéìïðïéïýíôáé óôç äïõëåéÜ ìïõ ìå Ýíáí
áíôßóôñïöï ôñüðï, áíôß íá õðçñåôïýí ôïí
áñ÷éêü ôïõò óêïðü, ðáñáôÜóóïíôáé þóôå íá
ðïõí ìéá íÝá éóôïñßá.
ÈÝôïíôáò õðü åñþôçóç ôçí áîéùìáôéêÞ
éó÷ý åíüò ôåêìçñßïõ, ôáõôü÷ñïíá õðïäçëþíù
üôé ìáò ãïçôåýåé éäéáßôåñá ôï ôåêìÞñéï ùò
Ý÷åé. Ðñïóðáèþ íá åêèÝóù ôçí áýñá ôïõ
öùôïãñáöéêïý ôåêìçñßïõ åíþ áðïêáëýðôù
ôç äéêÞ ìïõ êá÷õðïøßá óôç äýíáìÞ ôïõ íá
áðïäåé÷èåß Ýãêõñï. Ðñïóðáèþ íá äåßîù ôï
ðáñÜäïîï ôïõ ôåêìçñßïõ êáé ôéò óýìöõôåò
áíôéöÜóåéò ôïõ ÷ùñßò íá ÷ñçóéìïðïéþ
êÜðïéï ìÜñôõñá, áëëÜ ôï ßäéï ôï ôåêìÞñéï ùò
õðïêåßìåíï.
Óôïí ðõñÞíá ôçò äïõëåéÜò ìïõ âñßóêåôáé ç
áêüëïõèç ðáñáäï÷Þ: Óçìáóßá Ý÷åé ï ôñüðïò
ðïõ ëÝãåôáé ìéá éóôïñßá ðáñÜ ç ßäéá ç éóôïñßá.
Ç ðñïÝëåõóç ôçò éóôïñßáò, ùò áëçèéíïý Þ
ü÷é ãåãïíüôïò, Ýñ÷åôáé äåýôåñç óå ó÷Ýóç ìå
ôçí éêáíüôçôá ôçò åéêüíáò íá äçìéïõñãÞóåé
áõèåíôéêÞ óõãêßíçóç êáé íá ðáñáâëÝøåé ôá
ãåãïíüôá.
Truth begins with an axiom of truth. It begins with a
decision. Decision to say that an event has taken
place.
– Alain Badiou, The Political As A Truth Procedure
In the centre of my artistic practice is the re-
search, collection and analysis of archive pho-
tos, newsreels, film archives and other histori-
cally related imagery that constitute part of our
collective memory. These documents are taken
out of their historical context and used in my
work in a reverse mode instead of serving their
purpose they are deployed to tell a new story.
By questioning the axiomatic value of a
document, I'm at the same time stating that we
are strongly appealed by the document as it
is. Trying to expose the aura of photographic
document while revealing my own suspicion in
it’s power to prove validity. To show the paradox
of the document and it’s inherent contradictions
without using the witness, but rather the
document itself as subject.
In the core of my work exists the following
assumption that: It is the way a story is been
told rather the story itself. The origin of the story
as a true or a not true event comes second to
the image’s ability to create genuine emotions
and overlook facts.
stefanzabba@yahoo.com
http://www.stefanostsivopoulos.com
The Archive,
Prometeogallery
di Ida Pisani,
Milan, Italy
Revolution, I Love
You, Centre of
Contemporary
Art, Thessaloniki,
Greece; Trafo
Gallery Budapest,
HU; International
Project Space
Birmingham, UK
Mourmouring
Émages, Centre
Photographique
d’Ile-de-France,
Paris, France
2007 Destroy
Athens, 1st Athens
Biennial, Athens,
Greece
2007 Heterotopias,
1st Thessaloniki
Biennial,
Thessaloniki,
Greece
2005 4th Deste
Prize, Deste
Foundation,
Athens, Greece
2004 Coffee Break,
Liverpool Biennial,
Liverpool, UK
138 I NTO THE PI LL VOL. I
Âéíôåïãñáößá / Videography
2009 Scan living, cd
& dvd, 24 songs &
6 videos
2009 Sound Table
and Other Stories,
sound installation
2008 Suspect
Device, sound
installation
2008 Video for the
multimedia dance
production 2027
2007 July, video
installation
2007 X pcs ÉÉ, video
2007 Anastasia
Tzakou: The other
side of modernism,
documentary
2007 Konstantinos
Doxiadis: A
romantic pragmatist,
documentary
2006 Holes, video
installation
2006 The game
of returning, video
installation
2006 Mobbing
Voodoo, photos
2006 Video and
dramatic concept for
dance production
Happy Land
2005 Castrations
/ Åõíïõ÷éóìïß,
installations-
constructions
2005 View, sound
environment
2005 Post-
programmed city-
landscape, photo
installation (with
Harikleia Hari)
2005 Space &
destiny, 3 channels
video installation
2005 If you seek
for Eldorado,
installation, video
and prints
2005 Audiovisual
environment for the
The philosophy on
stage
2005 Niobe, sound
environment & video
at the multimedia
dance production
Her
ÌÜêçò ÖÜñïò / Makis Faros
ÁèÞíá 1967
2004 Boxes, video
installation (with
Takis Zerdevas)
2004 Tavern,
outdoors interactive
video installation
(with T. Zerdevas)
2004 Eat me, video
dance (with the
modern dance
company Horeftes)
2004 Minefield,
interactive
shockwave in
internet
2002 Incubation-
collapse process,
cd rom
2002 Party-x-trap,
flash animation (with
Eva Michalaki)
2002 Bubbles in the
landscape, flash
animation (with
Harikleia Hari)
2002 Ender, flash
animation
2002 Video art for
the production From
sound to myth
2001 2nd hand
process I, interactive
cd rom
1999 Video gallery,
tv program
1998 My Birthday
Sky, video
1995 The man, video
1995 Mary’s dreams,
video
1989 A visit, 16mm
film
Athens, Greece 1967
Castrations / Åõíïõ÷éóìïß Incubation - collapse process
Sound Table and Other Stories Suspect Device
Tavern
Mobbing Voodoo*
139 I NTO THE PI LL VOL. I
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
2009 Scan living, cd
& dvd by cultroad
(on cultroad
records)
2008 In present
tense, National
Museum of
Contemporary Art,
Athens, Greece
2006 Viopolitiki, in
issue #4 of GAP
magazine
2005 Photosynkyria,
Thessaloniki,
Greece
2005 Castrations,
installations-
constructions,
Horos Technis 24,
Athens, Greece
[...] Ï ÌÜêçò ÖÜñïò áíÞêåé óå ìéá íåüôåñç
ãåíéÜ äçìéïõñãþí ôïõ ïðôéêïáêïõóôéêïý (ìå
áîéïóçìåßùôç èçôåßá óôïõò ðåéñáìáôéóìïýò
ôïõ ambient êáé óôçí «ç÷çôéêÞ óêçíïèåóßá»)
ðïõ áóêåßôáé óôçí áíÜäåéîç ôçò «åñãáôéêÞò
äýíáìçò»
1
ôùí åéêüíùí. Ç ãåíéÜ áõôÞ
áíáìéãíýåé ìõóôéêéóôéêÜ Þ õðáñîéáêÜ
áíáãíþóìáôá ìå ôçí ðñïóåêôéêÞ ìåëÝôç ôïõ
÷þñïõ, íÝá ïéêïíïìéêÜ Þ êïéíùíéêÜ öáéíüìåíá
ìå øçöéáêÜ ôå÷íÜóìáôá êáé lay-out ìå óêïðü
íá áíáóõóôÞóåé ôçí áéóèçôéêÞ ôçò åðéêïéíùíßáò.
Ôï ðïõ ôåëåéþíåé ç ðñùôüëåéá Ýñåõíá êáé
ðïõ áñ÷ßæåé ôï ìåóôü Ýñãï ôÝ÷íçò ðáñáìÝíåé
áäéåõêñßíéóôï êáé ìÜëëïí ðáñáðëáíçôéêü.
Åäþ êáé åêåß, óå áõôÜ ôá Ýñãá îåðåôÜãïíôáé
áóôñáðÝò íïçìÜôùí, äéáäñáóôéêÜ üíåéñá,
óçìÜäéá ìéáò íïóôáëãßáò ãéá ôçí êáèáñüôçôá,
«ðáñáíáãíþóåéò» äéáöçìéóôéêþí êùäéêþí,
óõæåýîåéò ôïõ áíèñþðïõ ìå ôçí ìç÷áíÞ, ß÷íç
åíüò åóùôåñéêïý øõ÷éóìïý, óêåðôïìïñöÝò
êáé ìåôáöïñÝò ôçò óõíåßäçóçò óôï óêëçñü
äßóêï. Ôï scanning Üëëïôå åíáëëÜóóåôáé êáé
Üëëïôå óõã÷Ýåôáé ìå ôï âëÝðåéí. ¼ëïé ïé ÷ñüíïé
âñßóêïíôáé ïéïíåß óå éó÷ý. […]
Ãéþñãïò ÔæéñôæéëÜêçò (êñéôéêüò ôÝ÷íçò)
1. Méëþíôáò ìå óýã÷ñïíïõò ïéêïíïìéêïýò üñïõò èá
ìðïñïýóáìå íá ìåôïíïìÜóïõìå ôçí «åñãáôéêÞ äýíáìç» óå
«management» ôùí åéêüíùí, åíþ ìéëþíôáò ìå üñïõò ôïõ
Levi-Strauss èá ôçí ÷áñáêôçñßæáìå ùò ôüðï ìéáò óýã÷ñïíçò
ôïôåìéêÞò éäÝáò.
[…] Makis Faros belongs to the younger
generation of audiovisual creative artists
(with a notable background in “ambient”
experimentation and in “sound directing”),
whose work brings forward the “labour force”
1

of images. This generation mixes mysticism
or existential readings with a careful study of
space, new economic or social phenomena
with digital contrivances and lay-out, in order to
recompose the aesthetics of communication.
The question of where the primary investigation
ends and where the original work of art begins
remains unclarified and is probably misleading.
Here and there, in these works, sudden flashes
of meaning jump out, interactive dreams,
marks of a nostalgia for purity, “mistreadings”
of advertising codes, conjoinings of man and
machine, traces of an inner psychic state,
thought forms and metaphors of consciousness
on the hard disk. Scanning sometimes
alternates and is sometimes confused with
seeing. All times are quasi valid. […]
Yorgos Tzirtzilakis (art critic)
1. Using the terminology of contemporary economics, we
could rename the “work force” of images their “management”,
while using the terminology of Levi-Strauss, we could call it
site of a contemporary totemic idea.
2005 Gestures,
Macedonian
Museum of Modern
Art, Thessaloniki,
Greece
2004 Catch the light
for the Olympic
Games Organising
Committee, Athens,
Greece
2004 Almost
likeness: Versions of
a portait of Antonis
Benakis, Benaki
Museum, Athens,
Greece
2002 Acquisitions,
2001-2002:
Photographs and
Video, National
Museum of
Contemporary Art,
Athens, Greece
1998 International
Festival Competition
L’immagine
Leggera, Palermo,
Italy
makisf_land@yahoo.co.uk
http://www.myspace.com/makisfaros
About intothepill

Intothepill is an artist’s platform whose purpose is
the development of a common ground of exchange
and collaboration, the creation of networks and the
research and experimentation among artists who are
involved with new media. The core of the research
team of intothepill is made up of Yiannis Isidorou, Lina
Theodorou, Yiannis Grigoriadis, Katerina Iliopoulou.
It was founded in 2006 and it publishes e-issues
periodically (intothepill.net), presenting works by
Greek and international artists. It has participated in
festivals, and exhibitions in galleries, museums and
independent spaces as the following: 2009: Expanded
Ecologies, National Museum of Contemporary Art
Athens; 6th Synch Festival 2009, Technopolis, Athens.
2008: Visual arts in Greece 3, “And now?”, Moni
Lazariston, State Museum Of Contemporary Art,
Thessaloniki; Athens by sound, Greek pavilion, 11th
International Architecture Exhibition Venice Biennial;
Art-Athina 08, Athensville, Parallel Plan, Helexpo,
Athens; 20th century on video, Trianon Filmcenter,
Athens. 2007: Her(his)tory, Museum of Cycladic Art,
Athens; Karaoke poetry bar by intothepill, ‘417' project
space, Parallel project of the 1st Athens Biennial
Destroy Athens. 2006: intothepill, E31 Gallery, Athens;
Clips, Galerie Nord, Berlin; United Bac! 06, Barcelona.
Ó÷åôéêÜ ìå ôï intothepill
Ôï Intothepill åßíáé ìéá êáëëéôå÷íéêÞ ðëáôöüñìá ðïõ
äñáóôçñéïðïéåßôáé ìå óêïðü ôçí áíÜðôõîç åíüò
êïéíïý ôüðïõ áíôáëëáãÞò êáé óõíåñãáóßáò, ôç
äçìéïõñãßá äéêôýùí, ôçí Ýñåõíá êáé ôïí ðåéñáìáôéóìü,
ìå êáëëéôÝ÷íåò ðïõ áó÷ïëïýíôáé ìå ôá íÝá ìÝóá. Ôçí
âáóéêÞ åñåõíçôéêÞ ïìÜäá ôïõ intothepill áðïôåëïýí
ïé: ÃéÜííçò Éóéäþñïõ, Ëßíá Èåïäþñïõ, ÃéÜííçò
ÃñçãïñéÜäçò, Êáôåñßíá Çëéïðïýëïõ.
Ëåéôïõñãåß áðü ôéò áñ÷Ýò ôïõ 2006 êáé åêäßäåé
øçöéáêÜ ôåý÷ç óôï Internet (intothepill.net) ìå
Ýñãá âßíôåï ÅëëÞíùí êáé îÝíùí êáëëéôå÷íþí. ¸÷åé
óõììåôÜó÷åé óå åêèÝóåéò óå ãêáëåñß, ìïõóåßá, video-
festival, êáé áíåîÜñôçôïõò ÷þñïõò ôÝ÷íçò üðùò ôá
åîÞò: 2009: ÄéåõñõìÝíåò Ïéêïëïãßåò, Åèíéêü Ìïõóåßï
Óýã÷ñïíçò ÔÝ÷íçò, ÁèÞíá· 6th Synch Festival 2009,
Ôå÷íüðïëç, ÁèÞíá. 2008: Åéêáóôéêü ðáíüñáìá
óôçí ÅëëÜäá 3, Êáé ôþñá;, ÌïíÞ Ëáæáñéóôþí,
Êñáôéêü Ìïõóåßï Óýã÷ñïíçò ÔÝ÷íçò, Èåóóáëïíßêç·
Athens by sound, Åëëçíéêü ðåñßðôåñï, 11ç ÄéåèíÞò
ÌðéåíÜëå Áñ÷éôåêôïíéêÞò, Âåíåôßá· Art-Athina 08,
Athensville, Parallel Plan, Helexpo, ÁèÞíá· Ï 20üò
áéþíáò óå video,Ôñéáíüí Filmcenter, ÁèÞíá. 2007:
Karaoke poetry bar by intothepill, '417' project space,
ðáñÜëëçëåò åêäçëþóåéò ôçò 1çò ÌðéåíÜëå ôçò
ÁèÞíáò· Her(his)tory, Ìïõóåßï ÊõêëáäéêÞò ÔÝ÷íçò,
ÁèÞíá. 2006: intothepill, E31 Gallery, ÁèÞíá. Clips,
Galerie Nord, Âåñïëßíï· United Bac! 06, Âáñêåëþíç.
www.intothepill.net
Åõ÷áñéóôïýìå ôïõò:
Synch Festival
Ãéþñãïò ÊáñíáâÜò
ÄçìÞôñçò ÐáðáéùÜííïõ
ÅëÝíç Äåëåíßêá
Êùóôáíôßíïò Ìáôóïýêáò
Vortex Studio
Stefi Productions
ÅðéìÝëåéá: intothepill
ÅðéìÝëåéá êåéìÝíùí: Êáôåñßíá Çëéïðïýëïõ
Ó÷åäéáóìüò: Eêäüóåéò futura - Ìé÷Üëçò Ðáðáñïýíçò
Åêôýðùóç: Fotolio - Ôypicon
Âéâëéïäåóßá: Çëéüðïõëïò - Ñïäüðïõëïò
Ç ðáñïýóá Ýêäïóç êõêëïöüñçóå ìå áöïñìÞ ôï
Synch Festival, ðïõ ðñáãìáôïðïéÞèçêå óôçí ÁèÞíá,
áðü 12 Ýùò 14 Éïõíßïõ 2009
Åêäüóåéò futura - Ìé÷Üëçò Ðáðáñïýíçò
Âßêôùñïò Ïõãêþ 15, 104 37 ÁèÞíá
ôçë. & öáî: 210 52 26 173 - 52 26 361
futura@ath.forthnet.gr
© ãéá ôá êåßìåíá êáé ôéò öùôïãñáößåò: ïé êáëëéôÝ÷íåò
© intothepill êáé åêäüóåéò futura

ISBN 978-960-6654-93-0
Ìå ôç óõíåñãáóßá /
In collaboration with
Thanks to:
Synch Festival
Yorgos Karnavas
Dimitris Papaioannou
Heleni Delenika
Konstantinos Matsoukas
Vortex Studio
Stefi Productions
Edited by: intothepill
Text editing: Katerina Iliopoulou
Designed by: futura Publications - Michalis Paparounis
Printed by: Fotolio - Ôypicon
Binding: Iliopoulos - Rodopoulos
Published on the ocassion of Synch Festival,
Athens, Greece, 12-14 June 2009
futura Publications - Ìichalis Paparounis
Victor Hugo 15, 104 37 Athens, Greece
tel. & fax: +30 210 52 26 173 - 52 26 361
futura@ath.forthnet.gr
© for the texts and photos: the artists
© intothepill and futura publications
144 I NTO THE PI LL VOL. I

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