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Ðåñéå÷üìåíá / Contents
ÅéóáãùãÞ 6
Introduction 8
Ôåý÷ïò / Issue 1 10
Ôåý÷ïò / Issue 2 Soundrugs 12
Ôåý÷ïò / Issue 3 Tamara’s Belgrade 14
Ôåý÷ïò / Issue 4 Violesence 16
Ôåý÷ïò / Issue 5 Asymmetric sight scene 18
Tåý÷ïò / Issue 6 Self destruction 20
Ôåý÷ïò / Issue 7 Tehran Lust 22
Ôåý÷ïò / Issue 8 20th century 24
Ôåý÷ïò / Issue 9 It sounds like a capital 26
Karaoke Poetry Bar 28
Kafeneon Project Space Íåïôåñéêüôçôá êáé ðëÞîç / 30
Modernism and boredom
ÊáëëéôÝ÷íåò / Artists
ÁíäñÝáò ÁããåëéäÜêçò / Andreas Angelidakis 34
Áéêáôåñßíç ÃåãéóéÜí / Aikaterini Gegisian 38
Máñßíá Ãéþôç / Marina Gioti 42
ÃéÜííçò ÃñçãïñéÜäçò / Yiannis Grigoriadis 46
Ãéþñãïò Äñßâáò / George Drivas 50
Ìáñßá Æåñâïý / Maria Zervou 54
Ìáßñç Æõãïýñç / Mary Zygouri 58
Ëßíá Èåïäþñïõ / Lina Theodorou 62
ÃéÜííçò Éóéäþñïõ / Yiannis Isidorou 66
Êáôåñßíá ÊáíÜ / Katerina Kana 70
ÖùôåéíÞ ÊáñéùôÜêç / Fotini Kariotaki 74
Íßíá Êïôáìáíßäïõ / Nina Kotamanidou 78
Ôßíá Êüôóç / Tina Kotsi 82
ÔÜóïò ËÜããçò / Tassos Langis 86
ÓÞöçò ËõêÜêçò / Sifis Lykakis 90
ÍôéÜííá ÌáãêáíéÜ / DeAnna Maganias 94
ÉùÜííá Ìýñêá / Ioanna Myrka 98
Ëßá ÐÝôñïõ / Lea Petrou 102
Áíôþíçò Ðßôôáò / Antonis Pittas 106
¢ããåëïò ÐëÝóóáò / Angelo Plessas 110
Ãéþñãïò ÓáðïõíôæÞò / Yorgos Sapountzis 114
ÁíäñÝáò ÓéôïñÝãêï / Andreas Sitorego 118
Âáóéëåßá Óôõëéáíßäïõ / Vassiliea Stylianidou 122
Íéêüëáïò Ôæáöåñßäçò / Nikolaos Tzaferidis (vinsky) 126
Ðáíáãéþôá ÔæáìïõñÜíç / Panayota Tzamourani 130
ÓôÝöáíïò Ôóéâüðïõëïò / Stefanos Tsivopoulos 134
ÌÜêçò ÖÜñïò / Makis Faros 138
6 I N T O T H E P I L L VOL.I
ðñïóðÜèåéá êáèïñéóìïý êÜðïéùí éäéáßôåñùí åöÞìåñåò ïõôïðßåò , ðáéãíéþäåéò äñÜóåéò
÷áñáêôçñéóôéêþí, üóïí áöïñÜ ôï Ýñãï êáé ðáñÜäïîåò ðñïïðôéêÝò.
ôïõò, êÜèå áðüðåéñá ôáîéíüìçóçò ìå óêïðü ×ñçóéìïðïéþíôáò ôçí øçöéáêÞ ôå÷íïëïãßá,
ôç äçìéïõñãßá åíüò åèíéêïý trademark èá äéá÷åéñßæïíôáé ôï «ìç-õëéêü» áðïìõèïðïéþíôáò
ðñüäéäå ôçí ðïëõäéÜóôáôç êáé ðëÞñùò áíïé÷ôÞ ôç ìïíáäéêüôçôá ôïõ Ýñãïõ ôÝ÷íçò. ÅóôéÜæïõí
ó÷Ýóç ôïõò ìå ôï êáëëéôå÷íéêü ãßãíåóèáé ôçò óôéò íÝåò äõíáôüôçôåò ôçò åðéêïéíùíßáò
åðï÷Þò ôïõò êáé ôéò äéáñêþò ìåôáëëáóüìåíåò êáé ôçò äéÜäïóçò ôïõ, äéåêäéêþíôáò ôçí
üøåéò ôçò óýã÷ñïíçò ôÝ÷íçò ôçí ïðïßá áõôïíïìßá ôïõò, öÝñíïíôáò Ýôóé óå áìç÷áíßá
åîåñåõíïýí. ÓõíõðÜñ÷ïõí åêôüò ãåùãñáöéêþí ôéò êáèéåñùìÝíåò ìåèüäïõò äéáêßíçóçò êáé
êáé Üëëùí óõíüñùí, óôï åëåýèåñï ðåäßï äéá÷åßñéóçò ôçò ôÝ÷íçò áðü ôçí ìïíïóÞìáíôá
ôïõ ðåéñáìáôéóìïý, ôåßíïíôáò óôï óçìåßï ðñïóáíáôïëéóìÝíç óôï êÝñäïò, áãïñÜ.
óýãêëéóçò üðïõ óõíáíôþíôáé, óõíäéáëÝãïíôáé Ç åðïðôåßá êáé Ýñåõíá åíüò íÝïõ
êáé áëëçëïóõìðëçñþíïíôáé, ç áìöéóâÞôçóç ôçò êáëëéôå÷íéêïý ìÝóïõ üðùò åßíáé ôï âßíôåï,
áëÞèåéáò êáé ôï õðïêåéìåíéêþò âéùìÝíï ðáñüí. êáé ïé äõíáôüôçôåò ôùí øçöéáêþí ôå÷íïëïãéþí,
Äéáôçñþíôáò ôï óôïýíôéï ôïõò óôïí öïñçôü ðáñüôé ïé ëéãïóôÝò áíáöïñÝò êÜíïõí ðåñßðëïêç
õðïëïãéóôÞ ôïõò, åîåôÜæïõí, åñåõíïýí êáé êÜèå ðñïóðÜèåéá áîéïëüãçóçò, Ý÷ïõí äþóåé
áðïêáëýðôïõí, ôçí áíáñ÷ßá ôùí äéêôýùí, ôéò óôï intothepill ôçí äõíáôüôçôá íá óõíôÜîåé
áíáäõüìåíåò êïéíùíéêÝò óõìðåñéöïñÝò êáé Ýíáí ðñþôï ôüìï üðïõ ðáñïõóéÜæïíôáé 27
ôá Þèç ôïõò, ôçí äéá÷åßñéóç ôçò ðëçñïöïñßáò. êáëëéôÝ÷íåò áðü ôçí ÅëëÜäá, ïé ïðïßïé ìå
ÓõëëÝãïõí êáé áíáëýïõí áñ÷åßá êåéìÝíùí, óõíÝðåéá åñåõíïýí êáé åöáñìüæïõí ôéò íÝåò
öéëì êáé öùôïãñáöéêþí åðéêáßñùí êáé ãëþóóåò ôçò øçöéáêÞò åðï÷Þò.
åðáíáêáèïñßæïõí ôéò áñ÷éêÝò áíáöïñÝò Ï ðñþôïò áõôüò ôüìïò, áðïôåëåß Ýíá
ôïõò, ó÷ïëéÜæïõí êáé åêèÝôïõí óå íÝá åã÷åéñßäéï, ï ÷ñÞóôçò ôïõ ïðïßïõ ëáìâÜíåé ôéò
äéáðñáãìÜôåõóç ôá «áìåßëéêôá» ãåãïíüôá, ðëçñïöïñßåò ðïõ ÷ñåéÜæåôáé ãéá íá ðëïçãçèåß
ðñïêáëþíôáò ôï êýñïò ôçò óõëëïãéêÞò ìíÞìçò. óôïí êüóìï ôçò óýã÷ñïíçò åëëçíéêÞò
Åîåñåõíïýí ôçí êéíçìáôïãñáöéêÞ ãëþóóá, ðáñáãùãÞò ôïõ øçöéáêïý åéêáóôéêïý âßíôåï.
åðéíïþíôáò áíáôñåðôéêÝò áöçãÞóåéò. Ôá ðåñéå÷üìåíÜ ôïõ ðåñéëáìâÜíïõí ôçí
Áõôïâéïãñáöïýíôáé «ðñüùñá» åéñùíåõüìåíïé áíáëõôéêÞ âéíôåïãñáößá, ôéò âáóéêüôåñåò
ôïí åáõôü ôïõò, áðïêçñýôôïõí ôçí óõììåôï÷Ýò óå åêèÝóåéò êáé öåóôéâÜë, êáé
«ìåôáìïíôÝñíá åîÝãåñóç», ÷ëåõÜæïõí ôïí ôá óôïé÷åßá ôïõ êÜèå êáëëéôÝ÷íç, êáèþò
íáñêéóóéóìü ôïõò åêèÝôïíôáò ôï óþìá ôïõò, êáé öùôïãñáöéêü õëéêü áðü ôá Ýñãá ôïõò.
ôéò óõíÞèåéåò êáé ôçí êáèçìåñéíüôçôÜ ôïõò.
Ç åðßêáéñç åßäçóç, ç ôçëåïðôéêÞ åéêüíá, ç ëáúêÞ intothepill
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
I N T O T H E P I L L VOL.I 7
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
8 I N T O T H E P I L L VOL.I
exponential advance of technology. Every at- Using digital technology, they manage
tempt at arriving at a particular set of defining the «non-material» in ways that debunk the
characteristics of their work, every attempt at uniqueness of the artwork. They focus on
classification aiming at the creation of a ‘national the new possibilities of its communication
trademark’, would fall short of their multidi- and dissemination, staking a claim for their
mensional and fully open relationship with the autonomy and, in the process, discomfiting
artistic activity of their time and the continually the established means of circulation and
transforming aspects of contemporary art, which management of art by a market that is
are the object of their exploration. They coexist unilaterally focused on profit.
outside national and every other kind of borders, Though the scarcity of points of reference
within the free field of experimentation, tending hinders attempts at a systematic evaluation,
to the meeting points where the questioning of the overview of a new artistic medium such as
truth and the subjectively lived experience of ‘the video and research into the potential of digital
present’ intersect, interact and mutually comple- technologies, have provided intothepill with
ment one another. the opportunity of amassing a first volume
Having their studio set up in their laptops, which presents 27 artists from Greece, who are
they examine, research and lay bare the anarchy committed to the exploration and application of
of the networks, the emerging social behaviors the new codes of the digital era.
and mores, the management of information. This first volume, constitutes a manual,
They collect and analyze files of text, film and making available to its user the information
photographic news coverage and they redefine necessary to navigate around the world of
the initial references in these, passing comment contemporary Greek production of digital art
on the «raw» facts and negotiating their meaning video.
anew, in ways that challenge the established Its contents include a detailed videography
orthodoxies of collective memory. for each artist, their main collaborations in
They explore the idiom of cinematography, festivals and exhibitions and their biographical
inventing subversive narratives. data as well as photographic material from their
They set out their ‘premature’, self-ironic work.
autobiographies, they dismiss the ‘post-modern
rebellion’, they mock their narcissism by openly intothepill
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.
I N T O T H E P I L L VOL.I 9
Ôåý÷ïò / Issue 1 03/06
Ôï intothepill äåí åßíáé ï ôüðïò ìéáò óõëëïãéêü- Intothepill is not the site of a collective but,
ôçôáò áëëÜ ìßá áðüðåéñá óõíåýñåóçò ðïõ äï- rather, an attempted conjugation that vibrates
íåßôáé áóôáìÜôçôá áðü ôçí áìöéâïëßá, ôï ìüíï incessantly with doubt: the only safe recourse of
áóöáëÝò êáôáöýãéï ãéá ôçí ðïéçôéêÞ ðñÜîç. the poetic act.
¸îé âßíôåï áðü ôçí ðñþôç ðáñïõóßáóç ôïõ Six videos from the first intothepill exhibition.
intothepill. Ðñïóùìïßùóç åêëïãéêïý êÝíôñïõ Simulation of an election center. Monitors
óôç ãêáëëåñß Å31. Ôá ðáñáâÜí êñýâïõí behind the screens, people queuing for a private
ìüíéôïñ, ôï êïéíü ðåñéìÝíåé óå ïõñÝò ãéá ôçí view of the work.
éäéùôéêÞ èÝáóç ôïõ Ýñãïõ.
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
10 I N T O T H E P I L L VOL.I
1 2 3
4 5 6
I N T O T H E P I L L VOL.I 11
Ôåý÷ïò / Issue 2 11/06
Soundrugs
ÓõììåôÝ÷ïíôåò: Milos Tomic, Matthias Mayer, Participants: Milos Tomic, Matthias Mayer,
ÉùÜííá Ìýñêá, Íßíá Êïôáìáíßäïõ, Éoanna Myrka, Nina Kotamanidou,
Ðáíáãéþôá ÔæáìïõñÜíç, Rasha Popovic Panagiota Tzamourani, Rasha Popovic
Âßíôåï êáëëéôå÷íþí áðü ôç Óåñâßá, ôç Ãåñìáíßá Videos by artists from Serbia, Germany, and
êáé ôçí ÅëëÜäá. Ìå ôéò óõãêåêñéìÝíåò äïõëåéÝò Greece. With this group of videos intothepill
ç ïìÜäá intothepill óõììåôåß÷å êáé óôï has participated in Strangescreen Festival in
ÖåóôéâÜë Strangescreen óôç Èåóóáëïíßêç (4-8 Thessaloniki (4-8 October 2006). We are happy
Ïêôùâñßïõ 2006). Ï êáëëéôÝ÷íçò Milos Tomic to announce that the fist prize was awarded to
ìå ôï Ýñãï ôïõ Hair êáôÝëáâå ôçí ðñþôç èÝóç the artist Milos Tomic for his work Hair.
óôï äéáãùíéóôéêü ìÝñïò ôïõ öåóôéâÜë.
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
12 I N T O T H E P I L L VOL.I
1 2 3
4 5 6
I N T O T H E P I L L VOL.I 13
Ôåý÷ïò / Issue 3 02/07
Tamara’s Belgrade
ÓõììåôÝ÷ïíôåò: Milos Tomic, Nenad Jeremic, Participants: Milos Tomic, Nenad Jeremic,
Unknown Artist, Aleksandrija Ajdukovic, Unknown Artist, Aleksandrija Ajdukovic,
Onjin Veljko, Unknown Artist Onjin Veljko, Unknown Artist
H ÔáìÜñá ðïôÝ äåí ðáßñíåé ôï ëåùöïñåßï Þ ôï Tamara never takes the bus or the tram. She
ôñáì. Ðçãáßíåé ðáíôïý ìå ôá ðüäéá. Êé Ýôóé ôçí walks to wherever she goes. And so we follow
áêïëïõèïýìå óå áôåëåßùôåò äéáäñïìÝò ìÝóá her in endless routes about the city of Belgrade
óôçí ðüëç ÷ùñßò ÷Üñôç. Åßíáé ï ïäçãüò ìáò. Ôï without a map. She is our guide. This issue
ôåý÷ïò áõôü äåí åßíáé áðïôÝëåóìá åíäåëå÷ïýò is not the result of assiduous research, nor a
Ýñåõíáò, ïýôå ðáíüñáìá ôçò ðáñáãùãÞò panorama of Belgrade’s art video production
âßíôåï ôïõ Âåëéãñáäßïõ. ÐñïÝñ÷åôáé áðü ôç but only the product of one evening’s harvest
óïäåéÜ ìéáò êáé ìüíçò âñáäéÜò ìåôÜ áðü äýï after two days of phone calls and networking
ìÝñåò ðõêíþí ôçëåöùíçìÜôùí. Ùóôüóï åßíáé between artists. It is what came to us
áõôü ðïõ Þñèå áõèüñìçôá êïíôÜ ìáò êáé spontaneously and we hope that it carries the
åëðßæïõìå íá Ý÷åé ôçí áìç÷áíßá êáé ôï ñßóêï ôïõ uneasiness and the risk of the accidental but
ôõ÷áßïõ áëëÜ êáé ôç äüíçóç ôçò óõíÜíôçóçò. 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
14 I N T O T H E P I L L VOL.I
1 2 3
4 5 6
I N T O T H E P I L L VOL.I 15
Ôåõ÷ïò / Issue 4 06/07
Violesence
Ïé Ýîé êáëëéôÝ÷íåò óôá Ýñãá âßíôåï ðïõ The six artists in the video works presented here,
ðáñïõóéÜæïíôáé åíôïðßæïõí ôçí âßá êáé ôïí ðüíï turn violence and pain into themselves not as
ü÷é ùò ìéá áõôïêáôáóôñïöéêÞ ðñÜîç, áëëÜ a suicidal act but as a means to experience a
ùò ìÝóï ãéá ìéá åìðåéñßá ðïõ ðñïóåããßæåé ôï deeper level of their conscience. Every such
âáèýôåñï åðßðåäï ôçò óõíåßäçóçò ìáò. ÊÜèå act of violence, in art, aims to change our
ôÝôïéá ðñÜîç âßáò óôçí ôÝ÷íç, Ý÷åé ùò óôü÷ï íá perspective using a new symbolic language.
áëëÜîåé ôçí ðñïïðôéêÞ ôçò ðñáãìáôéêüôçôáò,
÷ñçóéìïðïéþíôáò ìéá íÝá óõìâïëéêÞ ãëþóóá.
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
16 I N T O T H E P I L L VOL.I
1 2 3
4 5 6
I N T O T H E P I L L VOL.I 17
Ôåý÷ïò / Issue 5 09/07
Asymmetric sight scene
Ôá Ýñãá áðïôÝëåóáí ìÝñïò ôùí ðñïâïëþí ðïõ The video works were part of the intothepill
åðéìåëÞèçêå ç ïìÜäá intothepill ôïí ÓåðôÝìâñéï screenings in September 2007, at the Museum
ôïõ 2007, óôï Ìïõóåßï ÊõêëáäéêÞò ÔÝ÷íçò, of Cycladic Art in Athens in the exhibition Her
óôçí ÁèÞíá ìå áöïñìÞ ôçí Ýêèåóç Her (his)tory (his)tory curated by Marina Fokidis.
óå åðéìÝëåéá Ìáñßíáò Öùêßäç.
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
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Tåý÷ïò / Issue 6 10/07
Self destruction
Ôé óõìâáßíåé ìå ôçí âßíôåï ôÝ÷íç óôçí åðï÷Þ ôïõ What happens to video art in the YouTube
YouTube; era? When I was asked to curate the 5th
¼ôáí ìïõ æçôÞèçêå íá åðéìåëçèþ ôï 6ï ôåý- edition of intothepill, instead of choosing artists
÷ïò ôïõ intothepill, áíôß ãéá åéêáóôéêÜ âßíôåï, videos, I made a selection of six videos that I
åðÝëåîá Ýîé âßíôåï ðïõ âñÞêá óôï YouTube, found in YouTube that deal with the theme of
ðïõ åóôéÜæïõí óôï èÝìá ôçò áõôïêáôáóôñïöÞò. self-destruction. I inserted the keywords "self-
Ðëçêôñïëüãçóá óôçí ìç÷áíÞ áíáæÞôçóçò ëÝ- destruct", "self-destruction" or "self-sacrifice"
îåéò êëåéäéÜ üðùò «áõôïêáôáóôñÝöïìáé», «áõôï- and these videos were indexed in the endless
êáôáóôñïöÞ», Þ «áõôïèõóßá» êáé ðñïÝêõøå ìéá list. The theme acts as a hint for the dilemma
áôåëåßùôç ëßóôá âßíôåïáðïôåëåóìÜôùí. Ôï èÝìá that video artists are facing lately: a potential
åóôéÜæåé óôï äßëçììá ðïõ Ý÷ïõí ïé êáëëéôÝ÷íåò audience of millions or the exclusiveness and
ôåëåõôáßá: óå Ýíá ðéèáíü êïéíü åêáôïììõñßùí the financial considerations of the art system?
÷ñçóôþí Þ óôçí áðïêëåéóôéêüôçôá êáé ôçí ïé-
êïíïìéêÞ áìïéâÞ ðïõ ðñïóöÝñåé ôï åéêáóôéêü
óýóôçìá;
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
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4 5 6
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Ôåý÷ïò / Issue 7 12/07
Tehran Lust
(...) Ç ôÝ÷íç óôçí Ôå÷åñÜíç ìå åîÝðëçîå, áöïý (...) Art in Tehran, surprised me as well, since
äåí áðïôåëåßôáé ìüíï áðü áíôéãñáöÝò ôçò it was not just copies of western art; instead
äõôéêÞò ôÝ÷íçò, áëëÜ ðåñéëáìâÜíåé êáé Ýñãá ìå the works that I saw, offered different views on
äéáöïñåôéêÝò ïðôéêÝò óå ðáñüìïéá æçôÞìáôá similar subjects that contemporary artists deal
ìå áõôÜ ðïõ áó÷ïëïýíôáé ïé óýã÷ñïíïé with. I went back this summer and did some
êáëëéôÝ÷íåò äéåèíþò. ÅðÝóôñåøá ôï êáëïêáßñé research in order to organize an exhibition here
êÜíïíôáò êÜðïéá Ýñåõíá ãéá íá äéïñãáíþóù in Athens with art from Tehran.
ìéá Ýêèåóç åäþ óôçí ÁèÞíá, ìå ôÝ÷íç áðü ôçí During my stay I put together a collection
Ôå÷åñÜíç. of videos for intothepill. I find they represent
ÊáôÜ ôçí ðáñáìïíÞ ìïõ åêåß Ýöôéáîá different approaches, that when seen together
ìéá óõëëïãÞ áðü video ãéá ôï intothepill ìå comprise an adequate effort to show a fraction
äéáöïñåôéêÝò ðñïóåããßóåéò, ïé ïðïßåò üôáí of the complexity and variety of contemporary
éäùèïýí ìáæß áðïôåëïýí ìéá ðñïóðÜèåéá óôï video art, by artists who live and work in Tehran.
íá äåßîïõí Ýíá ìÝñïò ôçò ðïëõðëïêüôçôáò
êáé ôçò ðïéêéëßáò, ôçò óýã÷ñïíçò video-art
áðü êáëëéôÝ÷íåò ðïõ æïõí êáé åñãÜæïíôáé óôçí
Ôå÷åñÜíç.
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
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Ôåý÷ïò / Issue 8 03/08
20th century
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
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Ôåý÷ïò / Issue 9 09-11/08
It sounds like a capital
(25 âßíôåï áðü ôï intothepill ãéá ôçí 11ç (25 videos by intothepill for the11th Biennale of
ÌðéåíÜëå áñ÷éôåêôïíéêÞò ôçò Âåíåôßáò óôçí Architecture in Venice, Greek Pavillion, as part of
åãêáôÜóôáóç «Athens By Sound», åëëçíéêü the installation "Athens By Sound")
ðåñßðôåñï)
Êéíçìáôïãñáöþíôáò ôçí ðüëç «ðÝñá áðü ôá Recording the city “beyond buildings” we
êôßñéá» áðïöáóßóáìå íá ÷ñçóéìïðïéÞóïõìå decided to employ the individual narratives as a
ôéò åðéìÝñïõò áöçãÞóåéò ùò åñãáëåßï ãéá ôçí tool for registering its character.
êáôáãñáöÞ ôïõ ÷áñáêôÞñá ôçò. The knowledge, the experience, a general
Ç ãíþóç, ç åìðåéñßá, ìéá ãåíéêÞ êáé óõíåðÞò and consistent recording/ mapping of the sonic
êáôáãñáöÞ/ ÷áñôïãñÜöçóç ôùí ç÷çôéêþí êáé and visual indications of the city, does not
ïðôéêþí åíäåßîåùí ôçò ðüëçò äåí ðáñÝ÷åé provide a solid plan that reveals and decodes
êÜðïéï óôáèåñü ó÷Ýäéï ðïõ èá ìáò áðïêáëýøåé the urban condition. It only provides information
êáé áðïêùäéêïðïéÞóåé ôá áóôéêÜ äåäïìÝíá. for the construction of a replica.
ÁðëÜ ðáñÝ÷åé ôéò ðëçñïöïñßåò ãéá ôçí In contrast, the moment, the detail, the
êáôáóêåõÞ åíüò ïìïéþìáôïò. «poetic event», this unique happening that
Áíôßèåôá ç óôéãìÞ, ç ëåðôïìÝñåéá, ôï emerges, or –if you like– that we bring,
«ðïéçôéêü» óõìâÜí, áõôü ôï ìïíáäéêü ãåãïíüò ourselves, forth as unique, can become
ðïõ îå÷ùñßæåé, ç áí èÝëåôå ðïõ åìåßò ïé ßäéïé revealing, reversing the overall plan, the overall
ôï áíáäåéêíýïõìå ùò ìïíáäéêü, ìðïñåß íá «objective» presentation, which is counterfeiting
ëåéôïõñãÞóåé áðïêáëõðôéêÜ, áíáéñþíôáò ôï since we live within a constantly changing field
ãåíéêü ó÷Ýäéï, ôçí óõíïëéêÞ «áíôéêåéìåíéêÞ» of experience, potential and interpretation.
ðáñïõóßáóç ðïõ åßíáé êßâäçëç, áöïý æïýìå óå
Ýíá äéáñêþò ìåôáëëáóóüìåíï ôïðßï, åìðåéñßáò,
äõíáôüôçôáò êáé åñìçíåßáò.
1
38º 02´33.28´´ N/23º 44´ 13.82´´ E
2
38º 03´ 01.10´´ N/23º 48´ 42.46´´ E
3
37º 56´ 40.68´´ N/23º 42´ 27.76´´ E
4
37º 59´ 28.71´´ N/23º 44´ 02.26´´ E
5
37º 58´ 57.96´´ N/23º 43´ 15.80´´ E
6
37º 58´ 16.54´´ N/23º 44´ 12.08´´ E
26 I N T O T H E P I L L VOL.I
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I N T O T H E P I L L VOL.I 27
Karaoke Poetry Bar 11/07
ÅðéìÝëåéá êáé ó÷åäéáóìüò ôçò åãêáôÜóôáóçò: Curating and design of the installation: intothepill
intothepill
(Presented in November 2007 as part of the
(ÐáñïõóéÜóôçêå ôï ÍïÝìâñéï 2007 óôá ðëáßóéá parallel projects of the first Athens Biennial
ôùí ðáñÜëëçëùí åêäçëþóåùí ôçò 1çò Biennale Destroy Athens.)
ôçò ÁèÞíáò Destroy Athens.)
Tï Ýñãï Karaoke Poetry Bar åßíáé Ýíá Karaoke Poetry Bar is a real although temporary
ðñáãìáôéêü áëëÜ åöÞìåñï ìðáñ-êáñáüêå, óôï karaoke bar where pop songs on the stage
ïðïßï ôá ëáúêÜ ôñáãïýäéá Ý÷ïõí áíôéêáôáóôáèåß monitor have been replaced by poems written
áðü ðïéÞìáôá íÝùí ÅëëÞíùí ðïéçôþí êáé by Greek poets who have emerged within the
óôÝêïíôáé ðñïêëçôéêÜ, áðÝíáíôé óôï èÜññïò êáé last 10 years. During recitation, the poems
ôéò ðñïèÝóåéò ôùí èáìþíùí, óôçí áðáããåëßá.. await to be challenged by the audacity and the
Óôï ÷þñï ôïõ êáñáüêå-ìðáñ ëåéôïõñãåß intentions of the audience.
âéíôåïåãêáôÜóôáóç, üðïõ óýã÷ñïíïé ¸ëëçíåò Within the same space, video works by
êáëëéôÝ÷íåò êáôáãñÜöïõí ìå ôï ìÝóï ôïõ contemporary Greek artists will be presented
âßíôåï, performances óôéò ïðïßåò äéåñåõíïýí in a video installation. The video works are
ôñüðïõò áðüäïóçò êáé áðáããåëßáò ðïéçìÜôùí documentations of performances in public
ÅëëÞíùí ðïéçôþí ôïõ 20ïý áéþíá, ìÝóá óå spaces around Athens, where the artists explore
äçìüóéïõò ÷þñïõò ôçò ÁèÞíáò. ways of rendering/reciting poetry by established
Óôï Karaoke Poetry bar ç Ýêèåóç ôùí Greek poets of the 20th century.
êáëëéôå÷íþí êáé ôïõ êïéíïý óôçí áðáããåëßá In Karaoke Poetry Bar, the exposure of
ôçò ðïßçóçò ìå äéÜöïñïõò ôñüðïõò, áðïôåëåß artists and visitors to the recitation of poetry is
ìéá ìåôáöïñÜ ãéá ôçí ëåéôïõñãßá ôçò ßäéáò ôçò intended as a metaphor for the artistic act itself.
ôÝ÷íçò ðïõ ãéá íá ôçí ðñïóåããßóåéò ðñÝðåé íá Because to approach art is to abandon the
ðáñáéôçèåßò áðü ôçí áóöÜëåéá ôçò ðëïêÞò , ôçí safety of the plot, the expectation for “meaning”
áðáßôçóç ãéá íüçìá êáé ôçí ðñïûðüèåóç ôçò and, ultimately, the demand for function.
÷ñÞóçò.
http://karaokepoesie.blogspot.com
28 I N T O T H E P I L L VOL.I
I N T O T H E P I L L VOL.I 29
Kafeneon Project Space 03/08
Íåïôåñéêüôçôá êáé ðëÞîç / Modernism and boredom
30 I N T O T H E P I L L VOL.I
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32 I N T O T H E P I L L VOL.I
I N T O T H E P I L L VOL.I 33
Zen Garden My Anchorage (Through the) Invisible Home
Âéíôåïãñáößá / Videography
1996 Zen Garden, 2002 Mirrorsite 2003 Mirrorsite 2005 Hotel Blue 2007 Neighbours,
4¨:41 min, loop, (build), 1:18 min, (walk cube), 2 min, Wave, 4:14 min, 10 min, loop, color,
color, sound loop, b+w loop, color loop, color, sound sound
2000 5 Flash 2002 Mirrorsite 2004 Neen World, 2006 Cloud House, 2007 My so Called
Movies About (circle), 0:41 min, 10:30 min, loop, 2:03 min, loop, Second Life circa
Architecture, loop, b+w color, sound color, sound Feb2007, 9:94 min,
10 min, loop, color, 2002 Mirrorsite 2005 Lichtplein, 2007 Tetris loop, color, sound
2001 My (forest), 6 min, loop, 5:12 min, loop, Mountain, 4:44 min, 2009 The Angelo
Anchorage, 1:58 b+w color, sound loop, color, sound Foundation
min, loop, b+w 2003 Pixelscape, 2 2006 Mirrocloud, 2007 First Land, Headquarters, in
2002 (Through the) min, loop, color 2:39 min, loop, Second Life, screen collaboration with
Invisible Home, 2003 Mirrorsite color, sound captures of varying Angelo Plessas, 6
10:11 min, loop, (doublewalk), 1:30 2006 Screentree, length, loop, color, screen interactive
color min, loop, color 3:25 min, loop, sound projection.
2002 (Towards an) 2003 Mirrorsite color, sound 2007 Edit
Invisible Home, 10 (build cube), 1:20 2005 Walking Appearance, 13:31
min, loop, color min, loop, color Building, 4:27 min, min, loop, color,
loop, color, sound sound
34 I N T O T H E P I L L VOL.I
O ÁíäñÝáò ÁããåëéäÜêçò åßíáé áñ÷éôÝêôïíáò ðïõ Andreas Angelidakis is an architect working
áó÷ïëåßôáé ìå ôçí áëëçëåðßäñáóç ôçò øçöéáêÞò at the intersection of digital culture and
êïõëôïýñáò êáé ôçò áñ÷éôåêôïíéêÞò ðáñáãùãÞò. architectural production. In these parallel
Óå áõôÝò ôéò ðáñÜëëçëåò ðñáãìáôéêüôçôåò, realities, Angelidakis treats the internet as a
ï ÁããåëéäÜêçò ÷åéñßæåôáé ôï äéáäßêôõï ùò ìéá place where ideas are born and get tested,
ðëáôöüñìá üðïõ ãåííéïýíôáé êáé åîåôÜæïíôáé where new social behaviors define the way
éäÝåò êáé üðïõ íÝåò êïéíùíéêÝò óõìðåñéöïñÝò our society will develop in years to come. By
êáèïñßæïõí ôïí ôñüðï ìå ôïí ïðïßï ïé êïéíùíßá assuming the role of architect inside online
èá åîåëé÷èåß óôá ÷ñüíéá ðïõ èá áêïëïõèÞóïõí. communities such as Second Life, and closely
ËáìâÜíïíôáò ôïí ñüëï ôïõ áñ÷éôÝêôïíá óå watching the development of technology’s
online êïéíüôçôåò üðùò ôï ðáé÷íßäé Second Life effect on our understanding of the world, he
êáé ðáñáêïëïõèþíôáò áðü êïíôÜ ôçí åîÝëéîç has developed an architecture that responds to
ôçò åðßäñáóçò ôçò ôå÷íïëïãßáò óôïí ôñüðï ðïõ the habits and particularities of the oncoming
áíôéëáìâáíüìáóôå ôïí êüóìï, Ý÷åé áíáðôýîåé generation of citizens that grows up inside social
ìéá áñ÷éôåêôïíéêÞ ðïõ áíôáðïêñßíåôáé óôéò networking sites like myspace and facebook.
óõíÞèåéåò êáé ôéò éäéáéôåñüôçôåò ôçò åðüìåíçò In-between the internet and real life,
ãåíéÜò ðïëéôþí, ðïõ ìåãáëþíïõí åíôüò ôïõ Angelidakis has for a long time worked in the
ðëáéóßïõ éóôïóåëßäùí social networking üðùò field of contemporary art, and it is this work
ôï myspace êáé ôï facebook. which forms a bridge between different realities,
ÁíÜìåóá óôï äéáäßêôõï êáé ôçí ðñáãìáôéêÞ between experimentation and implementation,
æùÞ, ï ÁããåëéäÜêçò, Ý÷åé åñãáóôåß ãéá Ýíá between ideas and buildings.
ìåãÜëï ÷ñïíéêü äéÜóôçìá óôï ðåäßï ôçò These experiments always have a real life
óýã÷ñïíçò ôÝ÷íçò, êáé åßíáé áêñéâþò áõôü ôï counterpart, as Angelidakis firmly keeps a base
Ýñãï ôïõ ðïõ äçìéïõñãåß ìéá ãÝöõñá áíÜìåóá in both worlds, transferring the ideas from the
óå äéáöïñåôéêÝò ðñáãìáôéêüôçôåò, áíÜìåóá internet to exhibition and installation design,
óôïí ðåéñáìáôéóìü êáé ôçí åöáñìïãÞ, óôéò éäÝåò furniture, urban planning, public space and
êáé ôá êôßñéá. more recently housing developments. In 2008
ÁõôÜ ôá ðåéñÜìáôá Ý÷ïõí ðÜíôá êáé Ýíá the first monograph on his work was published
ñåáëéóôéêü áíôßêñéóìá, áöïý ï ÁããåëéäÜêçò by Damdi Architectural publishing in Korea.
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.
I N T O T H E P I L L VOL.I 35
The day that left Tokyo Tonight
Âéíôåïãñáößá / Videography
2002 The day 2005 A little film, 5 2007 The City /
that left, 6:30 min min loop (single- Game, 12 min
(Single-screen video screen installation (single-screen video
with sound) with sound) with sound)
2003 Tokyo Tonight, 2005 When I was 2007 The image
4:30 min (single- there, you had unfolded, 5:38 min
screen video with already left, 5:48 loop (single-screen
sound) min loop (two- installation with no
2003 Taking the channel audiovisual sound)
wrong turn, 4 min installation with 2008 Sevan Boys,
(single-screen sound) 7 min loop (two-
video, no sound) 2006 10.34 am, 3 channel audiovisual
2004 In their min loop (single- installation
wake…, 7 min screen installation with sound)
loop (two-channel with sound) collaboration with
audiovisual 2007 Passengers, Lizzy Kalligas
installation with 13:37 min (single- 2008 A ray of
sound) collaboration screen video with Sunshine, 1 min
with Ella Bissett sound) loop (single-screen
Johnson installation with
sound)
38 I N T O T H E P I L L VOL.I
Áðü ôá ðñþôá ÷ñüíéá ôçò åîÜóêçóÞò ìïõ, ç From early on in my practice, the act of
äéáäéêáóßá ôçò ðáñáôÞñçóçò Ýðáéîå êåíôñéêÞ looking was central in the exploration of the
óçìáóßá óôçí åîåñåýíçóç ôùí äõíáôïôÞôùí sculptural qualities of moving image, sound
ðëáóôéêüôçôáò ôçò êéíïýìåíçò åéêüíáò, ôïõ and text, resulting in projects ranging from
Þ÷ïõ êáé ôïõ êåéìÝíïõ, êáé åêöñÜóôçêå ìÝóá audiovisual cinematic installations to single-
áðü ìßá ðïéêéëßá Ýñãùí, ðïõ ðåñéëáìâÜíåé screen videos, text-based and site-specific
áðü ïðôéêïáêïõóôéêÝò êéíçìáôïãñáöéêÝò works. My work evolved around a practice of
åãêáôáóôÜóåéò êáé single-screen âßíôåï, Ýùò deconstructing and reworking material collected
ãñáðôÜ êåßìåíá êáé äïõëåiÝò óå óõãêåêñéìÝíåò through observation, which alongside the
ôïðïèåóßåò. Ç äïõëåßá ìïõ áíáðôý÷èçêå âÜóåé realisation of my own cultural specific position
êáé ìÝóá áðü ìéá äéáäéêáóßá áðïäüìçóçò drew my attention to issues of memory and
êáé áíáäüìçóçò ôùí õëéêþí ðïõ óõíÝëåîá displacement and the role of moving image
ìÝóá áðü ðáñáôÞñçóç. Ç äéáäéêáóßá áõôÞ documentary as a contemporary art genre.
óå óõíäõáóìü ìå ôçí ðñïóùðéêü ìïõ Working within the tradition of artists’ film and
ôñüðï êáëëéôå÷íéêÞò Ýêöñáóçò, Ýóôñåøáí video, my most recent work has engaged with
ôçí ðñïóï÷Þ ìïõ óå èÝìáôá ìíÞìçò êáé the tension between a neutral observer and
ìåôáôüðéóçò êáé ãýñù áðü ôï ñüëï ðïõ ìðïñåß the subjective experience, seeking to construct
íá äéáäñáìáôßóåé ôï íôïêéìáíôÝñ êéíïýìåíçò through travelogues personal geographies
åéêüíáò ùò ìÝóï Ýêöñáóçò ôçò óýã÷ñïíçò and ‘landscapes of memory’. These works
ôÝ÷íçò. Ç ôåëåõôáßá ìïõ äïõëåiÜ ãýñù áðü were described as “distilled narratives of the
èÝìáôá êáëëéôå÷íéêþí ðáñáäüóåùí ôáéíéþí personal and the observed, the imaginary and
êáé âßíôåï, áó÷ïëåßôáé ìå ôçí Ýíôáóç ðïõ the remembered” Lisa LeFeuvre, Gutter Dreams,
õðÜñ÷åé ìåôáîý åíüò ïõäÝôåñïõ ðáñáôçñçôÞ 2005.
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).
I N T O T H E P I L L VOL.I 39
Heart replica Recalling All Active Agents b-alles*
Transport Phenomena / Öáéíüìåíá MåôáöïñÜò Out of the Blue / Into the Black The Secret School / Tï Kñõöü Ó÷ïëåéü
Âéíôåïãñáößá / Videography
2009 The Secret 2004 Your Girlfriend
School / Tï Kñõöü isn’t Coming Back,
Ó÷ïëåéü, 10 min, bw 2:20 min
2007 Out of the Blue 2003 Klaxon,
/ Into the Black, interactive video
video installation 2002 Recalling All
2005 Transport Active Agents, 3 min
Phenomena 2001 Heart replica,
/ Öáéíüìåíá 10 min, video
MåôáöïñÜò, installation
1:30 min
2005 b-alles, 2 min
42 I N T O T H E P I L L VOL.I
Áí êáé ðñïÝñ÷ïìáé áðü ôï ÷þñï ôïõ Álthough I have a cinema background, I 've
êéíçìáôïãñÜöïõ, ðéóôåýù ðùò Ý÷ù áó÷ïëçèåß been mainly engaged in exploring its more
êõñßùò ìå áðïêëßíïõóåò êáé õâñéäéêÝò üøåéò aberrant and hybrid aspects, driven by a
ôïõ, ìÝóá áðü ìéá äéÜèåóç äéåñåýíçóçò ôùí disposition to explore its aesthetic and narrative
áéóèçôéêþí êáé áöçãçìáôéêþí äõíáôïôÞôùí capacity and borders.
áëëÜ êáé ïñßùí ôçò êéíïýìåíçò åéêüíáò. É believe that cinema is a language which
Áíôéìåôùðßæù ôïí êéíçìáôïãñÜöï ùò can be spoken in a variety of media, ‘new'
ìéá ãëþóóá, ç ïðïßá ìðïñåß íá ìéëçèåß óå and ‘old', through hybrid works that expand
ðëçèþñá ìÝóùí, «íÝùí» êáé «ðáëéþí» ìÝóá cinematic space, time and most importantly re-
áðü êéíçìáôïãñáöéêÜ õâñßäéá ðïõ äéåõñýíïõí establish the role of the viewer. In this light,
ôïí êéíçìáôïãñáöéêü ÷þñï êáé ÷ñüíï áëëÜ êáé I consider some of my installation or interactive
åðáíáðñïóäéïñßæïõí ôï ñüëï ôïõ èåáôÞ. ÊÜôù work, as films that have escaped from the movie
áðü áõôü ôï ðñßóìá, èåùñþ ðùò Ýíá ôìÞìá ôçò theatre.
äïõëåéÜò ìïõ ðïõ Ý÷åé ôç ìïñöÞ åãêáôáóôÜóçò Large part of my video work uses as main
óôï ÷þñï Þ óôï äéáäßêôõï, ùò ôáéíßåò ðïõ ingredients films made by other people, ie
Ý÷ïõí äñáðåôåýóåé áðü ôçí êéíçìáôïãñáöéêÞ found footage. My cinematic Objet trouves,
áßèïõóá. consist mainly of what I call “forgotten mass
¸íá ìåãÜëï êïììÜôé ôçò äïõëåéÜò ìïõ cultural debris” –old tv commercials, ephemeral,
óôï âßíôåï ÷ñçóéìïðïéåß ùò ðñþôç ýëç ôáéíßåò educational, propaganda films– which get
ðïõ Ý÷ïõí êÜíåé Üëëïé (found footage) . Ôá manipulated and inevitably recontextualized on
êéíçìáôïãñáöéêÜ ìïõ åõñÞìáôá, áðïôåëïýíôáé the editing table.
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.
I N T O T H E P I L L VOL.I 43
Beach boy National Anthem Ramalla-London-Bucharest
Âéíôåïãñáößá / Videography
2009 Prison break, 2006 Most wanted, 2004 Arabesque,
miniDV 5 min miniDV, 4 min DVD, 3 min, loop
2009 Marlboro man, 2005 Charlie and 2004 Mosque,
miniDV 5 min the Cowgirl, DV, DVD, 4 min
2008 It sounds 6 min 2003 Video
like a capital, 2005 Ramalla- banners, dual
(in collaboration London-Bucharest, monitor installation
with intothepill) DV, 7 min 2003 Crouching
20 min, DVD 2005 National Tiger, Hidden
2007 Sunny Anthem, DVD, Dragon, dual
Balkans, DVD, 3:30 min monitor installation
10 min 2004 Beach boy, 2002 Mercedes
2007 Spider’s miniDV, 3 min loop benz, dual monitor
parenthesis, 2004 39 steps, installation
DVD, 4 min miniDV, 3 min loop
2007 Last Supper, 2004 Fireworks,
miniDV, 6 min DVD, 3 min
46 I N T O T H E P I L L VOL.I
Ï 20üò áéþíáò óõìðõêíþíåé, ìÝóù ôùí ñáãäáßùí Recording the city as a political act.
ðïëéôéêþí åîåëßîåùí, Ýíôïíåò êáé óçìáíôéêÝò ÷ùñéêÝò The 20th century, through the many radical political
áëëáãÝò. Áðü ôçí ìéêñÞ êëßìáêá ôïõ áñ÷éôåêôïíéêïý progress, concentrates intense and important spatial
÷þñïõ óôçí ìåãáëýôåñç ôïõ ðïëåïäïìéêïý éóôïý, changes: From the small scale of the architectural space
ùò ôçí áëëáãÞ óõíüñùí êñáôþí. Ï Â´ Ðáãêüóìéïò to the larger one of the urban design and from there to the
ðüëåìïò êáé ç ìáêñï÷ñüíéá øõ÷ñïðïëåìéêÞ ðåñßïäïò changes of the borders of counties. The Second World
äçìéïýñãçóå íÝïõò ôïõñéóôéêïýò ðñïïñéóìïýò êáé War and the long lasting cold war period created new
áîéïèÝáôá áðïäåóìåýïíôáò ôá áðü ôï öõóéêü êáé tourist destinations and sights of sightseeing not related
ãåùãñáöéêü êÜëïò. Ôï ðïëéôéêü ãåãïíüò ìÝóù ôçò to the natural and geographical beauty. The political fact
ðáãêüóìéáò ðëçñïöïñßáò áíÜãåôáé óå êþäéêá ðïõ through the universal information becomes a code that
ðáñÝ÷åé óôïí èåáôÞ ôá áíáãêáßá óôïé÷åßá ãéá ôçí provides the viewer with all the necessary elements for the
áíÜãíùóç ôçò Éóôïñßáò. Ç áíÜãíùóç ôçò óýã÷ñïíçò decoding of history. The decoding of the contemporary
Éóôïñßáò ìÝóá áðü ôçí ÔïõñéóôéêÞ åìðåéñßá äåí åßíáé history through the tourist experience is not always
ðÜíôá áíôéêåéìåíéêÞ êáé ôåêìçñéùìÝíç áöïý åðçñåÜæåôáé objective and well documented because it is influenced
áðü ôçí ìáôéÜ ôïõ «ôïõñéóôéêïý ïäçãïý», áëëÜ êáé áðü by the eyes of the “tourist guide”, and also from the two-
ôçí áìößäñïìç ó÷Ýóç ðåñéçãçôÞ êáé ôüðïõ. way relation of the tourist with the place of visit.
Ç ðëçñïöïñßá ãéá üëåò áõôÝò ôéò óáñùôéêÝò åíôÜ- Information on all these sweeping changes and
óåéò, ìåôáëëáãÝò êáé áíôéèÝóåéò åßíáé Üöèïíç, óõ÷íÜ on the various forms of tension and discrepancy
ðñïêëçôéêÞ, ðÜíôá ó÷åäüí óõã÷õôéêÞ. Ðþò, îåðåñíþ- they generate abounds, and its abundance is often
íôáò ôïí êáôáéãéóìü áóÞìáíôùí ðåñéãñáöþí, ðñïåðé- provocative; yet this kind of information is almost
ëåãìÝíùí ëåðôïìåñåéþí, êáôåõèõíüìåíùí ãåíéêåýóåùí, always confusing. How can we make out the invisible
èá äéáêñßíïõìå ôá áüñáôá íÞìáôá ôçò éóôïñßáò, ðïõ threads of history that at times hold places and people
Üëëïôå óõíäÝïõí êáé Üëëïôå äéáéñïýí ôüðïõò êáé áí- together, at others hold them apart, amidst this hail
èñþðïõò; Ç ÍÝá Õüñêç, ç ÑáìÜëá, ôï Ëïíäßíï, ôï Âïõ- of trivial descriptions, 'default' details and imposed
êïõñÝóôé, ôï Âåñïëßíï ç ÉåñïõóáëÞì êáé ç Ðñßóôéíá åßíáé generalizations? New York, Ramala, London, Bucharest,
ôüðïé ëåðôþí éóïññïðéþí áëëÜ êáé áíáôñïðþí ìÝóá Berlin, Jerusalem, Nicosia, Pristina are all places of thin
óôçí éóôïñßá ôïõò. Ç ñåõóôüôçôá óå ðïëéôéêÞ âÜóç ðïõ balances and overturning through the course of their
äéÝðåé áõôÝò ôéò ðåñéï÷Ýò åßíáé åíôïíüôåñç óôçí ðåñéöÝ- history. The fluidity of the politics that occur on those
ñåéá êáé ç êáôáãñáöÞ ôïõò ìå ôçí õðïêåéìåíéêüôçôá ôçò areas is more intense on the region and its record with
ìáôéÜò åìðëÝêïõí ôï ÷ñüíï ùò êñéôéêÞ ãéá ôï óôéãìéáßï the subjectivity of the sight embrangles time as a critique
êáé ôï óõíå÷Ýò. of the instant and the continuous.
¸÷ïõìå óõíçèßóåé íá áðïäå÷üìáóôå, ïëïêëçñùìÝíá We have got used to accepting complete modes of
ìïíôÝëá óêÝøçò (åðéëåêôéêÞ áíôéëçðôéêüôçôá). Ç thought (selective perception). The attempt to record the
áðüðåéñá êáôáãñáöÞò ôçò ðüëçò ôïõ 20ïý áéþíá, city of the 20th century raises the filters, the boundaries
áßñåé ôá ößëôñá, ôá üñéá êáé ôéò ðåðïéèÞóåéò ìáò ìå and our beliefs, in such a way that allows us to slip
ôÝôïéï ôñüðï ðïõ ìáò åðéôñÝðåé íá ãëéóôñÞóïõìå through the fissures of perception, into alternative
ìÝóá áðü ôéò ñùãìÝò ôçò áíôßëçøçò, óå åíáëëáêôéêÝò and coexisting realities. This chaotic convergence of
êáé óõíõðÜñ÷ïõóåò ðñáãìáôéêüôçôåò. ÁõôÞ ç information is initially disorientating us, but finally leads
÷áïôéêÞ óýãêëéóç ðëçñïöïñéþí óôçí áñ÷Þ ìáò us to the source of the information and of the intuition
áðïðñïóáíáôïëßæåé, áëëÜ ôåëéêÜ ìðïñïýìå íá that had been covered, due to the preconceptions that
ïäçãçèïýìå óôçí ðçãÞ ôçò ðëçñïöïñßáò êáé ôçò we developed since when we were born, and due to
äéáßóèçóçò ðïõ åß÷å óêåðáóôåß ëüãù ðñïêáôáëÞøåùí the filters of our perception. The built space is being
ðïõ êáëëéåñãÞóáìå áðü ôç ãÝííçóÞ ìáò êáé ëüãù ôùí reformulated and the solid structure of reality seems
åðßêôçôùí ößëôñùí ôçò áíôßëçøÞò ìáò. Ï äïìçìÝíïò henceforth unsound and perforated.
÷þñïò åðáíáóõíôÜóóåôáé êáé ç óõìðáãÞò äïìÞ ôçò
ðñáãìáôéêüôçôáò ìïéÜæåé ðëÝïí óáèñÞ êáé äéÜôñçôç.
I N T O T H E P I L L VOL.I 47
Happy End Closed Circuit* Beta Test
Âéíôåïãñáößá / Videography
2009 Empirical 2004 March, 1st, 2002 Business and
Data, Greece Greece Pleasure, Greece
2007-2008 Case 2004 Out of Synch, 2002 Am I just
Study, Germany USA. an ordinary
2007 The Decision, 2004 Happy End, processor?, USA
Greece USA 2001 GPS: Global
2006 Beta Test, 2003 Please step Positioning System,
Germany ahead and choose Greece
2005 Closed Circuit, a question, Greece 2000 Second
USA 2003 Trash dreams, Generation,
2005 Spring Time, Greece Germany
USA
2005 Off Duty,
Greece
50 I N T O T H E P I L L VOL.I
ÌåñéêÝò öïñÝò èÝëåé íá ðåé êáíåßò ìéá éóôïñßá. Sometimes it is just about telling a story.
¢ëëåò öïñÝò èÝëåé êáíåßò íá áíáöåñèåß óå Some other times it is about referring only to
Ýíá óõãêåêñéìÝíï óçìåßï, óå Ýíá óõãêåêñéìÝíï a particular moment of a story and keeping out
ëåðôü ìéáò éóôïñßáò áöÞíïíôáò åêôüò äéÞãçóçò of sight everything before or after it, freezing to
üëá ôá õðüëïéðá ðñéí Þ ìåôÜ, «ðáãþíïíôáò» something usually unnoticed and bypassed and
ó÷åäüí óå êÜôé áóÞìáíôï êáé öåõãáëÝï, óå ìéá cherishing a rather unseen detail.
ßóùò áðëÞ ëåðôïìÝñåéá. Sometimes the story develops to one
ÌåñéêÝò öïñÝò ç éóôïñßá Ý÷åé ìéá specific direction.
óõãêåêñéìÝíç åîÝëéîç. Some other times the significance of the
ÊÜðïéåò Üëëåò öïñÝò ç óçìáóßá ôçò story lies beyond any kind of cause-and-effect
äéÞãçóçò âñßóêåôáé ðÝñá áðü ïðïéáäÞðïôå relationship in the narration; its importance and
ó÷Ýóç áéôßáò êáé áðïôåëÝóìáôïò. Ç óçìáóßá its primary goal lie on dealing with time, which is
ôçò êáé ï óôü÷ïò ôçò âñßóêïíôáé óôïí ôñüðï (not) passing, and how this time is represented
äéá÷åßñéóçò åíüò ÷ñüíïõ ðïõ (äåí) êõëÜ. or preserved. It is about a tension between
Ðñüêåéôáé ãéá ìéá Ýíôáóç áíÜìåóá óôçí åîÝëéîç moving the narration forward and stopping at
ôçò äéÞãçóçò êáé ôï óôáìÜôçìÜ ôçò, áíÜìåóá the same time, telling a story and stop telling
óôï íá áñ÷ßæåé êáé íá óôáìáôÜ íá ëÝåé êáíåßò a story every time. It is about creating a new
êÜèå óôéãìÞ ôçí éóôïñßá ãéá ÷Üñéí ßóùò ìéáò velocity, building a “fast slowness”, similar to a
áðïëáõóôéêÞò áñãïðïñßáò, åíüò ïíåéñéêïý áíôß- dreamlike non-rhythm.
ñõèìïý. Sometimes the story reveals at the end.
ÌåñéêÝò öïñÝò ç éóôïñßá áðïêáëýðôåôáé Some other times, storytelling means a
óôï ôÝëïò ôçò. tension between a coherent narrative “whole”
¢ëëåò öïñÝò âñßóêåôáé êáíåßò íá and its forward drive and the desire of the
ðáëåýåé áíÜìåóá óå ìéá áðïêÜëõøç, óå ìéá storyteller to lose, to forget oneself in the story,
ïëïêëÞñùóç ôçò éóôïñßáò êáé ôçí áêáôáíßêçôç so that the fulfillment of the story becomes
åðéèõìßá íá ÷áèåß Þ ßóùò êáëýôåñá íá îå÷áóôåß relative, unclear almost unimportant.
ìÝóá ôçò, êÜíïíôáò Ýôóé ôïí áñ÷éêü ôçò óôü÷ï, Sometimes it is all about telling a story.
ôçí ïðïéáäÞðïôå áñ÷éêÞ óçìáóßá ôçò íá öôÜóåé Sometimes it is not about telling a different
íá öáíôÜæåé ó÷åäüí áóÞìáíôç. story but about telling a story differently.
ÌåñéêÝò öïñÝò ëÝåé êáíåßò ìéá éóôïñßá. And sometimes it is not about the story at all.
Óõ÷íÜ äåí ëÝåé ìéá äéáöïñåôéêÞ éóôïñßá áëëÜ
áðëþò ìéá éóôïñßá äéáöïñåôéêÜ.
Êáé åíßïôå óôçí äéÞãçóÞ ôïõ ç éóôïñßá åßíáé
áðëþò ç áöïñìÞ.
I N T O T H E P I L L VOL.I 51
Laundry Out of silk The Game (You must play the game to know
why you are playing the game)
Âéíôåïãñáößá / Videography
2008 To be outside 2006 The red dress 2003 Diagnosis,
something is would make her mini DV, 2:45 min
always to be inside skin seem more loop
something else, pale more white, 2003 How far is it
HDV, 3:50 min loop mini DV, 8 min loop going?, mini DV,
2007 Hunting, video 2005 The Doll, video 2 min loop
installation, HDV, installation, mini DV, 2002 Out of silk,
4:16 min loop 3 min loop video installation,
2007 The Game 2005 One fourth of mini DV, 1 min loop
(You must play the a full circle (after 2002 Laundry, video
game to know why Acconci), mini DV, installation, mini DV,
you are playing 3 min loop 1:45 min loop
the game), video
installation, mini DV,
1:49 min loop
54 I N T O T H E P I L L VOL.I
Ôá Ýñãá ìïõ ÷áñáêôçñßæïíôáé áðü ôçí Ýêöñáóç My works are characterized by the expression of
åíüò ðñïóùðéêïý ôñüðïõ íá áéóèÜíåôáé êáíåßò a personal way of feeling. They are born firstly
ôá ðñÜãìáôá. Ãåííéïýíôáé ðñþôá þò åéêüíåò as images in my mind, and then take different
óôï ìõáëü ìïõ, ãéá íá áðïêôÞóïõí êáôüðéí forms, at times overlapping. What characterizes
äéÜöïñåò ìïñöÝò, ðïõ óõ÷íÜ åðéêáëýðôïõí ç my images is an emotional vulnerability. My
ìéá ôçí Üëëç. Áõôü ðïõ ÷áñáêôçñßæåé ôéò åéêüíåò stories are always constructed upon metaphors.
ìïõ åßíáé ôï óôïé÷åßï ôïõ óõíáéóèçìáôéêÜ Whether in video, drawing or installations,
ôñùôïý. Ïé éóôïñßåò ðïõ áöçãïýìáé óôçñßæïíôáé I explore the often double sided nature of
ðÜíôïôå óå ìåôáöïñÝò. Óôá âßíôåï, ôá ó÷Ýäéá things. I use scenes referring to the every
Þ ôéò åãêáôáóôÜóåéò ìïõ, äéåñåõíþ ôç óõ÷íÜ day life in contradiction with absurd elements
äéðëÞ üøç ôçò öýóçò ôùí ðñáãìÜôùí. or paradoxes. I am very much interested in
×ñçóéìïðïéþ óêçíÝò ðïõ áíáöÝñïíôáé exploring the dual views of the reality of the
óôçí êáèçìåñéíÞ æùÞ, óå áíôéðáñáâïëÞ ìå visible world outside and what we see as
ðáñÜäïîá, Þ óôïé÷åßá ôïõ ðáñáëüãïõ. Ìå the reality of our inner fantasy world. I aim to
åíäéáöÝñåé éäéáßôåñá ç äéåñåýíçóç ôïõ ïñáôïý, invert the viewer expectations by emphasizing
åîùôåñéêïý êüóìïõ, êáé ôçò äéôôÞò öýóçò absurd elements of reality. One of my methods
ôçò ðñáãìáôéêüôçôÜò ôïõ, êáèþò êáé áõôïý to explore the dual views of reality is bringing
ðïõ èåùñïýìå ùò ôçí ðñáãìáôéêüôçôá ôïõ different elements together in order to create a
åóþôåñïõ, öáíôáóéáêïý êüóìïõ ìáò. Óôü÷ïò dialogue. The dialogue is often engaged with
ìïõ åßíáé íá áíáôñÝøù ôéò ðñïóäïêßåò ôïõ the re-positioning of the individual into well
èåáôÞ, äßíïíôáò Ýìöáóç óôï óôïé÷åßï ôïõ known social, personal or political structures.
ðáñáëüãïõ. Ìßá áðü ôéò ìåèüäïõò ðïõ I am interested in the shift of the banal into the
÷ñçóéìïðïéþ ãéá íá åîåñåõíÞóù ôéò äéðëÝò, unexpected.
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.
I N T O T H E P I L L VOL.I 55
Âéíôåïãñáößá / Videography
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
Simbiosis / Óõìâßùóç* Ball Attached Sold Out
Âéíôåïãñáößá / Videography
2002 Ball Attached, 2006 Para-
1:12 min loop discipline, 3:44 min
2003 Way-out, 2007 Simbiosis /
2:22 min Óõìâßùóç, 2:00 min
2003 Power-Rewop, loop
2:58 min 2007 Decadenza,
2005 Phoney Utopia 2:50 min
/ Êßâäçëç Ïõôïðßá,
2:40 min
2005 Sold Out,
2:32 min
58 I N T O T H E P I L L VOL.I
Ôá âßíôåï ôçò Ìáßñç Æõãïýñç áðïôåëïýí ôçí Mary Zygouri’s videos are the processed
åðåîåñãáóìÝíç êáôáãñáöÞ (documentation) documentation of her action-performances.
ôùí äéêþí ôçò äñÜóåùí-ðáñáóôÜóåþí. Ìå ôçí The recorded material’s treatment creates a
åðåîåñãáóßá ôïõ õëéêïý ðñïêýðôåé ìéá Üëëç new reading of aesthetics and live performance
áíÜãíùóç óôçí áéóèçôéêÞ êáé ôï ðåñéå÷üìåíï practice. Due to the rapid image change, a sense
ôùí æùíôáíþí ðáñáóôÜóåùí (live performance). of agony and claustrophobia is being transmitted.
Åîáéôßáò ôïõ ãñÞãïñïõ ñõèìïý åíáëëáãÞò ôùí Each video-action is a small episode, an
åéêüíùí ìåôáöÝñåôáé ìéá êïéíÞ áßóèçóç áãùíßáò absurd abstract from each character. Where the
êáé êëåéóôïöïâßáò. characters are Zuzu, Z, the labrat, Zozefine the art
ÊÜèå äñÜóç-video åßíáé Ýíá ìéêñü åðåéóüäéï, saleswoman, Valentina the secretary, Z. Tarantino
Ýíá ðáñÜëïãï áðüóðáóìá ôïõ åêÜóôïôå ÷áñá- and many more.
êôÞñá. ÁõôÝò åßíáé: Æïõæïý, Æ, Ôï ðåéñáìáôüæùï, Their common characteristic is the fluidity
ç ðùëÞôñéá Ýñãùí ôÝ÷íçò Æïæåößíá, ôï «ÐáñÜ- between power and weakness, moving between
óéôï» óôï ÔìÞìá Êáèáñéóìïý ôïõ ÄÞìïõ Áèçíáß- the oxymoron and the straight up absurd.
ùí, ç ãñáììáôÝáò Valentina, These personas have references in books,
Æ. Tarantino. everyday episodes, scientific experiments, social
Êïéíü ÷áñáêôçñéóôéêü ôïõò åßíáé ç ñåõóôü- practices etc.
ôçôá ìåôáîý äýíáìçò êáé áäõíáìßáò. Ìéá êßíçóç Their presence in a specific place has an
áíÜìåóá óôï ïîýìùñï êáé ôï ðáñÜëïãï. outlandish, irrational feel. They appear where they
Ç ðñïóùðéêüôçôåò-personas áõôÝò âñßóêïõí shouldn’t exist. Spaces like a gas station, a porn
ôéò áíáöïñÝò ôïõò óå ëïãïôå÷íéêÜ êåßìåíá, cinema, a Christianity centre, in the middle of a
âéùìáôéêÜ åðåéóüäéá, óå áñ÷åßá, óå åðéóôçìïíéêÜ no man’s land scenery.
ðåéñÜìáôá, óå êïéíùíéêÝò ôáêôéêÝò êáé óå Üëëá. The performances take place either in public
Ç ðáñïõóßá ôïõò óôïí åêÜóôïôå ÷þñï spaces, being completed with the interaction
Ý÷åé Ýíáí áëëüêïôï, ðáñÜëïãï ÷áñáêôÞñá. of the audience, or due to the particularity of
Åìöáíßæïíôáé åêåß üðïõ äåí èá Ýðñåðå íá certain spaces, they are comprised of just the
âñßóêïíôáé. ÔÝôïéïé ÷þñïé üðùò Ýíá âåíæéíÜäéêï, performance’s documentation.
Ýíá óéíåìÜ ðïñíü, Ýíá óõíïéêéáêü ìáãáæß Ultimately, the final goal of these videos is the
÷áñôéêþí, ìéá áßèïõóá ×ñéóôéáíéêÞò Åóôßáò, Ýíá expression of the battle between the master and
ïñíéèïôñïöåßï, óôç ìÝóç åíüò no mans land the servant.
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.
I N T O T H E P I L L VOL.I 59
Hippodrome / Éððüäñïìïò Living red Wonderpark
Âéíôåïãñáößá / Videography
1999 Hippodrome / 2003 The right arm 2005 Cul-de-sac, 2007 Zig-zag,
Éððüäñïìïò, of the free world, 5 min, DV/PAL flash animation
15 min, DV/PAL 3 min, DV/PAL 2006 Addiction, (Loop-Part of the
2000 Distribution of 2004 Fleshpack. 3 min, DV/PAL installation De-
consecrated bread / com, 4 flash 2006 Le Tailleur, inventor)
Áñôïêëáóßá, 6 min, animations (part 7 min, DV/PAL 2007 Biopatents,
DV/PAL of the installation, 2006 Plumbers, 2 min, flash
2001 Living red, Invisible Future 3.30 min, DV/PAL animation (loop,
20 min, DV/PAL Systems Part 3: 2007 Loan / ÄÜíåéï, part of the
2002 Archetypal, Fleshpack.com 15 videos, installation De-
3.30 min, DV/PAL Human Delivery) 15:35 min, DV/PAL inventor)
2002 Eurovision, 2004 Bureau, 3 min, 2007 Joke war, 2008 It sounds like
flash animation, DV/PAL flash animation a capital, 20 videos,
1 min, 2004 Trapped in (loop, part of the 15:30 min, DV/PAL
2002 Wonderpark, “Hotel Convention”, installation De- (collaboration with
7 min, DV/PAL 3 min, DV/PAL inventor) intothepill)
62 I N T O T H E P I L L VOL.I
Ôï ìÝóï ôïõ âßíôåï ãéá ôçí Èåïäþñïõ ìïéÜæåé íá To Theodorou the medium of video seems to work
ëåéôïõñãåß óáí ìéá áõôüìáôç ìç÷áíÞ üñáóçò ðïõ like an automatic ‘seeing machine’ which operates
åñãÜæåôáé ìÝóá óôïí ÷þñï ìéáò åî ïëïêëÞñïõ within a fully virtualised geographic reality. As a
åéêïíïðïéçìÝíçò ãåùãñáöéêÞò ðñáãìáôéêüôçôáò. result we are called upon to perceive differently,
Ìáæß ôçò êáëïýìáóôå íá áíôéëçöèïýìå äéáöïñåôéêÜ through a more remote experience like that of
êáôáóôÜóåéò ðïõ íïìßæïõìå ïéêåßåò, ìÝóù ìéáò television watching, some situations which we
ðåñéóóüôåñï áðïìáêñõóìÝíçò åìðåéñßáò üðùò thought were familiar. The screen becomes for us
áõôÞ ôçò ôçëåèÝáóçò. ¼ðùò êáé ãéá áõôÞí ç —as the camera becomes for the artist— a tool for
êÜìåñá, Ýôóé êáé ãéá åìÜò ç ïèüíç ìåôáôñÝðïíôáé generating personal meanings and attitudes towards
óå åñãáëåßá ðáñáãùãÞò ðñïóùðéêïý íïÞìáôïò êáé things.
èÝóçò áðÝíáíôé óôá ðñÜãìáôá. The cinema dresses the eye in uniform, writes
Ôï óéíåìÜ âÜæåé óôïëÞ óôï ìÜôé ãñÜöåé ï Kafka. In an era of telematic perception of real
ÊÜöêá. Óôçí åðï÷Þ ôçò ôçëåìáôéêÞò áíôßëçøçò terrorism in its true scale as well as of any other
ôçò ðñáãìáôéêÞò ôñïìïêñáôßáò óå üëï ôçò ôï truth which looked utopian till recently, the digital
ìåãáëåßï êáé ïðïéáäÞðïôå Üëëçò áëÞèåéáò ðïõ ùò processing of images seems to have no place
ôþñá öÜíôáæå ïõôïðéêÞ, ç øçöéáêÞ åðåîåñãáóßá any more. The medium appears to serve for
ôçò åéêüíáò äåí ìïéÜæåé íá Ý÷åé ðëÝïí èÝóç. Ç Theodorou as a vehicle of realisation outside the
÷ñÞóç ôïõ ìÝóïõ ãéá ôçí Èåïäþñïõ ìïéÜæåé íá body or the mind and beyond language; a live
áðïôåëåß Ýíá ü÷çìá óõíåéäçôïðïßçóçò Ýîù áðü performance used as a communication medium
ôï óþìá, ôï ìõáëü êáé ðÝñá áðü ôçí ãëþóóá. Ìéá with no technical or aesthetic distortions, only with
æùíôáíÞ ðåñöüñìáíò ðïõ ÷ñçóéìïðïéåßôáé ùò montage interventions as part of her personal
ìÝóï åðéêïéíùíßáò, ÷ùñßò ôå÷íéêÝò Þ áéóèçôéêÝò editing of what is called truth. To my question about
áëëïéþóåéò ðáñÜ ìå åðåìâÜóåéò óôï ìïíôÜæ, ïé the use of this specific medium at this juncture,
ïðïßåò åîõðçñåôïýí ôçí ðñïóùðéêÞ ôçò åðéìÝëåéá Theodorou answers: "I am interested in the image
óå áõôü ðïõ ïíïìÜæåôáé áëÞèåéá. Óôçí åñþôçóç in its simplest form, and in the element of surprise
ìïõ ãéá ôçí ÷ñÞóç ôïõ óõãêåêñéìÝíïõ ìÝóïõ during the shooting of the film. These things require
óå áõôÞ ôçí ÷ñïíéêÞ óôéãìÞ ç Èåïäþñïõ ìïõ an almost invisible use of the camera. I think that
áðáíôÜ: «Ìå åíäéáöÝñåé ç åéêüíá óôçí áðëïýóôåñç the point where reality is led to transcend itself
ìïñöÞ ôçò êáèþò êáé ôï óôïé÷åßï ôçò Ýêðëçîçò is very important, and this is something that can
êáôÜ ôçí äéÜñêåéá ôïõ ãõñßóìáôïò. Êáé áõôÜ be achieved through the video. I am not trying to
ðñïûðïèÝôïõí ìéá ó÷åäüí áüñáôç ÷ñÞóç ôçò reach any conclusions or simply to find relief in
êÜìåñáò. Èåùñþ ðïëý óçìáíôéêü ôï óçìåßï óôï understanding a situation; I am more interested in a
ïðïßï ç ðñáãìáôéêüôçôá ïäçãåßôáé óå ìéá õðÝñâáóç kind of exploration of reality through the use of this
ôïõ åáõôïý ôçò êáé áõôü åßíáé Ýíá æçôïýìåíï medium."
ðïõ ìðïñåß íá åðéôåõ÷èåß ìÝóù ôïõ âßíôåï. Äåí
ðñïóðáèþ íá êáôáëÞîù óå êÜðïéá óõìðåñÜóìáôá Marina Fokidis
Þ áðëÜ íá áíáêïõöéóôþ áðü ôçí êáôáíüçóç ìéáò Independent curator and critic
êáôÜóôáóçò, ðåñéóóüôåñï ìå åíäéáöÝñåé Ýíá åßäïò
äéåñåýíçóçò ôçò ðñáãìáôéêüôçôáò ìå ôçí ÷ñÞóç
ôïõ ìÝóïõ».
Ìáñßíá Öùêßäç
ÁíåîÜñôçôç åðéìåëÞôñéá êáé ôå÷íïêñéôéêüò
Âéíôåïãñáößá / Videography
2004 Haiku videos, 2006 Rough Cut, 2008 It sounds like
7 videos 1 min each 40 min loop, a capital, 25 videos
miniDV/CVHS video and sound 1 min each (in
2004 Motorbreath, performance miniDV collaboration with
10 min, DVC 2007 Ecstatic intothepill), miniDV
2005 Where is Segment, 5:30 min, 2008-2009 Disquiet
Pablo Frank?, miniDV Videos, video sound
2 min, miniDV 2007 Haiku videos, installation
2005 Few Things I 3videos about 1 min
Know About Them, each, miniDV
3 min, miniDV 2007 Missing link,
2006 Cravanism, 1 min, miniDV
2 min, miniDV 2008 Il Consiglere,
2006 Kidwalkin, 7 min, miniDV
30 min loop, video
installation miniDV
66 I N T O T H E P I L L VOL.I
Åñåõíþ ôñüðïõò ìå ôïõò ïðïßïõò ôá I investigate means by which things may
ðñÜãìáôá ìðïñïýí íá ãßíïõí áíôéëçðôÜ. become perceptible.
Åðéóçìáßíù ôéò åíáëëáóóüìåíåò èÝóåéò I locate their interchangeable positions
êáé ôéò ìåôáôïðßóåéò. Ôçí ó÷Ýóç ôïõò. and shifts. Their relationships.
Ðéóôåýù üôé áõôü ðïõ âëÝðù ìå âëÝðåé. I believe that what I see, also sees me.
Ìðåñäåýïìáé êáé åêðëÞóóïìáé. I become bewildered and startled.
Ðáßæù áãùíéþíôáò íá äéáôçñÞóù ôçí While I’m playing the game I agonize over
áíåîáñôçóßá ôïõ âëÝììáôïò ìïõ. ÐëçóéÜæù maintaining the independence of my gaze.
êïíôÜ. ÓôÝêïìáé. I get close. I stand still.
Ðñïóðáèþ íá äçìéïõñãþ óõãêåíôñùìÝíïò While creating, I strive to stay focused on
óå áõôü ðïõ êáôáðéÜíïìáé, äß÷ùò íá what I set about to do, without yielding
áðïäÝ÷ïìáé äéá÷ùñéóìïýò åðéôçäåýóåéò to arbitrary distinctions, affectation or status.
êáé éäéüôçôåò. There is no place for boredom, despair
Äåí õðÜñ÷åé èÝóç ãéá ôçí âáñåìÜñá, ãéá or trivial hope.
ôçí áðåëðéóßá Þ ôçí åëðßäá ôùí ôåôñéììÝíùí. There is not enough time.
Äåí õðÜñ÷åé ÷ñüíïò. I am particularly interested in that which
ÅíäéáöÝñïìáé ãéá üóá äåí óõìâáßíïõí. does not happen.
Áðå÷èÜíïìáé ôçí ðëçñüôçôá, ôçí ôÝëåéá I detest the quest for fulfillment, the perfect
ôÜîç ôïõ íïÞìáôïò, ôçí ôõöëÞ âåâáéüôçôá. order of meaning, the unseeing certainty.
ÅðéìÝíù áêüìç, óôçí åîåñåýíçóç Ýíáíôé I still persist in research over invention and
ôçò åöåýñåóçò, êáé óôçí åðéíüçóç Ýíáíôé ôçò in invention over discovery.
áíáêÜëõøçò. I am in a position to defend this approach.
Åßìáé óå èÝóç íá õðïóôçñßîù áõôÞí ôçí Nevertheless, I feel disgusted…
ðñïóÝããéóç.
Ðáñüëá áõôÜ íéþèù áçäßá...
I N T O T H E P I L L VOL.I 67
Âéíôåïãñáößá / Videography
ÅðéëåãìÝíåò åêèÝóåéò / Selected shows Åðéêïéíùíßá / Contact
Magik’s house The rabbit & the hunter Dust one*
Âéíôåïãñáößá / Videography
2005 Magik’s 2006 Dust two, mini
house, DVD PAL, DV, 14 min, bw
3 min 2007 Dust three,
2006 The rabbit mini DV, 15 min, bw
& the hunter, 2007 Dynasty, DVD
DVD PAL, 3 min PAL, colour, 9 min
2005 Dust one,
mini DV, 5 min, bw
70 I N T O T H E P I L L VOL.I
Ôï Dust åßíáé ìéá óåéñÜ áðü ìéêñÝò éóôïñßåò. Dust is a series of short stories. In the style of
Õéïèåôþíôáò ôï ýöïò óðéôéêþí ôáéíéþí, ôï ìåãá- home made video, ‘dust’ was filmed mostly in
ëýôåñï ìÝñïò ôçò óåéñÜò Dust êéíçìáôïãñáöÞ- the streets or public places in Athens. Running
èçêå óôïõò äñüìïõò êáé óå äçìüóéïõò ÷þñïõò not to get caught by authorities is how filming
ôçò ÁèÞíáò. Ïé ôáéíßåò âÝâáéá ôåëåéþíïõí usually ends! The urban landscape is always
óõíÞèùò ìå ôçí êáëëéôÝ÷íéäá íá ôñÝ÷åé ãéá íá present. I have been working on Dust over an
áðïöýãåé ôéò Áñ÷Ýò! Ôï áóôéêü ðåñéâÜëëïí åßíáé extended period of time. I assembled a cast
ðÜíôá ðáñüí. Ç ÊáíÜ åñãÜóôçêå ðÜíù óôçí åí of characters by asking my friends to play
ëüãù óåéñÜ âßíôåï ãéá Ýíá ìåãÜëï ÷ñïíéêü äéÜ- and participate in these stories as: the human
óôçìá, äçìéïõñãþíôáò ìéá óåéñÜ ñüëùí, ôïõò animals, the orthodox priests, the ancient
ïðïßïõò áíÝèåóå óå ößëïõò ôçò. Ïé ôåëåõôáßïé Greeks, the apostles of dust super..
êëÞèçêáí íá åñìçíåýóïõí áíèñþðéíá æþá, The first video was done in 2005 and after
ïñèüäïîïõò éåñåßò, Áñ÷áßïõò ¸ëëçíåò êáé that the next ones just happened naturally as a
Üëëïõò… group of shifting situations. A hyper adventure
Ôï ðñþôï âßíôåï ìáãíçôïóêïðÞèçêå ôï that recreates and revives itself... the dust
2005 êáé êáôüðéí áêïëïýèçóáí üëá ôá õðüëïé- journey is a mental journey to conscience and
ðá. Ðñüêåéôáé ãéá ìéá óõíáñðáóôéêÞ ðåñéðÝôåéá finds inspiration in the Greek tradition of Theater
ðïõ áíáäçìéïõñãåß êáé áíáâéþíåé ôïí åáõôü and film noir cinema. Each episode resides
ôçò. Ôï «ôáîßäé ôçò óêüíçò» åßíáé Ýíá åãêåöáëé- in time from dust 1 to dust 4. Each absurd
êü ôáîßäé óôç óõíåßäçóç ðïõ åìðíÝåôáé áðü ôçí escapade with license to provoke, searches to
ÅëëçíéêÞ ðáñÜäïóç ôïõ èåÜôñïõ êáé ôïí noir find deep humanity. ‘Dust my ass’, ‘Eat my dust’
êéíçìáôïãñÜöï. ÊÜèå åîùöñåíéêü ôüëìçìá ðïõ and ‘In dust we trust’, ‘Dust the past’ is the right
Ý÷åé óêïðü íá ðñïêáëÝóåé, áíáæçôÜ íá öôÜóåé for individual subjectivity.
óôï âÜèïò ôçò áíèñþðéíçò ýðáñîçò. Ôá «Dust In his famous Studies George Bataille
my ass», «Eat my dust», «In dust we trust» êáé describes “It is always a matter of detachment
«Dust the past» âñïíôïöùíÜæïõí ôï äéêáßùìá from society and tradition, an indifference to the
ãéá ôçí áôïìéêÞ õðïêåéìåíéêüôçôá. rules that make society, an agony experienced
¼ðùò Ý÷åé ãñÜøåé ï Æïñæ ÌðáôÜéã, «åßíáé in such conditions where the forces of being are
ðÜíôá èÝìá áðïóýíäåóçò áðü ôçí êïéíùíßá êáé thrown out of balance, eventually an opening
ôçí ðáñÜäïóç, ìéá áäéáöïñßáò ãéá ôïõò êáíü- up to the direct move of life, which is usually
íåò ðïõ äéÝðïõí ôçí êïéíùíßá, ìéá áãùíßáò ðïõ suppressed, and all of a sudden is liberated
äçìéïõñãåßôáé óå óõíèÞêåò üðïõ ïé äõíÜìåéò within an overflow of joy towards infinity”.
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».
I N T O T H E P I L L VOL.I 71
Catastrophe / ÊáôáóôñïöÞ* Vibrations VII (The drama of an idea) / Streaming Media (Cry Me A River)
ÄïíÞóåéò VII (Ôï äñÜìá ìéáò éäÝáò)
Âéíôåïãñáößá / Videography
1992 Catastrophe I 2003 Innocent II,
ÊáôáóôñïöÞ, video, video installation,
6 min 4 min
1995 Vibrations VII 2004 419 Steps /
(The drama of an 419 ÂÞìáôá, video,
idea) / ÄïíÞóåéò 4:04 min
VII (Ôï äñÜìá ìéáò 2006 Hidden Time /
éäÝáò), video, Ëáèñáßïò ×ñüíïò,
5:35 min video installation,
2003 Streaming 3 videos,17:51,
Media (Cry Me 18:30, 16:02 min
A River), video
installation, four
videos 22 min
74 I N T O T H E P I L L VOL.I
…«ãíùñßæåé üôé ïé íÝåò ôå÷íéêÝò øçöéïðïßçóçò …”she herself is aware that the new techniques
ôçò åéêüíáò êáé ç ôå÷íïëïãßá ôçò of image digitalization and the technology of
ðáñáêïëïýèçóçò ðñïêáëïýí óÞìåñá ìßá surveillance are generating a complex and
ðïëýðëïêç êáé åðéêßíäõíç õâñéäéêÞ ó÷Ýóç, dangerous hybrid relationship, one based on
âáóéæüìåíç óå åðéâåâëçìÝíåò Ýííïéåò üðùò: such inescapable concepts as simulation, virtual
ðñïóïìïßùóç, åéêïíéêÞ ðñáãìáôéêüôçôá, reality, globalization, numeralization, alteration
ðáãêïóìéïðïßçóç, áñéèìïðïßçóç, ìåôÜëëáîç of virtual space-time in opposition to real time
ôïõ åéêïíéêïý ÷ùñï÷ñüíïõ, óå áíôßèåóç ìå ôïí – all reinforcing the relations of interaction
ðñáãìáôéêü ÷ñüíï, ãåãïíüò ðïõ åíéó÷ýåé ôéò and the intervention of the random and the
ó÷Ýóåéò áëëçëåðßäñáóçò êáé ôçò ðáñåìâáôéêÞò ephemeral. From the period of her installations
óõìâïëÞò ôïõ åöÞìåñïõ Þ ôïõ ôõ÷áßïõ. Áðü ôçí exploring the relativity of things “It's true, it's a
ðåñßïäï ôùí åãêáôáóôÜóåùí ðïõ áíáöÝñïíôáé lie” 1998, up until her recent installation “Thing-
óôçí ó÷åôéêüôçôá ôùí ðñáãìÜôùí “ÁëÞèåéá In-Itself” 2002, Kariotaki has been creating
åßíáé øÝìáôá” 1998, ìÝ÷ñé ôçí ðñüóöáôç severe, minimalist and interactive installations
åãêáôÜóôáóç “Thing-Én-Étself” 2002, ç ÖùôåéíÞ (two or three dimensional, wall-installed, floor-
ÊáñéùôÜêç äçìéïõñãåß áõóôçñÝò ìéíéìáëéóôéêÝò based) which invite the spectator to perceive,
äéáäñáóôéêÝò åãêáôáóôÜóåéò (äéóäéÜóôáôåò, conceive and at the same time ‘de-materialize’
ôñéóäéÜóôáôåò, åðéôïß÷éåò, ôïðïèåôçìÝíåò perceptual phenomena – emphasizing the ideas
óôï ðÜôùìá) üðïõ ï èåáôÞò êáëåßôáé íá of relativity, of flux, of ‘accurate’ truth and given
âéþóåé åìðåéñßåò ðñüóëçøçò, óýëëçøçò êáé reality”.
ôáõôü÷ñïíá “áðïûëïðïßçóçò” ôùí áíôéëçðôéêþí
öáéíïìÝíùí, ãåãïíüò ðïõ åíéó÷ýåé ôçí Dr. Sania Papa, Art theorist
Ýííïéá ôçò ó÷åôéêüôçôáò ôùí öáéíïìÝíùí, ôçò From the text of the catalogue of the solo show
ñåõóôüôçôáò, ôçò “áêñéâïýò” áëÞèåéáò êáé ôçò under the title Known-Unknown that was held
äåäïìÝíçò ðñáãìáôéêüôçôáò». in Lola Nikolaou Art Gallery, Thessaloniki,
December 2004
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
I N T O T H E P I L L VOL.I 75
Floral Patterns Between you and me Am I special or what?*
Âéíôåïãñáößá / Videography
1999 Floral 2003 Tonight’s the 2007 Comfort Food,
Patterns, VHS, PAL, night, miniDV, PAL, miniDV, PAL, 1:40
5:40 min, color 7 min, color & audio min, color & audio
& audio 2003 Am I special or 2008 Bucolic Life,
1999 Domestic what?, miniDV, PAL, miniDV, PAL, 2:40
Pleasures, VHS, 7 min, color & audio min, color & audio
PAL, 5 min, color 2004 On halva and 2009 Zombie,
& audio semolina, miniDV, miniDV, PAL, 11:40
2002 Recipe PAL, 8 min, color & min, color & audio
cooked, miniDV, audio
PAL, 7 min, color 2007 Figs, miniDV,
& audio PAL, 4:20 min, color
2003 Between you & audio
and me, miniDV,
PAL, 7 min, color
& audio
78 I N T O T H E P I L L VOL.I
Ç äïõëåéÜ ìïõ óôï âßíôåï åßíáé áõôïâéïãñáöéêÞ. One could easily file my work as
Äåí åßíáé üôé èÝëù íá êÜíù ãíùóôÞ ôçí éóôïñßá autobiographical. It is not that I particularly
ìïõ Þ íéþèù ôçí áíÜãêç íá áðïôõðþóù ôçí fancy the telling of my story or that I enjoy
öõóéêÞ ìïõ ðáñïõóßá. ºóá-ßóá, áõôü ìïõ åßíáé placing myself physically in the work. On the
óõ÷íÜ äýóêïëï. ‘Ïìùò ìïõ áñÝóåé íá äïõëåýù contrary, quite often this is something that I find
ìå õëéêü öïñôéóìÝíï óõíáéóèçìáôéêÜ, áõôÜ difficult to do. Nevertheless I choose to work
ðïõ áðïêáëþ ôá ìéêñá-ìåãÜëá ãåãïíüôá. with emotionally charged matter, what I call the
¸ôóé ÷ñçóéìïðïéþ áõôü ðïõ îÝñù êáëýôåñá, small-grand affairs. Thus I use what comes more
ôéò äéêÝò ìïõ óôéãìÝò ðáñïõóéáóìÝíåò êáé handy and I have better knowledge of, namely
ôñáâçãìÝíåò áðü ìÝíá. ÊÜèå âßíôåü ìïõ my own affairs, my body, my camera handling.
êáôáëÞãåé íá áðïôåëåß Ýíá áõôïðïñôñÝôï This personal material is set to work in a
ðïõ ó÷ïëéÜæåé ôï ìÝóï óôï ïðïßï óõíôÜóóåôáé background of culturally cultivated fascinations.
åìðëÝêïíôáò ðñïóùðéêÝò áíáöïñÝò ìå Ýíá So each of my videos ends up as a self-portrait,
ðëÝãìá êïéíùíéêþí åììïíþí. that comments on the medium with which is
ÁíáöïñÜ ãéá ôéò âßíôåï óõìðåñéöïñÝò êáé being realized.
áéóèçôéêÝò ðïõ áêïëïõèþ åßíáé ç ôçëåïðôéêÞ The video conduct and the aesthetics that I
åéêüíá êáé åõñýôåñá ç ðïð êïõëôïýñá. Ôï utilize refer to the televised image and the pop
êÝöé, ç áßóèçóç ôçò ðáñÝáò ôùí ôçëåïðôéêþí culture. The congenial sociability that marks
åêðïìðþí, ç ðñïóùðéêÞ Ýêèåóç, ôï êýñïò certain TV shows, the thrill of personal exposure,
ðïõ áðïäßäåôáé óôçí ðñïóùðéêüôçôá ôïõ the status of TV personality as a synthetic entity
ðïëéôéóìéêÜ åíçìåñùìÝíïõ ôçëåïðôéêïý always in the cultural know, are all key concepts
ðáñïõóéáóôÞ åßíáé óôïé÷åßá ðïõ ìåôá÷åéñßæïìáé for me. In addition to the track of private thrills
ãéá íá óôÞóù ôá ðåñéóóüôåñá âßíôåï. Ïé áðëÝò and memories and a penchant for the special
ôå÷íéêÝò óôï ôñÜâçãìá êáé ôçí åðåîåñãáóßá ôïõ moment, in handling the videos I employ
õëéêïý, ôï êëåéóôü êýêëùìá ôùí áíáìíÞóåùí simple, low-fi techniques. Moreover I want to
êáé óõãêéíÞóåùí, ç åðéìïíÞ óôçí éäéáéôåñüôçôá accommodate a comical, laughable aspect in
ôçò óôéãìÞò åßíáé óôïé÷åßá ôá ïðïßá óõíäõÜæù my work as this prompts unexpected insights
ìå ÷éïýìïñ. Ç óõíåýñåóç ôïõ ðñïóùðéêÜ in an area of humane conditioning by far wider
öïñôéóìÝíïõ êáé ôïõ êùìéêïý äçìéïõñãåß than my personal worries.
áõôïáíáéñÝóåéò êáé åîÜñóåéò, îáöíéêÜ
áíïßãìáôá óå êÜôé ðéï ãåíéêü áðü ôéò éóôïñßåò
ðïõ äéçãïýìáé.
I N T O T H E P I L L VOL.I 79
Áct 1 Scrap paper Âus 75
Âéíôåïãñáößá / Videography
2005 Off for a while, 2007 Round n
3:35 min round, 7:20 min
2005 Áct 1, 2007 City...Oh!,
3:26 min 2:48 min
2005 Scrap paper, 2008 p. 85 /ó. 85,
5:50 min, stop 3:17 min, stop
motion animation motion animation
2006 Âus 75, 2008 [o/i] strap /ï/ç
20 min ëïõñÜêé,
2006 Jump, 3:25 min, stop
6:13 min motion animation
2006 Draw away,
3:13 min
82 I N T O T H E P I L L VOL.I
Áóôéêü ôïðßï, óêïõðßäéá, áðïìåéíÜñéá The Urban landscape, waste, remnants of
áíôéêåéìÝíùí, ñõèìüò ìïõóéêÞò, âéïìç÷áíéêÜ objects, rhythms of music, industrial patterns,
ìïôßâá, ãßíïíôáé åñåèßóìáôá ãéá ôçí êáôáãñáöÞ all become stimuli for the recording of personal
ìéáò ðñïóùðéêÞò äéåñãáóßáò üðùò áõôÞò ôïõ activity like that of drawing - trace. The attribute of
ó÷åäßïõ-ß÷íïõò. Ç éäéüôçôá ôçò áíôßëçøçò ìáò our perception of space prompts me to find ways
ãéá ôï ÷þñï ìå ùèåß íá âñßóêù ôñüðïõò íá to stigmatize the surroundings.
óôéãìáôßæù ôá ðñÜãìáôá ãýñù ìïõ. I am interested in the ephemeral element,
Ìå åíäéáöÝñåé ôï åöÞìåñï óôïé÷åßï, ç the imprinting of the moment in time and the
áðïôýðùóç ôçò óôéãìÞò ìÝóá óôï ÷ñüíï êáé interaction of the unanticipated or accidental
ç áëëçëåðßäñáóç ôïõ áðñüâëåðôïõ Þ ôõ÷áßïõ incident using a predetermined, methodical action.
óõìâÜíôïò ìå ôçí ðñïêáèïñéóìÝíç, ìåèïäéêÞ I wish to invade the real side of city and by
ðñÜîç. means of this gesture to reconstruct and replace
Åðéèõìþ íá åéóâÜëëù ìÝóá óôçí ðñáãìáôéêÞ its material substance visually and thus create a
åéêüíá ôçò ðüëçò êáé ìÝóù ôçò ÷åéñïíïìßáò íá relationship between the magnificent element of
ôçí áíáäçìéïõñãÞóù, íá áíôéêáôáóôÞóù åéêïíéêÜ the city and the perception created by this.
ôçí õëéêÞ ôçò õðüóôáóç êáé íá äçìéïõñãÞóù The note on the picture of a densely built city
ó÷Ýóåéò áíÜìåóá óôï ìåãáëåéþäåò ôçò ðüëçò reveals the enormous difference of scale between
êáé ôçí áíôßëçøç ðïõ äçìéïõñãåßôáé áðü áõôÞí. the materialization of my fantasy and real space. I
Ç óçìåßùóç ðÜíù óôçí åéêüíá ôçò ðõêíÜ select to intervene in the landscape in linear time
äïìçìÝíçò ðüëçò áðïêáëýðôåé ôçí ôåñÜóôéá so as to create a dialogue between fantasy and
äéáöïñÜ êëßìáêáò ìåôáîý ðñáãìÜôùóçò ôçò reality.
öáíôáóßùóçò ìïõ êáé ôïõ ðñáãìáôéêïý ÷þñïõ. In another part of my work, as, for example,
ÅðéëÝãù íá åðåìâáßíù óôï ôïðßï óå ãñáììéêü in the videos “page 85” and “ strap”, the
÷ñüíï Ýôóé þóôå íá öÝñíù óå äéÜëïãï ôï fundamental formal elements and the cheap,
öáíôáóéáêü ìå ôïí ðñáãìáôéêü ÷þñï. useless objects which replace the standardized
Óå Üëëï ìÝñïò ôçò äïõëåéÜò ìïõ, üðùò objects games, are animated and become
ãéá ðáñÜäåéãìá óôá âßíôåï «óåëßäá 85» êáé «ï/ç “heroes” of imaginary stories. These tiny useless
ëïõñÜêé», ôá ðñùôáñ÷éêÜ ìïñöéêÜ óôïé÷åßá, objects, (pieces of paper, strap) prompt the
ìáæß ìå åõôåëÞ Ü÷ñçóôá áíôéêåßìåíá ðïõ imagination to bring them to life and render them
áíôéêáèéóôïýí ôá ôõðïðïéçìÝíá áíôéêåßìåíá as “heroes” in the process of a game. The simple
ðáé÷íßäéá, åìøõ÷þíïíôáé êáé ãßíïíôáé «Þñùåò» stories of waste leave their mark in the place of
öáíôáóôéêþí éóôïñéþí. ÁõôÜ ôá óêïõðéäÜêéá action. In a big or small place the experience of
(÷áñôÜêé, êïììÜôé áðü ëïõñÜêé) ùèïýí ôç process of the game creates another reality.
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.
I N T O T H E P I L L VOL.I 83
Adamah* From the graves of our slain / On Death / Ðåñß ÈáíÜôïõ
Áð’ ôá êüêáëá âãáëìÝíç
Âéíôåïãñáößá / Videography
1997 Feather Time 2007 Body Donation
/ Ï ×ñüíïò ôïõ / ÄùñåÜ Óþìáôïò,
Öôåñïý, video, miniDV, 7 min, color
super16 mm, 5 min 2007 Spineline,
2005 Adamah, miniDV, 7 min, color
miniDV, 7 min, color 2007 On Death
2005 The mes- / Ðåñß ÈáíÜôïõ,
senger, miniDV, 12 miniDV, 6 min, color
min, color, video
installation
2006 From the
graves of our slain
/ Áð’ ôá êüêáëá
âãáëìÝíç, miniDV,
10 min, color
86 I N T O T H E P I L L VOL.I
«Ç éóôïñßá åßíáé ï å÷èñüò».* “Story is the enemy”.*
Ôá Ýñãá ðïõ Ý÷ù ðáñïõóéÜóåé ùò ôþñá All my works are derived from an enunciation
ó÷åôßæïíôáé ìå êÜðïéï ôñüðï ìå ôïí ëüãï: ôïí of logos either as biblical or historical, fictional
âéâëéêü , ôïí éóôïñéêü, ôïí ìõèéóôïñçìáôéêü, or poetic. They arise from fragments that
ôïí ðïéçôéêü. Ðñïêýðôïõí áðü èñáýóìáôá wedge in my conscience and provoke my
ðïõ óöçíþíïíôáé óôç óõíåßäçóÞ ìïõ êáé memory. In my videos I try to combine three
ðñïêáëïýí ôç ìíÞìç ìïõ. Óôá video óõíäõÜæù distinct elements: narrational, performative and
ôñßá îå÷ùñéóôÜ óôïé÷åßá ðïõ ôá ÷ñçóéìïðïéþ visual. My main focus is on the human figure
ùò äéáêñéôÝò ðáñáìÝôñïõò, ùò «åíÝñãåéåò»: against and/or in relationship to myth, history,
ôï áöçãçìáôéêü, ôï åðéôåëåóôéêü êáé ôï ïðôéêü. memory and culture, all of which I apprehend
ÅóôéÜæù óôçí ìïíá÷éêÞ áíèñþðéíç öéãïýñá as space. Theatricality and frontal composition
åíÜíôéá Þ óå ó÷Ýóç ìå ôïí ìýèï , ôçí Éóôïñßá, are mobilized for maintaining this focus on the
ôç ìíÞìç êáé ôïí ðïëéôéóìü, Ýííïéåò ðïõ ôéò figure while being as abstract as possible in
áíôéëáìâÜíïìáé óáí ÷þñï êáé ôåëåôïõñãßá. terms of storytelling representation. Since my
Èåáôñéêüôçôá êáé ìåôùðéêÞ óýíèåóç ôùí education and vocational training is around
êÜäñùí êéíçôïðïéïýíôáé ãéá íá äéáôçñÞóù cinema I prefer to embody cinematic techniques
üóï ôï äõíáôü ìéá ðéï áöáéñåôéêÞ ó÷Ýóç ìå ôç of lighting, framing, format and shot duration.
êåíôñéêÞ öéãïýñá áíôß ôçò áíáðáñáóôáôéêÞò “Story is the enemy” though. I document events
ðïõ Ý÷ïõìå óõíçèßóåé. «Ç éóôïñßá åßíáé ï (not happenings), that ideally, their significance
å÷èñüò». ÊáôáãñÜöù óõìâÜíôá, ðïõ éäáíéêÜ is stored in video form for future reference or
ç óçìáóßá ôïõò áðïèçêåýåôáé óôï video ãéá use. Events that mostly envision/ visualize the
ìåëëïíôéêÞ ÷ñÞóç. ÓõìâÜíôá ðïõ êõñßùò psychic agitation caused by the collision of my
áðåéêïíßæïõí ôç øõ÷éêÞ ôáñá÷Þ ðïõ ðñïêáëåßôáé narcissism with the collective memory. Exactly
áðü ôç óýãêñïõóç ôïõ íáñêéóóéóìïý ìïõ ìå the type of memory that my generation mostly
ôç óõëëïãéêÞ ìíÞìç, ìíÞìç ðïõ ç ãåíéÜ ìïõ abhors or is indifferent to. In contradistinction
ðñïôéìÜ íá ôçí áðïóôñÝöåôáé Þ íá áäéáöïñåß to the psychological use of character in
ãé’áõôÞí. Óå áíôéäéáóôïëÞ ìå ôç øõ÷ïëïãéêÞ mainstream cinema I prefer a corporeal
÷ñÞóç ôïõ ÷áñáêôÞñá óôïí mainstream approach through a discrete performance. The
êéíçìáôïãñÜöï, ðñïôéìþ ìéá óùìáôéêÞ performances are staged in a variety of public
ðñïóÝããéóç ìÝóù ìéáò éäéáßôåñçò åðéôåëåóôéêÞò spaces, often against a law-given public ritual
ðñÜîçò. Ïé ðñÜîåéò áõôÝò óêçíïèåôïýíôáé óå and always as a query in point of death.
äéÜöïñïõò äçìüóéïõò ÷þñïõò, óõ÷íÜ åíÜíôéá
óå Ýíá èåóìïèåôçìÝíï ôåëåôïõñãéêü êáé ðÜíôá * Quoted from Lars Von Trier’s artistic manifesto Defocaliser,
for Jorgen Leth’s documentary film “De Fem benspaend” (aka
ùò äéåñþôçóç ó÷åôéêÜ ìå ôï èÜíáôï. “The Five Obstructions”), 2003.
I N T O T H E P I L L VOL.I 87
Collision / Óýãêñïõóç Animation Fisherman / ØáñÜò
Âéíôåïãñáößá / Videography
2002 Disagreement 2003 Round of 2005 Klein My 2006 Self-portait / 2008 Portrait
/ Äéáöùíßá, death / Ãýñoò ôïõ Poots, 5:45 min, Áõôïðñïóùðïãñá- of a friend / Ôï
4:35 min, miniDV, èáíÜôïõ, 8:09 min, miniDV ößá, 1 min, miniDV ÐïñôñÝôï Åíüò
after effects miniDV 2006 Ôik, 5:37 min, 2007 Sacrifice / Ößëïõ, 4:34 min,
2002 Collision / 2003 Turbanion, miniDV (cooperation Èõóßá, 2:2 min, miniDV (cooperation
Óýãêñïõóç, minDV, after effects, with D. Kavalieratos) miniDV with S. Karamanolis)
6:10 min, miniDV particle illusion 2006 Deus ex 2007 Alarm System, 2008 Zabrisky Point,
2002 Animation, 2004 Toovetheeoo machine / Áðü interactive video 2:12 min,
3:04 min, miniDV, Lai Lai, 7:34 min «Ìç÷áíÞò» Èåüò, installation 3d animation
video installation, (cooperation with video installation, 2007 I’m gonna 2008 Le Bombe,
after effects, particle D. Kavalieratos), miniDV, åðéôïß÷éï got in jail / Èá ìå 3:13 min,
illusion, ãëõðôü miniDV ãëõðôü âÜëïõí öõëáêÞ, 3d animation
ôñáðÝæé-tv, 2005 ¢îéíôåíô, 2006 Artistique, 6:43 min, miniDV 2008 Scull,
2003 Fisherman / 2:35 min, miniDV 2:12 min 2008 Çeart of 1:56 min,
ØáñÜò, (cooperation with (cooperation with Glass, 4:52 min, 3d animation
13:19 min, miniDV, D. Kavalieratos) D. Kavalieratos), 3d animation video
video installation 2005 On Days Like miniDV installation
These, 5:14 min,
miniDV
90 I N T O T H E P I L L VOL.I
Ôï ìåãáëýôåñï ìÝñïò ôùí Ýñãùí ôïõ êáëëéôÝ÷íç Most part of Sifis Lykakis’ work uses cinema, as
Ý÷ïõí óáí áöåôçñßá ôïí êéíçìáôïãñÜöï, ìéá ìïñöÞ its point of departure, based on the fact that it
ôÝ÷íçò ðïõ Ý÷åé åðçñåÜóåé óçìáíôéêÜ ôçí åîÝëéîç constitutes a form of art that has greatly affected
ôçò ïðôéêÞò áíôßëçøçò ôïõ êüóìïõ êáé ü÷é ìüíï. people’s visual perception. Cinema, being
Ìéá ìïñöÞ ôÝ÷íçò ðïõ åßíáé óõíäåäåìÝíç ìå ôçí closely linked to technology, can deconstruct
ôå÷íïëïãßá êáé éêáíÞ íá áðïäïìÞóåé ôçí Ýííïéá ôïõ the concept of time. It also plays an important
÷ñüíïõ. Ï êéíçìáôïãñÜöïò ðáßæåé ðïëý ìåãÜëï role in human’s social evolution, with a major
ñüëï ðéá êáé óôçí êïéíùíéêÞ åîÝëéîç ôïõ áíèñþðïõ influence upon the public opinion. Of course, its
ìå éäéáßôåñç éêáíüôçôá åðéññïÞò óôéò ìÜæåò. influence in society is depending not only on the
ÖõóéêÜ ç åðéññïÞ ôïõ óôï êïéíùíéêü ãßãíåóèáé äåí revolutionary technological innovations, but also on
åîáñôÜôáé ìüíï áðü ôéò åðáíáóôáôéêÝò áëëáãÝò the exploitation of these innovations by the socio-
ôçò ôå÷íïëïãßáò, áëëÜ êáé áðü ôçí åêìåôÜëëåõóç economic interests that hold the power.
ôçò ôå÷íïëïãßáò ðïõ ãßíåôáé óå êÜèå óõãêåêñéìÝíç Mediums are intersecting in time, but time is no
åðï÷Þ áðü ôá äéÜöïñá êïéíùíéêï-ïéêïíïìéêÜ longer history. The variety of technical means opens
óõìöÝñïíôá ðïõ êáôÝ÷ïõí ôçí åîïõóßá. up the road to combine them. From the moment
Ôá ìÝóá äéáóôáõñþíïíôáé óôï ÷ñüíï áëëÜ ï that the memories of visual, audio and written data
÷ñüíïò äåí åßíáé ðéá éóôïñßá. Ç äéáöïñïðïßçóç ôùí were segregated, measured and automatized, their
ôå÷íéêþí ìÝóùí áíïßãåé ôáõôü÷ñïíá ôï äñüìï êáé ôç different streams can be directed to the same river
äõíáôüôçôá óõíäõáóìïý ôïõò. Áðü ôç óôéãìÞ ðïõ ïé bed. In this specific case, the common ground is the
ìíÞìåò ïðôéêþí, áêïõóôéêþí, ãñáðôþí äåäïìÝíùí digital technology that enfolds all the above. Lykakis
÷ùñßóôçêáí, áõôïìáôïðïéÞèçêáí êáé ìåôñÞèçêáí, reckons that the most significant aspect of visual
ïé äéáöïñåôéêÝò ñïÝò ôïõò ìðïñïýí êáé ðÜëé perception’s new rules is that which eludes the
íá äéï÷åôåõôïýí óôçí ßäéá êïßôç. Óôç äåäïìÝíç human eye. Therefore most of the artist’s recently
ðåñßðôùóç ï êïéíüò ôüðïò åßíáé ç øçöéáêÞ works represent explosions, that have originally
ôå÷íïëïãßá ðïõ åìðåñéÝ÷åé üëá ôá ðáñáðÜíù. been constructed using 3D animation software (3d
Áõôü ðïõ ï ËõêÜêçò èåùñåß óçìáíôéêüôåñï áð´ studio max). In this way, the artist can construct step
üëá óôïõò íÝïõò êáíüíåò ïðôéêÞò áíôßëçøçò, åßíáé by step each object’s explosion, retaining full control
áõôü ðïõ äåí ìðïñåß íá äåé ôï áíèñþðéíï ìÜôé áðü of the process. The explosion surprises like «Big
ìüíï ôïõ. ÊáôÜ óõíÝðåéá, ôá ðåñéóóüôåñá Ýñãá Bang» which originally created the universe.
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…
I N T O T H E P I L L VOL.I 91
The ape house Mediterranean view*
Âéíôåïãñáößá / Videography
2003 The ape 2006 Getting to
house, 11 min, Saint Peter, mixed
DV/PAL, video media, internal
installation videos, loop,
2004 Mediterranean DV/PAL
view, 1:24 min,
DV/PAL
2005 The Citibank
Building, Sunset,
23:32 min, DV/PAL
94 I N T O T H E P I L L VOL.I
Ç ÍôéÜííá ÌáãêáíéÜ ÷ñçóéìïðïéåß âßíôåï óå óõíäõáóìü DeAnna Maganias uses video in combination with
ìå êáôáóêåõÝò, êáôáóôÜóåéò êáé åãêáôáóôÜóåéò ãéá íá constructions, circumstances and installation to show
åðéóçìÜíåé èÝìáôá ðïõ õðïíïìåýïõí ìéá öáéíïìåíéêÜ points of view that undermine an ostensibly predictable
ðñïâëÝøéìç ðñáãìáôéêüôçôá. reality. In the installation, “The ape house” there is a
Ç åãêáôÜóôáóç «The ape house» åßíáé Ýíáò äéÜëïãïò dialogue between the points of view of the spectator and
áíÜìåóá óôéò äéáöïñåôéêÝò ïðôéêÝò ôïõ èåáôÞ êáé ôïõ the spectacle. The piece is a simultaneous video installation
èåÜìáôïò. Ôï Ýñãï áðïôåëåßôáé áðü äýï ðáñÜëëçëåò in two rooms. In one room we see the perspective of the
åãêáôáóôÜóåéò âßíôåï óå äýï äùìÜôéá. Óôï Ýíáí ÷þñï visitors to the ape house at the Washington National Zoo in
ìðïñïýìå íá äïýìå ôçí ïðôéêÞ ðïõ Ý÷ïõí ïé èåáôÝò ðñïò which the gorilla, Mopaya, is staring out at the audience. In
ôï êëïõâß åíüò ãïñßëá ðïõ âñßóêåôáé óôïí æùïëïãéêü the second video the viewer adopts the gaze of the gorilla
êÞðï ôçò ÏõÜóéãêôïí, ìå ôïí Mopaya íá êïéôÜåé ðñïò who watches the spectators from behind the protective
ôï êïéíü. Óôï äåýôåñï âßíôåï ï èåáôÞò ðáßñíåé ôçí èÝóç glass of his cage.
ôïõ ãïñßëá ðïõ ðáñáêïëïõèåß ôïõò èåáôÝò ðßóù áðü ôá “Mediterranean view”, (made for an exhibition entitled,
ðñïóôáôåõôéêÜ êÜãêåëá ôïõ êëïõâéïý ôïõ. The Mediterraneans) shows a deadpan video image of
Ôï Ýñãï «Mediterranean view» (äçìéïõñãÞèçêå ãéá the view outside an airplane window shot in real-time that
ôçí Ýêèåóç The Mediterraneans) äåß÷íåé ôçí ïõäÝôåñç remains virtually unchanged, offering no visual information
åéêüíá ôçò èÝáò Ýîù áðü ôï ðáñÜèõñï åíüò áåñïðëÜíïõ, as to the plane’s location- only the pilot’s voice is heard
ãõñéóìÝíç óå ðñáãìáôéêü ÷ñüíï, ç ïðïßá ðáñáìÝíåé as he describes the route the plane will be flying, ”… we
áíáëëïßùôç, ÷ùñßò íá ðñïóöÝñåé ïðïéáäÞðïôå ïðôéêÞ proceed over Corsica over Sardinia and then proceed over
ðëçñïöïñßá ó÷åôéêÜ ìå ôçí èÝóç ôïõ áåñïðëÜíïõ, ôç south of Rome and south of Naples over southern Italy then
óôéãìÞ ðïõ ìðïñïýìå íá áêïýóïõìå ôçí öùíÞ ôïõ we enter Greek airspace…”
ðéëüôïõ íá ðåñéãñÜöåé áðü ôá ìåãÜöùíá ôçí ðïñåßá ôïõ Other videos undermine mundane reality by capturing
áåñïðëÜíïõ: «… êáôåõèõíüìáóôå áðü ôçí ÊïñóéêÞ óôç details that expose the fragile nature of the world. For
Óáñäçíßá, Ýðåéôá èá ðåñÜóïõìå ðÜíù áðü ôçí íüôéá Ñþìç example, the video, “The Citibank building, Sunset”, is a 23
êáé ôç ÍÜðïëç êáé ìåôÜ èá ðåñÜóïõìå óôïí Åëëçíéêü minute real-time image of the building in Long island city,
åíáÝñéï ÷þñï». New York, illuminated by the setting sun. The structure’s
Ôá õðüëïéðá âßíôåï õðïíïìåýïõí ôçí êïéíüôïðç façade reflects the adjacent presence of the East River’s
ðñáãìáôéêüôçôá, êáôáãñÜöïíôáò ëåðôïìÝñåéåò ðïõ undulating surface like a liquid mirror, rendering the solid
ôïíßæïõí ôçí åýèñáõóôç öýóç ôïõ êüóìïõ. Ãéá ðáñÜäåéãìá, and monumental piece of architecture ethereal.
ôï âßíôåï «The Citibank building, Sunset», åßíáé ç 23ëåðôÞ Often architectural situations are explored through
ëÞøç åíüò êôéñßïõ óôï Long Island ôçò ÍÝáò Õüñêçò, êáôÜ recording passages moving through enclosed spaces
ôç äéÜñêåéá ôïõ çëéïâáóéëÝìáôïò. Ç ðñüóïøç ôïõ êôéñßïõ, or from fixed points of view from within. In “Getting to St
áíôáíáêëÜ ôçí ôáñáãìÝíç åðéöÜíåéá ôïõ East River, Peter”, for example, (a project made site- specifically for a
áðïêôþíôáò ôçí åéêüíá åíüò õãñïý êáèñÝöôç ðïõ ôåëéêÜ gallery space in Rome) a video inside one of two 62x62x78
ðñïóäßäåé óôï óõìðáãÝò êôßñéï ìéá ðéï áéèÝñéá åéêüíá. cm. egg shaped structures, shows a perspective from
¢ëëåò áñ÷éôåêôïíéêÝò êáôáóôÜóåéò äéåñåõíþíôáé directly underneath the main dome of the church of Saint
ìÝóá áðü ìáãíçôïóêïðçìÝíåò ìåôáâÜóåéò áðü êëåéóôïýò Peter in Vatican city. The video was shot in the basement
÷þñïõò Þ áðü óõãêåêñéìÝíá óçìåßá èÝáóçò áðü ôï where the Popes are buried. You can see the dome of
åîùôåñéêü. Ôï «Getting to St Peter» ãéá ðáñÜäåéãìá, Ýíá Michelangelo above through an opening in the floor,
âßíôåï óôï åóùôåñéêü äýï êáôáóêåõþí óå ó÷Þìá áõãïý obscured by a grate. In the second egg, we see the corridor
êáé äéáóôÜóåùí 62x62x78 åêáôïóôþí, äåß÷íåé ôç èÝá from inside the structure of the dome. We proceed in the
áêñéâþò êÜôù áðü ôïí ôñïýëï ôçò åêêëçóßáò ôïõ ¢ãéïõ film up through the narrow passage and then down again.
ÐÝôñïõ óôï Âáôéêáíü. Ôï âßíôåï ãõñßóôçêå óôï õðüãåéï The video is looped so that the circle of going around
üðïõ Þôáí èáììÝíïé ïé ÐÜðåò. Ìðïñåß êáíåßò íá äéáêñßíåé behind the dome is never complete, giving a sense of an
ôïí ôñïýëï ôïõ Ìé÷áÞë ¢ããåëïõ ìÝóá áðü Ýíá Üíïéãìá unending journey.
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.
I N T O T H E P I L L VOL.I 95
Be horny Time concept Daily
Âéíôåïãñáößá / Videography
1995 ÊïììùôÞñéï/ 2001 Nature 1, VHS, 2006 Weather, 2006 The other
Haidresser’s, VHS, PAL, 1 min, negative miniDV, PAL, 1 min, days, miniDV, PAL,
PAL, 8 min, color 2000 Time concept, color 4 min, color
1995 ¢ôéôëo, VHS, VHS, PAL, 3 min, 2006 Frustration, 2007 Walking on
PAL, 3 min, color color miniDV, PAL, 3 min, lines, miniDV, PAL,
1997 Bear’s 2000 Vagina, VHS, color 1 min, color
sculpture, VHS, PAL, 2 min, color 2006 Metabasi, 2007 No elements,
PAL, 0:20 min, color 2000 Doubling, miniDV, PAL, miniDV, PAL, 1 min,
1997 100 years, VHS, PAL, 1 min, 1 min, bw color
VHS, PAL, 1 min, color 2006 Sorry mum, 2007 The forest
color 2004 Daily, 12 miniDV, PAL, 3 min, ship, miniDV, PAL,
1998 Be horny, videos, miniDV, color 2 min, color
VHS, PAL, 1 min, 0:30 to 1 min each 2006 Saying a word, 2007 Kaiwa,
color 2005 Game, miniDV, PAL, 2 min, miniDV, PAL, 2 min,
1998 Postponement, miniDV, PAL, 3 min, color color
VHS, PAL, 1 min, color 2006 Akolouthia,
color miniDV, PAL, 4 min,
color
98 I N T O T H E P I L L VOL.I
Ç ÉùÜííá Ìýñêá ÷ñçóéìïðïßçóå áñ÷éêÜ ôï Ioanna Mirka utilized video, trying to record
âßíôåï, èÝëïíôáò íá êáôáãñÜøåé óêçíÝò ìå scenes with image and sound. She began
åéêüíá êáé Þ÷ï. Îåêßíçóå ðåéñáìáôéêÜ ôï 1994, experimenting with video in 1994, collecting
óõëëÝãïíôáò óêçíÝò áðü Ýíá óõíïéêéáêü scenes from a local hairdressing salon and con-
êïììùôÞñéï êáé óôç óõíÝ÷åéá áêïëïõèþíôáò ìå tinued recording with her cinematic lens, issues
ôï êéíçìáôïãñáöéêü ðëÜíï ôçò ôçí êáôáãñáöÞ she wanted to bring on the surface, until she
ôùí óôïé÷åßùí ðïõ Þèåëå íá èßîåé, åðÝëåãå made the camera her personal recording tool.
ôï âßíôåï óáí ìÝóï, ìÝ÷ñé ðïõ ôï Ýêáíå Until 2004, and the «Daily», series she con-
ðñïóùðéêü åñãáëåßï ãñáöÞò. tinued to record things from her surroundings.
ÌÝ÷ñé ôï 2004 ìå ôç óåéñÜ «Daily» êáôÝãñá- The aforementioned series presents twelve
öå ðñÜãìáôá áðü ôï ðåñéâÜëëïí ôçò. Óôçí ßäéá everyday actions that due to the fact that we are
óåéñÜ äåß÷íåé 12 êáèçìåñéíÝò ìáò ðñÜîåéò, ðïõ so accustomed to doing them, we don’t notice
ëüãù óõíÞèåéáò äåí ãßíïíôáé áíôéëçðôÝò. them.
ÌåôÜ ôï 2004, óôñÝöåé ôçí êÜìåñá óôïí After 2004, she turned her camera onto
åáõôü ôçò êáé áíáöÝñåôáé óôá ðñïóùðéêÜ ôçò herself to speak about her personal experiences.
âéþìáôá.
I N T O T H E P I L L VOL.I 99
Too many cooks spoil the broth 131 bpm I won’t let you down
Âéíôåïãñáößá / Videography
2007 Acro-poli acro- 2006 Lovember 2003 I won’t let you
ligo, 10 greeting gun, 3 min, bw down, 2 min, color
cards, 7:30 min, 2005 20:00 - 2003 131 bpm,
color 22:00 handmade 2:30 min, color
2007 Greeting / [Kitakyushu 2002 Too many
×áéñåôéóìüò, - Athens], 120 cooks spoil the
3:30 min, color min, color, video broth, 17 min, color
2007 This is you, installation out of 6
this is me / Áõôüò videos
åßóáé åóý, áõôüò 2004 I thought I was
åßìáé åãþ, 60 min, at youme town,
color, double video 6:30 min, color, with
installation sound
102 I N T O T H E P I L L VOL.I
Ôï åéêáóôéêü ìïõ Ýñãï ìïõ áðïôåëåß ìéá My art - work is an attempt to approach different
ðñïóðÜèåéá ðñïóÝããéóçò äéáöïñåôéêþí ways of reading and encountering reality.
ôñüðùí áíÜãíùóçò êáé áíôéìåôþðéóçò ôçò Translation, conversions, codes and metric systems
ðñáãìáôéêüôçôáò. Ç ìåôÜöñáóç, ïé ìåôáôñïðÝò, are notions that intrigue me and emerge in my
ïé êþäéêåò êáé ôá ìåôñéêÜ óõóôÞìáôá åßíáé Ýííïéåò practice in different ways. More specifically I deal
ðïõ ìå åíäéáöÝñïõí ðïëý êáé ðñïêýðôïõí óôçí with interpretations that get defined geographically,
ðñáêôéêÞ ìïõ ìå äéáöïñåôéêïýò ôñüðïõò. Ðéï like the understanding we have concerning time,
óõãêåêñéìÝíá áó÷ïëïýìáé ìå åñìçíåßåò ðïõ movement and speech.
ðñïóäéïñßæïíôáé ãåùãñáöéêÜ, üðùò ç áíôßëçøç An image is made out of different view – points,
ðïõ Ý÷ïõìå ó÷åôéêÜ ìå ôï ÷ñüíï, ôçí êßíçóç êáé ôçí and I get fascinated by investigating such personal
ïìéëßá. elaborations.
Ç åéêüíá óõíôßèåôáé áðü äéáöïñåôéêÜ óçìåßá êáé People walking on the streets or working at
ìå åíäéáöÝñåé ðïëý íá åîåôÜæù ôÝôïéåò ðñïóùðéêÝò their shops have been invited to either participate
åðåîåñãáóßåò. in, or host and construct my projects. Sometimes
¢íèñùðïé ðïõ ðåñðáôïýí óôï äñüìï Þ ðïõ by giving a description of a world wide-known
åñãÜæïíôáé óôá êáôáóôÞìáôÜ ôïõò êáëïýíôáé íá monument, other times by discussing their fears in
óõììåôÝ÷ïõí, íá ðáñïõóéÜóïõí Þ êáé íá óõíèÝóïõí front of my video camera. Photographs of children
Ýñãá ìïõ. ÌåñéêÝò öïñÝò ðåñéãñÜöïíôáò Ýíá living at El Max village of Alexandria construct the
ðáãêïóìßùò ãíùóôü ìíçìåßï, Üëëåò öïñÝò third, Egyptian version of a digital clock, where
åêèÝôïíôáò ôïõò öüâïõò ôïõò ìðñïóôÜ óôç images of hands represent the digits.
âéíôåïêÜìåñÜ ìïõ. Ïé åéêüíåò ôùí ðáéäéþí ðïõ æïõí The sound recordings of Athenian primary
óôï ÷ùñéü El Max ôçò ÁëåîÜíäñåéáò óõíèÝôïõí school children while reading out the original, one-
ôçí ôñßôç, áéãõðôéáêÞ åêäï÷Þ åíüò øçöéáêïý minute radio news, present a longer in duration
ñïëïãéïý, üðïõ ïé öùôïãñáößåò ôùí ÷åñéþí ôïõò perception of facts. At some other part of the
áíôéðñïóùðåýïõí ôá øçößá. city, inside a cosmetic center, a poem is recited
Ïé ç÷çôéêÝò êáôáãñáöÝò ôùí ðáéäéþí áèçíáúêïý word by word by the shop assistants. In Paris, the
äçìïôéêïý ó÷ïëåßïõ ðïõ äéáâÜæïõí ôéò ðñùôüôõðåò, Cite International Des Arts residents present their
ìïíüëåðôåò ñáäéïöùíéêÝò åéäÞóåéò, ðáñïõóéÜæïõí personal interpretations of animal sounds. In Japan,
ìéá, ìáêñýôåñç óå äéÜñêåéá, áíôßëçøç ãéá ôá the CCA Kitakyushu residents are invited to invite
ãåãïíüôá. Óå êÜðïéï Üëëï ìÝñïò ôçò ðüëçò, ìÝóá me for lunch or dinner, while visitors of my studio in
óå Ýíá êáôÜóôçìá êáëëõíôéêþí, ïé áéóèçôéêïß London follow the instructions of handed out recipes
áðáããÝëëïõí Ýíá ðïßçìá ëÝîç ðñïò ëÝîç. Óôï Cite for desserts.
International Des Arts ôïõ Ðáñéóéïý, ïé êáëëéôÝ÷íåò In those and many other ways, the work
ðïõ äéáìÝíïõí óôï êÝíôñï ðáñïõóéÜæïõí ôéò acquires an anthropomorphic character and the
ðñïóùðéêÝò ôïõò åñìçíåßåò æùéêþí Þ÷ùí. Óôï audience becomes both the content and the context
CCA Kitakyushu ôçò Éáðùíßáò ïé óõììåôÝ÷ïíôåò of my work.
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.
I N T O T H E P I L L VOL.I 103
Am I Not I (installation) Stay and Here
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
106 I N T O T H E P I L L VOL.I
Ç äõíáôüôçôá ôïõ ÷þñïõ íá äïìåß êáé íá The potential of space to structure and organize
ïñãáíþíåé áöçãçìáôéêÝò, åßíáé Ýíá áðü ôá narratives is one of my personal fascinations.
óôïé÷åßá ðïõ ìå óõíáñðÜæïõí. Ãé’ áõôü êáé ïé Hence, the site-specific parameters of a space
site-specific ðáñÜìåôñïé åíüò ÷þñïõ êáèþò êáé and its relation to a personal or collective
ç óýíäåóç ôïõ ìå ìéá ðñïóùðéêÞ Þ óõëëïãéêÞ narrative are an important point of departure
áöçãçìáôéêÞ, áðïôåëïýí Ýíá óçìáíôéêü óçìåßï for my artistic practice. With every new work, I
åêêßíçóçò óôç äïõëåéÜ ìïõ. Óå êÜèå íÝï Ýñãï, start with the given conditions of the physical
ëáìâÜíù õðüøéí ìïõ ôéò äåäïìÝíåò óõíèÞêåò space and the existing functions or concepts
åíüò öõóéêïý ÷þñïõ êáé ôéò õðÜñ÷ïõóåò it is associated with. By re-conceptualizing
ëåéôïõñãßåò Þ Ýííïéåò ìå ôéò ïðïßåò óõíäÝåôáé. the space, manipulating and re-presenting
Åðáíåñìçíåýïíôáò ôï ÷þñï, åðåîåñãáæüìåíïò it, I explore on the one hand the possibility of
êáé åðáíáðáñïõóéÜæïíôÜò ôïí, åîåñåõíþ áðü highlighting the space as such, and on the other
ôç ìéá ðëåõñÜ ôç äõíáôüôçôá íá õðïãñáììßóù hand, the fact that specific spatial settings have
ôçí Ýííïéá ôïõ ÷þñïõ, êáé áðü ôçí Üëëç ôï the tendency to (re-)activate memory.
ãåãïíüò üôé óõãêåêñéìÝíåò ðáñÜìåôñïß ôïõ, In my work, space functions as a stage
Ý÷ïõí ôçí ôÜóç íá åíåñãïðïéïýí ôç ìíÞìç. - in a very literal understanding, or in a more
Óôï Ýñãï ìïõ, ï ÷þñïò ëåéôïõñãåß ùò metaphorical way. The concept of a stage offers
ìßá óêçíÞ. Ç Ýííïéá ôçò óêçíÞò ðñïóöÝñåé different possibilities concerning the position of
äéáöïñåôéêÝò äõíáôüôçôåò áíáöïñéêÜ ìå ôç the audience and the engagement of the viewer
èÝóç ôïõ êïéíïý êáé ôçí áëëçëåðßäñáóç ôïõ within my work, which I like to investigate. These
ìå ôï Ýñãï ìïõ. ÁõôÝò ïé ìÝèïäïé åðéêïéíùíßáò modes of communication and dialogue with the
êáé äéáëüãïõ ìå ôï êïéíü åßíáé êáßñéáò óçìáóßáò audience, is of great importance to me.
ãéá ìÝíá. The symbiotic relationship of engagement
Ç óõìâéùôéêÞ ó÷Ýóç åìðëïêÞò ôïõ êïéíïý, plays a central role, whether it is the
ðáßæåé êåíôñéêü ñüëï, åßôå Ý÷åé íá êÜíåé ìå replacement of my personal narrative with
ôçí õðïêáôÜóôáóç ôçò ðñïóùðéêÞò ìïõ the visitor’s own, or the mere triggering of
áöçãçìáôéêÞò áðü áõôÞ ôïõ êïéíïý, åßôå áðëÜ associations and relations. In this context I
ìÝóù ôçò åíåñãïðïßçóçò êÜðïéïí óõó÷åôéóìþí question my position as an author of the work,
êáé óõíåéñìþí. Õðü áõôü ôï ðëáßóéï, áìöéóâçôþ whether it is me, the artist (the creator of the
ôç èÝóç ìïõ ùò äçìéïõñãïý ôïõ Ýñãïõ, stage) or the viewer (the actor on the stage),
äéåñùôþìåíïò áí åßìáé ï ßäéïò ï êáëëéôÝ÷íçò (ï who holds the key to the memories evoked.
äçìéïõñãüò ôçò óêçíÞò) Þ ï èåáôÞò (çèïðïéüò
åðß óêçíÞò), ðïõ êñáôÜåé ôï êëåéäß ãéá ôçí
åíåñãïðïßçóç ôçò ìíÞìçò.
I N T O T H E P I L L VOL.I 107
OneAfterTheOther.com MeLookingAtYou.com FutureIsFake.com
Âéíôåïãñáößá / Videography
2009 TheAngeloFo 2008 www.youtube. 2006 SheNever
undationHeadquar com/FantasyGates, ToldHerLove.com,
ters.com, website, YouTube channel website
(in collaboration 2008 UnwhiteMe. 2005 MeLookingAt
with Andreas com, website, You.com, website
Angelidakis) 2008 IWantToBe 2004 Elastic
2009 ZigZag AMachine.com, Enthusiastic.com,
Philosophy.com, website website
website 2007 TheHistoryOf 2003 FutureIsFake.
2008 Electricity ADecadeThatHasN com, website
ComesFrom ot YetBeenNamed. 2002 HeelsAnd
AnotherPlanet.com, com, website Balls.com, website
website 2006 AllDayDoing 2002 OneAfter
2008 www. Nothing.com, TheOther.com,
youtube.com/ website website
webcamseeker111, 2006 What
YouTube channel, RemainsIsFuture.
com, website
110 I N T O T H E P I L L VOL.I
Ç äïõëåéÜ ôïõ ¢ããåëïõ ÐëÝóóá ôïðïèåôåßôáé ìÝóá êáé Angelo Plessas’ work positions itself in or around the
ãýñù áðü ôï ßíôåñíåô. Ï êáëëéôÝ÷íçò áíÞêåé óå ìéá ãåíéÜ internet. He is part of a generation of artists that grew
êáëëéôå÷íþí ðïõ ìåãÜëùóáí ìå ôï Google êáé äéáôçñïýí up with Google and maintain a studio in their laptop, so
ôï óôïýíôéü ôïõò óôïí öïñçôü õðïëïãéóôÞ ôïõò. ¸ôóé ôï íá pasting traditional media such as drawing onto a website is
«áíåâÜæïõí» ðáñáäïóéáêÜ ìÝóá üðùò Ýíá ó÷Ýäéï óå ìéá a natural act. By turning the title of the work into a registered
éóôïóåëßäá åßíáé ìßá öõóéïëïãéêÞ åíÝñãåéá. ÌåôáôñÝðïíôáò web-domain, he makes animated drawings that are at once
ôïí ôßôëï ôùí Ýñãùí ôïõ óå Ýíá êáôï÷õñùìÝíï ßíôåñíåô electronic and unique, the image reproducible on millions
domain, äçìéïõñãåß êéíïýìåíåò äéáäñáóôéêÝò åéêüíåò ïé of computers but existing only on its particular location
ïðïßåò åßíáé çëåêôñïíéêÝò êáé ìïíáäéêÝò, áíáðáñáãþìåíåò of the singular internet address. Often focusing on the
óå åêáôïììýñéá õðïëïãéóôÝò áëëÜ õðáñêôÝò ìüíï themes of authority and identity, Plessas’ web drawings
óå óõãêåêñéìÝíç äéåýèõíóç. Ôá Ýñãá áõôÜ óõíÞèùò become characters and portraits, alternating between
åóôéÜæïõí óå èÝìáôá ôáõôüôçôáò êáé åîïõóßáò êáé funny and poignant, they reflect the abstract emotions often
ãßíïíôáé ÷áñáêôÞñåò êáé ðïñôñÝôá, åíáëëÜóóïíôáò experienced in electronic communication and everyday
ìåôáîý ðáñÜîåíïõ êáé êáõóôéêïý, åêöñÜæïíôáò misunderstandings. Works such as “MeLookingAtYou.
áöçñçìÝíá óõíáéóèÞìáôá üðïõ óõíÞèùò âéþíïíôáé com” (2005) are indeed portraits that owe as much to text
óôçí êáèçìåñéíÞ ìáò çëåêôñïíéêÞ åðéêïéíùíßá. ¸ñãá emoticons as to Paul Klee’s naïve and complex emotional
üðùò ôï «MeLookingAtYou.com» (2005) åßíáé ðïñôñÝôá spirituality. These works often find themselves translated
ôá ïðïßá ïöåßëïíôáé ôüóï óå «êåéìåíéêïýò ÷áñáêôÞñåò» into objects outside the realm of the screen, such as
üóï óôçí áöÝëåéá êáé ðïëýðëïêç óõíáéóèçìáôéêÞ murals, neon signs, paper collages or performances, and
ðíåõìáôéêüôçôá ôùí Ýñãùí ôïõ Ðïë Êëå. Ôá Ýñãá áõôÜ even though you cannot click on them, you still feel the
óõ÷íÜ «ìåôáöñÜæïíôáé» óå áíôéêåßìåíá Ýîù áðü ôïí êüóìï presence of an internet entity. That is because Angelo
ôçò ïèüíçò óáí åãêáôáóôÜóåéò, åðéôïß÷éá ó÷Ýäéá, íÝïí êáé Plessas’ work is not a typical “new media” but is deeply
äñÜóåéò. Ðáñüëï ðïõ åêåß äåí ìðïñåßò íá ôá êëéêÜñåéò, embedded into the thinking of the internet generation
áéóèÜíåóáé üìùò áêüìá ôçí éíôåñíåôéêÞ ôïõò ïíôüôçôá. and influenced by examples as the wiki culture, social
Êáé áõôü ãéáôß ç äïõëåéÜ ôïõ ÐëÝóóá äåí åßíáé ôõðéêÜ networking sites and online piracy.
øçöéáêÞ áëëÜ âáèåéÜ åíóùìáôïìÝíç óôï óêåðôéêü ôçò On the premise that we are what we collect, Plessas
ãåíéÜò ôïõ ßíôåñíåô êáé åðçñåáóìÝíç áðü ðáñáäåßãìáôá pushes the boundaries of what can be considered a portrait
üðùò ç êïõëôïýñá ôùí wiki, ôá site êïéíùíéêÞò äéêôýùóçò by configuring portraits of supposed characters rendered
êáé ç çëåêôñïíéêÞ ðåéñáôåßá. as youtube accounts (youtube.com/webcamseeker111).
Ìå ôçí ðñïûðüèåóç üôé «åßìáóôå ü,ôé óõëëÝãïõìå» The artist specifically takes and creates archival material
ï ÐëÝóóáò «åîùèåß» ôá üñéá ôïõ ôé ìðïñåß íá åßíáé Ýíá collecting videos in accounts that he names accordingly
ðïñôñÝôï óÞìåñá ìå ôï íá äéáìïñöþíåé ðïñôñÝôá depending on their themes creating playlists like the
õðïôéèÝìåíùí ÷áñáêôÞñùí êÜíïíôÜò ôïõò YouTube ”favorites” of an imaginary user.
ëïãáñéáóìïýò (youtube.com/webcamseeker111). Recently the themes of identity, and authority have
O êáëëéôÝ÷íçò óõãêåêñéìÝíá áíôëåß êáé äçìéïõñãåß become more established in Plessas’ work especially with
áñ÷åéáêü õëéêü óõëëÝãïíôáò âßíôåï óå ëïãáñéáóìïýò ðïõ projects such as The Angelo Foundation, a typical internet
ïíïìÜæåé õðáéíéêôéêÜ áíÜëïãá ìå ôçí èåìáôïëïãßá ôïõò start-up as a platform for a number of projects ranging from
äçìéïõñãþíôáò Ýôóé åíüôçôåò óáí ôá «áãáðçìÝíá» âßíôåï Manifesto declarations, Robot Poetry Readings, etc. These
åíüò öáíôáóôéêïý ÷ñÞóôç. projects paste together aspects of ceremonial authority
Ðñüóöáôá, èÝìáôá üðùò ôáõôüôçôáò êáé åîïõóßáò demonstrations sabotaged by the anarchy of internet
Ý÷ïõí ðÜñåé ìåãáëýôåñç èÝóç óôç äïõëåéÜ ôïõ ÐëÝóóá culture, where the artist can become king of his castle, once
üðùò óõãêåêñéìÝíá ìå ôï Ýñãï «Ôï ºäñõìá ¢íôæåëï», he declares his domain and turns the world wide web into
Ýíáò ôõðéêüò éíôåñíåôéêüò ïñãáíéóìüò êáé ðëáôöüñìá his studio.
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.
I N T O T H E P I L L VOL.I 111
Untitled (rose petals) Knock Knock Monument Encyclopedia and the 3rd Spring
Âéíôåïãñáößá / Videography
2009 Generator 2007 Somsok, 2005 Nightly, video 2004 Gold
that creates myths, 6 min, music by projection on pvc, (trumpet), 1 min,
2:10 min, loop video Oyvind Torvund 1:10 min loop, music by Ïyvind
projection on fabric, 2007 Somsok-key, music by Joar Torvund
music by Joar 1:33 min, music by P. Nordtuns 2004 Knock Knock
P. Nordtuns Joar P. Nordtuns 2005 Green Night, Monument,
2008 After electricity 2006 Around the 1:40 min, music by 1:30 min, music by
- The festival, 9:30 clock, 6 min loop, Joar P. Nordtuns Oyvind Torvund.
min, music by Joar music by Joar 2005 Yucca, 2:50 2001 Night Life,
P. Nordtuns P. Nordtuns min, music by Joar 2:35 min
2008 After electricity 2006 Forgotten P. Nordtuns 2000 Untitled (rose
- From the life of the Tactic, 3:50 min, 2005 Impact Vision, petals), 11 min
people, music by music by Joar 4:20 min, music by 2000 Untitled (egg),
Joar P. Nordtuns P. Nordtuns Ïyvind Torvund. 1:20 min
2008 After electricity 2006 Yeti-Lines, 2005 Gold
- Hunt, 1:50 min, 3:30 min, music by (Thessaloniki),
music by Joar Joar P. Nordtuns 5:50 min loop
P. Nordtuns 2005 Half Star, 2004 Encyclopedia
1:10 min, music by and the 3rd Spring,
Joar P. Nordtuns 45 min loop
114 I N T O T H E P I L L VOL.I
Ôá ôåëåõôáßá ÷ñüíéá, ï Ãéþñãïò ÓáðïõíôæÞò, Over the last few years through his work
ìÝóá áðü ôï Ýñãï ôïõ Ý÷åé åíóôåñíéóôåß Yorgos Sapountzis has adopted a practice of
ìéá ðñáêôéêÞ åíüò åíäéÜìåóïõ ÷þñïõ, a space in between, something that results
êÜôé ðïõ ðñïêýðôåé áðü ôçí áíôáðüäïóç from the reciprocation from private to public
áíÜìåóá óôïí éäéùôéêü êáé äçìüóéï ÷þñï. space. Through his performances, ephemeral
Ìå ôéò ðåñöüñìáíò, ðïõ åßíáé åöÞìåñá (‘parasitic’) sculptures-props and videos he
(«ðáñáóéôéêÜ») ãëõðôÜ-õðïóôõëþìáôá creates an urban limbo where everything is
êáé ôá âßíôåï ôïõ, äçìéïõñãåß Ýíá áóôéêü redefined, redefining in its turn everything that
ëßìðï óôï ïðïßï üëá áíáðñïóäéïñßæïíôáé, surrounds them. Focused on the one hand in
áíáðñïóäéïñßæïíôáò ìå ôç óåéñÜ ôïõò üëá a practice where he appropriates the city and
üóá ôá ðåñéâÜëëïõí. ÓõãêåíôñùìÝíïò, áðü maps it anew, he constitutes the everyday object
ôç ìéá óå ìéá ðñáêôéêÞ üðïõ ïéêåéïðïéåßôáé ôçí monumental and the monument commonplace.
ðüëç êáé ôç ÷áñôïãñáöåß åê íÝïõ, óõíôÜóóåé On the other hand, through the elimination
ôï êáèçìåñéíü áíôéêåßìåíï ùò ìíçìåéáêü êáé of boundaries the exposure of his personal
ôï ìíçìåéáêü, êïéíüôïðï. Áðü ôçí Üëëç, ìå universe makes him an enactment of a social as
ôç äéáäéêáóßá ôçò åîÜëåéøçò ôùí óõíüñùí, ç well as historical space that is experienced as
Ýêèåóç ôïõ ðñïóùðéêïý ôïõ óýìðáíôïò ôïí a spectacle. He interacts with the monumental
áíáãêÜæåé íá áíáðáñáóôÞóåé Ýíá êïéíùíéêü physical environment by creating ephemeral
êáèþò êáé éóôïñéêü ÷þñï ôïõ ïðïßïõ ç åìðåéñßá structures of which his physical presence
âéþíåôáé óá èÝáìá. ÁëëçëåðéäñÜ ìå ôï öõóéêü, becomes an integral part. Through these he
ìíçìåéáêü ðåñéâÜëëïí äçìéïõñãþíôáò approaches the concept and limitations of
åöÞìåñá ãëõðôÜ, óôá ïðïßá ç äéêÞ ôïõ öõóéêÞ public space, its convention and abrogation
ðáñïõóßá ãßíåôáé áíáðüóðáóôï êïììÜôé. ÌÝóá through the appropriation and construction of a
áðü áõôïýò ôïõò ìç÷áíéóìïýò, ðñïóåããßæåé personal heterotopia.
ôçí éäÝá êáé ôïõò ðåñéïñéóìïýò ôïõ äçìüóéïõ
÷þñïõ, ôéò óõìâÜóåéò êáé ôçí Üñóç ôïõò ìÝóá
áðü ôçí ïéêåéïðïßçóç êáé ôç êáôáóêåõÞ ìéáò
ðñïóùðéêÞò åôåñïôïðßáò.
I N T O T H E P I L L VOL.I 115
Breath Dry soul Code / Êþäéêáò
Âéíôåïãñáößá / Videography
1997 Heart, 1 min 2003 Myspace, 2007 Karaoke, Thermokrasia,
loop, miniDV 3:51min, miniDV, 2:42 min, miniDV 3:05 min, miniDV,
2001Cosmotheory, paralel projection Fish memory, 2008 Sub, 1:26,
5 min, animation instalation interactive loop, miniDV
2002 Desire, 2003 Between, installation, miniDV 2008 Psihosoma,
1:03 min, miniDV, 20:37 min, miniDV (kibos-sfera- 1:55 min, miniDV
loop installation on 2004 Dry soul, trigono), 0:07 min (loop installation)
the floor 3:50 min, miniDV Liquid breath,
2002 Dromos, 2005 3d zevgma, 6:19 min, miniDV
1:26 min, miniDV 3d animation, loop Pangaki, 3:40 min,
2003 Babel, instalation miniDV
4:53 min, muted, 2006 Dyo, 1:23 min Red line, 0:19 min,
miniDV loop, miniDV muted, loop
2003 Breath, 2007 Code / Solve breeth,
0:30 min, miniDV Êþäéêáò, interactive 1:47 min, miniDV,
(loop installation) installation, miniDV, muted, loop
muted installation
118 I N T O T H E P I L L VOL.I
Ç ðáñáôÞñçóç ôçò æùÞò ùò öáéíüìåíï åßíáé The observation of life as a phenomenon is the
áðïôÝëåóìá áíôéëçðôéêþí äéåñãáóéþí. Ôï result of comprehensive fermentations. The
óþìá, ìå ôç äõíáôüôçôá ôùí áéóèÞóåùí êáé ìå body, with the use of the senses and with a
áíÜëïãï íåõñéêü óýóôçìá ìðïñåß íá ôïðïèåôåß respective neurological system can place its
ôçí ýðáñîÞ ôïõ ùò ìÝñïò åíüò ãåíéêüôåñïõ existence as part of a general whole, which is
óõíüëïõ ôï ïðïßï ïíïìÜæåé óýìðáí. called universe.
ÊÜèå æùíôáíüò ïñãáíéóìüò, Any living organism can orchestrate
ïñãáíþíåôáé ìå ãíþìïíá ôçí áðáñáßôçôç its survival using as a ruler the necessary
ðñïóáñìïóôéêüôçôÜ ôïõ ùò ðñïò ôéò áëëáãÝò adaptiveness that has to develop towards the
ôïõ ðåñéâÜëëïíôüò ôïõ. environmental changes.
ÐåñéâÜëëïí, óþìá êáé åðéâßùóç åßíáé Body and survival are indissoluble
êáôáóôÜóåéò Üññçêôá óõíäåäåìÝíåò. ÊáôÜ connected situations and as a result, for every
óõíÝðåéá, ãéá êÜèå óþìá ôï ðåñéâÜëëïí ôïõ organism, the concept “environment” can be
ìðïñåß íá ïñéóôåß ùò ôï Üëëï ôïõ «óþìá». defined as “its other body”.
I N T O T H E P I L L VOL.I 119
120 I N T O T H E P I L L VOL.I
I N T O T H E P I L L VOL.I 121
In[frame]03 nfinity (now) Pro.fiction01 perpetuum mobile03
Âéíôåïãñáößá / Videography
2009 Im Park_I Lie 2007 PlaceLine 2004 Pro.fiction01 2002 Do you want
to History_Let´s Lack, installation perpetuum to kill me, baby?,
build your beautiful with sound, 4:23 mobile01-02, three-channel video
tower, you charming min, 6:32 min loop five-channel video installation, 1:04
boy, installation with 2007 Soft Target, installation, 14:25 min, 2:06 min,
sound, two-channel video min, 10:12 min loop 4:24 min loop
8:30 min loop installation with 2004 Pro.fiction01 2001 In[frame]03,
2008 Involved sound, 10:39 min, perpetuum eight-channel video
Vol.1, 5:14 min, 1:43 min loop mobile03, installation, mute,
9:32 min loop 2006 The three installation, 1:40 each video 2:34
(in collaboration musketeers, min loop. min loop
with McLovla), installation, sound, 2003 Infinity (now),
installation with 5:49 min loop single-channel
sound 2006 24h video installation,
penetrating, 1:33 min loop
installation, 24h
122 I N T O T H E P I L L VOL.I
Ï äñüìïò ðñïò ôçí åðßãíùóç ìðïñåß íá åßíáé The path to awareness might be to not suppress ones
ïõóéáóôéêÜ ç ìç êáôáðßåóç ôïõ õðïóõíåéäÞôïõ, ôï own unconscious, to let history (..) be lived through
íá áöÞóåé êáíåßò ôçí éóôïñßá íá âéùèåß ìÝóá áðü by ones own unconscious, so that the awareness of
ôï ßäéï ôïõ ôï õðïóõíåßäçôï, Ýôóé þóôå ç óõíåßäçóç history finally occurs through an experience of ones
ôçò éóôïñßáò íá ãßíåé êáôåõèåßáí ìÝóù áõôïý ôïõ own unconscious.
õðïóõíåéäÞôïõ. – Theweleit, Klaus (1977): Male Fantasies, Volume 1:
– Theweleit, Klaus (1977): Male Fantasies, Volume 1: Women, Floods, Bodies, History
Women, Floods, Bodies, History
For Vassiliea Stylianidou artistic production
Ãéá ôçí Âáóéëåßá Óôõëéáíßäïõ, ç êáëëéôå÷íéêÞ is a continuous process of confrontation with
ðáñáãùãÞ åßíáé ìéá áäéÜêïðç äéáäéêáóßá public and private history, that is, public and
óýãêñïõóçò ìå ôç äçìüóéá êáé ôçí áôïìéêÞ private spaces. Stylianidou works as a video
éóôïñßá, äçëáäÞ ìå ôïí äçìüóéï êáé éäéùôéêü and installation artist, also using related artistic
÷þñï. Ç êáëëéôÝ÷íéäá åñãÜæåôáé ðÜíù óôï media such as text and sound in her works.
âßíôåï êáé ôéò åãêáôáóôÜóåéò, ÷ñçóéìïðïéþíôáò Stylianidou addresses further themes in her
ó÷åôéêÜ êáëëéôå÷íéêÜ ìÝóá üðùò ôï êåßìåíï êáé work such as family, power and language. In
ï Þ÷ïò. Ç Óôõëéáíßäïõ äéáðñáãìáôåýåôáé êáé doing so, she creates a richly associative model
Üëëá èÝìáôá üðùò ç ïéêïãÝíåéá, ç äýíáìç êáé ç for utopian historical revision that challenges us
ãëþóóá. ÌÝóá áðü ôç äïõëåéÜ ôçò, äçìéïõñãåß to re-cycle and re-construct ones own present
Ýíá éäéáßôåñá ðëïýóéï ìïíôÝëï óõó÷åôéóìþí ãéá within ones personal history.
ìéá ïõôïðéêÞ éóôïñéêÞ áíáèåþñçóç ðïõ ìáò
ðñïêáëåß íá åðáíáäéáìïñöþóïõìå ôï ðáñüí Ines Doleschal
ìáò ìÝóá áðü ôçí ðñïóùðéêÞ ìáò éóôïñßá.
Ines Doleschal
I N T O T H E P I L L VOL.I 123
Untitled I Untitled II* 2+2=5
Hear to the emptiness / Áêïýãïíôáò ôï êåíü Routes / ÄéáäñïìÝò The man the olive tree and the fire /
Ï Üíèñùðïò ç åëéÜ êáé ç öùôéÜ
Âéíôåïãñáößá / Videography
1997 Mad Object 2000 Untitled II, 2006 I have always 2007 A myth about
- Maddened Subject 2:40 min, VHS been here / ¹ìïõí public spaces /
/ Ôñåëü Áíôéêåßìåíï 2001 2+2=5, ðÜíôá åäþ, 2 min, ¸íáò ìýèïò ãéá
-ÔñåëáìÝíï (with Dimitris miniDV ôï äçìüóéï ÷þñï,
Õðïêåßìåíï, Tzamouranis), 2006 Golden Cage / 2min, miniDV
8:35 min, VHS 5 min, VHS Ôï ×ñõóü Êëïõâß, 2008 The man the
1998 Where is my 2002 Hear to 2 min, miniDV olive tree and the
head? / Ðïõ åßíáé ôï the emptiness / 2007 The window fire / Ï Üíèñùðïò
êåöÜëé ìïõ;, Áêïýãïíôáò ôï the door and ç åëéÜ êáé ç öùôéÜ,
6:40 min, VHS êåíü, 7:10 min, VHS the street / Tï 3:47min, miniDV
1998 Untitled I, 2002 Dreams / ðáñÜèõñï ç ðüñôá
2 min, VHS ¼íåéñá, 8:40 min, êáé ï äñüìïò,
1999 Untitled ÉÉ, VHS 4 min, miniDV
5:30 min, VHS 2004 Routes /
2000 Untitled I, ÄéáäñïìÝò, 7 min,
4 min, VHS VHS
126 I N T O T H E P I L L VOL.I
Ãéá ôçí Ðáíáãéþôá ÔæáìïõñÜíç Þ÷ïé, êáèçìåñéíÜ For Panagiota Tsamurani sound, everyday
áíôéêåßìåíá åîùôåñéêïß ÷þñïé, ïéêïãåíåéáêü ðåñé- materials, external environment, family and
âÜëëïí, áëëÜ êáé ïôéäÞðïôå ðåñéâÜëåé ôçí êáèç- everything that forms our everyday routine give the
ìåñéíüôçôÜ ìáò åßíáé ôï õëéêü áðü üðïõ ðçãÜæïõí inspiration for experimentation attempting to define
ðåéñáìáôéóìïß ãéá ìéá áðüðåéñá íá ðñïóäéïñßóåé the meanings and the conditions of the space that
Ýííïéåò êáé êáôáóôÜóåéò ðïõ ó÷åôßæïíôáé ìå ôïí surrounds her. Organic part of this experimentation
÷þñï ãýñù ôçò. Ç áßóèçóç áíáæÞôçóçò ãéá ôï ôé is the esthetic pursue of what is real through the
åßíáé áëçèéíü ìÝóá áðü ôçí áíáóêåõÞ Þ÷ùí êáé modification of sounds and images. This is easily
åéêüíùí, åßíáé ïñãáíéêü ìÝñïò ôùí ðåéñáìáôéóìþí noticeable for everyone watching the videos of
áõôþí. Åßíáé áíôéëçðôü ôï áðïôÝëåóìá áõôü áí äåé Panagiota Tsamurani.
êáíåßò ôá âßíôåï ôçò ÔæáìïõñÜíç. It is easy to discover that even random video
Åýêïëá äéáðéóôþíåé üôé áêüìá êáé ôõ÷áßåò shootings functionally combine the parts in order to
ëÞøåéò äÝíïõí ëåéôïõñãéêÜ ôá ìÝñç þóôå íá fulfill their mission giving an esthetic and semantic
åêðëçñþíïõí ôçí áðïóôïëÞ ôïõò, ôï áéóèçôéêü êáé outcome.
åííïéïëïãéêü áðïôÝëåóìá. The different periods of her work begin in 1995
Ïé äéáöïñåôéêÝò ðåñßïäïé óôçí äïõëåéÜ with the first experimentation on creating space or
ôçò îåêéíïýí áðü ôï 1995 ìå ôïõò ðñþôïõò rather the elusion of space. Since 2000 through
ðåéñáìáôéóìïýò ãéá ôçí äçìéïõñãßá ÷þñïõ random video shootings someone can see random
ç ìÜëëïí ôçí øåõäáßóèçóç ôïõ. Áðü ôï 2000 stories dominated by the feeling of transition.
âëÝðïõìå ìÝóá áðü ôõ÷áßá ãõñßóìáôá ôõ÷áßåò Image and sound are interconnected attempting
éóôïñßåò ìå êõñßáñ÷ï óõíáßóèçìá ôï ðÝñáóìá. to define the space around her. In 2001, for the
Åéêüíá êáé Þ÷ïò ëåéôïõñãïýí áëëçëÝíäåôá exhibition 2+2=5, she cooperates with her brother
ðñïóðáèþíôáò íá ðñïóäéïñßóåé ôï ÷þñï ãýñù Dimitri Tzamurani and they produce a 5 minuets
ôçò. Ôï 2001, óôï ðëáßóéï ôçò åêèÝóçò 2+2=5 film. In this sort film they narrate the life of their
óå óõíåñãáóßá ìå ôïí áäåñöü ôçò ÄçìÞôñç uncle Thanasi Tzamurani which had been changed
ÔæáìïõñÜíç äçìéïõñãïýí ðåíôÜëåðôï öéëì dramatically under certain circumstances.
åîéóôïñþíôáò ôç æùÞ ôïõ èåßïõ ôïõò ÈáíÜóç ðïõ At the end of 2001 and during 2002 she
êÜôù áðü óõãêåêñéìÝíá ãåãïíüôá áëëÜæåé ñéæéêÜ. creates videos which had been used as backstage
Ðñïò ôï ôÝëïò ôïõ 2001 êáé ôï 2002 screenings during the performances of a dance
äçìéïõñãåß âßíôåï ðïõ ðñïâÜëïíôáé óå theater group. Her main purpose is to show the
÷ïñïèåáôñéêÝò ðáñáóôÜóåéò üðïõ ç ðñïâïëÞ ôçò inner and outer movement through body’s memory.
åóùôåñéêÞò êáé åîùôåñéêÞò êßíçóçò ìÝóá áðü ôç In 2003 and 2004 she presents the exhibition
ìíÞìç ôïõ óþìáôïò åßíáé ôï êýñéï óôïé÷åßï. titled as Training the past which includes the video
Ôï 2003-4 ðáñïõóéÜæåé ôçí Ýêèåóç ‘Courses’ and a construction.
ÃõìíÜæïíôáò ôï ðáñåëèüí ç ïðïßá áðïôåëåßôáé Since 2005 up to now she is still active and
áðü ôï âßíôåï «ÄéáäñïìÝò» êáé ìßá åãêáôÜóôáóç. creative, by shooting persons, objects and
Áðü ôï 2005 Ýùò óÞìåñá äçìéïõñãåß situations related to the urban environment as a
÷ñçóéìïðïéþíôáò ãõñßóìáôá ðïõ ðåñéëáìâÜíïõí part of a long, continuous adventure.
ðñüóùðá áíôéêåßìåíá êáôáóôÜóåéò äåìÝíá ìå ôï
áóôéêü-öõóéêü ôïðßï óõíå÷ßæïíôáò ìéá ìåãÜëç
ðåñéðÝôåéá.
I N T O T H E P I L L VOL.I 127
Red Riding Hood after Freud Thornhill Place Roman Statue
Âéíôåïãñáößá / Videography
2007 Light Observer, 1999 Geography of 1997 Roman 1996 Red Riding
7:40 min DV, time a certain Phrenitis, Statue, 0:55 min, Hood after Freud,
lap photography, 6:06 min, HI8 video- scan photography, 1:42 min, 8mm
computer color computer color computer color video color
2005 Territories, 1998 Views, 1997 4 Short 1995 Cortizone,
5:18 min DV, bw 1:42 min, hi8 video, Studies on 1:38 min, roster
2005 Dog Universe, computer color Representation, photography color
5:39 min, DV-super 1998 Counter flight, 4:05 min, 8mm 1995 Antanaklasis,
8 video, computer 1:22 min, hi8 video, video, super 8, 3:17 min, super 8
color computer color computer color color
2005 Resemblance 1997 Music kitchen, 1996 Umbilical
of things, 2:35 min, 1:13 min, 8mm Cord, 6:15 min,
DV, computer color video, super 8, 8mm, video color
2004 S=v.t 17’, computer color 1996 35 Thornhill
DV, super 8, 8mm, 1997 Machine-ing, Place, 1:08 min,
video, computer 4:04 min, 8mm roster photography
color video, computer color
color
130 I N T O T H E P I L L VOL.I
Ç äïõëåéÜ ìïõ ìÝ÷ñé ôþñá äéáêáôÝ÷åôáé áðü My work so far is a desire to re see things,
ìéÜ åðéèõìßá íá îáíáäþ ôá ðñÜãìáôá, ìÝóá through the ability of the medium to manipulate
áðü ôéò äõíáôüôçôåò ôïõ ìÝóïõ íá áíáðëÜèåé space, time and representation.There is an
ôï ÷þñï êáé ôçí áíáðáñÜóôáóç. ÕðÜñ÷ïõí element of composition in my work away from
óôïé÷åßá óýíèåóçò óôç äïõëåéÜ ìïõ ìáêñéÜ realistic representations. Taking the fact that
áðü ñåáëéóôéêÝò áíáðáñáóôÜóåéò. Ðáßñíïíôáò nothing in this medium is realistic except the
õð’üøç üôé óå áõôü ôï ìÝóï äåí õðÜñ÷åé ôßðïôá very basic elements that compose it such as
ôï ñåáëéóôéêü åêôüò áðü ôá óôïé÷åéþäç ìÝñç equipment, light projection and surfaces, I have
ðïõ ôï áðïôåëïýí üðùò ôá ìç÷áíÞìáôá, the notion that I work with an illusive medium,
ç äéåíÝñãåéá ôïõ öùôüò êáé ïé åðéöÜíåéåò, and I try to concentrate on the experience of
ðñïóðáèþ íá áíáðáñÜãù ïðôéêÝò óõíèÝóåéò seeing as such. Light and its absence in their
âáóéóìÝíåò óôçí öùôéóôéêÞ ôïõò áíáöïñÜ. Ôï simplest forms have been my interest. The
öùò êáé ç áðïõóßá ôïõ óôéò áðëÝò ôïõ ìïñöÝò use of color and form within the history of art
óõíèÝôïõí Ýíá ìåãÜëï ìÝñïò ôçò äïõëåéÜò tradition. Kadinsky, Rothko, Man Ray, Hans
ìïõ. Ôï ßäéï êáé ç ÷ñÞóç ÷ñþìáôïò êáé öüñìáò Richter,Stan Brakhage have been some of my
óôá ðëÜéóéá ôçò éóôïñßáò ôçò ôÝ÷íçò. Êáíôßíóêé, early influences.
Ñüèêï, Ìáí ÑÝé, ×áíò Ñß÷ôåñ, Óôáí ÌðñÜêåéôæ
Ý÷ïõí áðïôåëÝóåé ìÝñïò ôùí ãåíéêüôåñùí
åðéññïþí ìïõ.
I N T O T H E P I L L VOL.I 131
Actors Play* Land
Âéíôåïãñáößá / Videography
2008 Untitled (In 2006 Land, Digi 2004 Actors, DV
Plato's Cave), HDV, Beta, 9 min, film CAM, 36 min, three
20 min, 2 channel 2006 Play, DV CAM, channel video
video installation 35 min, two channel installation
2008 Reverse, video installation 2004 Under
HDV, 25 min, single 2005 Three men, DV Construction, DV
channel video CAM, 25 min, film CAM, 15 min,
installation 2005 True Fiction, documentary
2007 The Remake, DV CAM, 36 min,
HDV, 13 min, film three channel video
2007 The Interview, installation
DV CAM, 33 min, 2005 Occupation
two channel video Unknown, DV
installation CAM, 10 min,
documentary
134 I N T O T H E P I L L VOL.I
Ç áëÞèåéá îåêéíÜåé ìå Ýíá áîßùìá áëÞèåéáò. ÎåêéíÜåé Truth begins with an axiom of truth. It begins with a
ìå ìéá áðüöáóç. Ìéá áðüöáóç íá ðåéò üôé Ýíá decision. Decision to say that an event has taken
ãåãïíüò óõíÝâç. place.
– Alain Badiou, The Political As A Truth Procedure – Alain Badiou, The Political As A Truth Procedure
Óôï êÝíôñï ôçò êáëëéôå÷íéêÞò ìïõ ðñáêôéêÞò In the centre of my artistic practice is the re-
åßíáé ç Ýñåõíá, ç óõëëïãÞ êáé áíÜëõóç search, collection and analysis of archive pho-
áñ÷åéáêþí öùôïãñáöéþí êáé öéëì, tos, newsreels, film archives and other histori-
êéíçìáôïãñáöéêþí åðßêáéñùí êáé Üëëùí cally related imagery that constitute part of our
éóôïñéêþí åéêüíùí ðïõ áðïôåëïýí ìÝñïò ôçò collective memory. These documents are taken
óõëëïãéêÞò ìáò ìíÞìçò. ÁõôÜ ôá ôåêìÞñéá out of their historical context and used in my
áðïóðþíôáé áðü ôï éóôïñéêü ôïõò ðëáßóéï êáé work in a reverse mode instead of serving their
÷ñçóéìïðïéïýíôáé óôç äïõëåéÜ ìïõ ìå Ýíáí purpose they are deployed to tell a new story.
áíôßóôñïöï ôñüðï, áíôß íá õðçñåôïýí ôïí By questioning the axiomatic value of a
áñ÷éêü ôïõò óêïðü, ðáñáôÜóóïíôáé þóôå íá document, I'm at the same time stating that we
ðïõí ìéá íÝá éóôïñßá. are strongly appealed by the document as it
ÈÝôïíôáò õðü åñþôçóç ôçí áîéùìáôéêÞ is. Trying to expose the aura of photographic
éó÷ý åíüò ôåêìçñßïõ, ôáõôü÷ñïíá õðïäçëþíù document while revealing my own suspicion in
üôé ìáò ãïçôåýåé éäéáßôåñá ôï ôåêìÞñéï ùò it’s power to prove validity. To show the paradox
Ý÷åé. Ðñïóðáèþ íá åêèÝóù ôçí áýñá ôïõ of the document and it’s inherent contradictions
öùôïãñáöéêïý ôåêìçñßïõ åíþ áðïêáëýðôù without using the witness, but rather the
ôç äéêÞ ìïõ êá÷õðïøßá óôç äýíáìÞ ôïõ íá document itself as subject.
áðïäåé÷èåß Ýãêõñï. Ðñïóðáèþ íá äåßîù ôï In the core of my work exists the following
ðáñÜäïîï ôïõ ôåêìçñßïõ êáé ôéò óýìöõôåò assumption that: It is the way a story is been
áíôéöÜóåéò ôïõ ÷ùñßò íá ÷ñçóéìïðïéþ told rather the story itself. The origin of the story
êÜðïéï ìÜñôõñá, áëëÜ ôï ßäéï ôï ôåêìÞñéï ùò as a true or a not true event comes second to
õðïêåßìåíï. the image’s ability to create genuine emotions
Óôïí ðõñÞíá ôçò äïõëåéÜò ìïõ âñßóêåôáé ç and overlook facts.
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.
I N T O T H E P I L L VOL.I 135
Incubation - collapse process Tavern Castrations / Åõíïõ÷éóìïß
Âéíôåïãñáößá / Videography
2009 Scan living, cd 2007 Konstantinos 2005 Post- 2004 Boxes, video 2002 Bubbles in the
& dvd, 24 songs & Doxiadis: A programmed city- installation (with landscape, flash
6 videos romantic pragmatist, landscape, photo Takis Zerdevas) animation (with
2009 Sound Table documentary installation (with 2004 Tavern, Harikleia Hari)
and Other Stories, 2006 Holes, video Harikleia Hari) outdoors interactive 2002 Ender, flash
sound installation installation 2005 Space & video installation animation
2008 Suspect 2006 The game destiny, 3 channels (with T. Zerdevas) 2002 Video art for
Device, sound of returning, video video installation 2004 Eat me, video the production From
installation installation 2005 If you seek dance (with the sound to myth
2008 Video for the 2006 Mobbing for Eldorado, modern dance 2001 2nd hand
multimedia dance Voodoo, photos installation, video company Horeftes) process I, interactive
production 2027 2006 Video and and prints 2004 Minefield, cd rom
2007 July, video dramatic concept for 2005 Audiovisual interactive 1999 Video gallery,
installation dance production environment for the shockwave in tv program
2007 X pcs ÉÉ, video Happy Land The philosophy on internet 1998 My Birthday
2007 Anastasia 2005 Castrations stage 2002 Incubation- Sky, video
Tzakou: The other / Åõíïõ÷éóìïß, 2005 Niobe, sound collapse process, 1995 The man, video
side of modernism, installations- environment & video cd rom 1995 Mary’s dreams,
documentary constructions at the multimedia 2002 Party-x-trap, video
2005 View, sound dance production flash animation (with 1989 A visit, 16mm
environment Her Eva Michalaki) film
138 I N T O T H E P I L L VOL.I
[...] Ï ÌÜêçò ÖÜñïò áíÞêåé óå ìéá íåüôåñç […] Makis Faros belongs to the younger
ãåíéÜ äçìéïõñãþí ôïõ ïðôéêïáêïõóôéêïý (ìå generation of audiovisual creative artists
áîéïóçìåßùôç èçôåßá óôïõò ðåéñáìáôéóìïýò (with a notable background in “ambient”
ôïõ ambient êáé óôçí «ç÷çôéêÞ óêçíïèåóßá») experimentation and in “sound directing”),
ðïõ áóêåßôáé óôçí áíÜäåéîç ôçò «åñãáôéêÞò whose work brings forward the “labour force”1
äýíáìçò»1 ôùí åéêüíùí. Ç ãåíéÜ áõôÞ of images. This generation mixes mysticism
áíáìéãíýåé ìõóôéêéóôéêÜ Þ õðáñîéáêÜ or existential readings with a careful study of
áíáãíþóìáôá ìå ôçí ðñïóåêôéêÞ ìåëÝôç ôïõ space, new economic or social phenomena
÷þñïõ, íÝá ïéêïíïìéêÜ Þ êïéíùíéêÜ öáéíüìåíá with digital contrivances and lay-out, in order to
ìå øçöéáêÜ ôå÷íÜóìáôá êáé lay-out ìå óêïðü recompose the aesthetics of communication.
íá áíáóõóôÞóåé ôçí áéóèçôéêÞ ôçò åðéêïéíùíßáò. The question of where the primary investigation
Ôï ðïõ ôåëåéþíåé ç ðñùôüëåéá Ýñåõíá êáé ends and where the original work of art begins
ðïõ áñ÷ßæåé ôï ìåóôü Ýñãï ôÝ÷íçò ðáñáìÝíåé remains unclarified and is probably misleading.
áäéåõêñßíéóôï êáé ìÜëëïí ðáñáðëáíçôéêü. Here and there, in these works, sudden flashes
Åäþ êáé åêåß, óå áõôÜ ôá Ýñãá îåðåôÜãïíôáé of meaning jump out, interactive dreams,
áóôñáðÝò íïçìÜôùí, äéáäñáóôéêÜ üíåéñá, marks of a nostalgia for purity, “mistreadings”
óçìÜäéá ìéáò íïóôáëãßáò ãéá ôçí êáèáñüôçôá, of advertising codes, conjoinings of man and
«ðáñáíáãíþóåéò» äéáöçìéóôéêþí êùäéêþí, machine, traces of an inner psychic state,
óõæåýîåéò ôïõ áíèñþðïõ ìå ôçí ìç÷áíÞ, ß÷íç thought forms and metaphors of consciousness
åíüò åóùôåñéêïý øõ÷éóìïý, óêåðôïìïñöÝò on the hard disk. Scanning sometimes
êáé ìåôáöïñÝò ôçò óõíåßäçóçò óôï óêëçñü alternates and is sometimes confused with
äßóêï. Ôï scanning Üëëïôå åíáëëÜóóåôáé êáé seeing. All times are quasi valid. […]
Üëëïôå óõã÷Ýåôáé ìå ôï âëÝðåéí. ¼ëïé ïé ÷ñüíïé
âñßóêïíôáé ïéïíåß óå éó÷ý. […] Yorgos Tzirtzilakis (art critic)
I N T O T H E P I L L VOL.I 139
Ó÷åôéêÜ ìå ôï intothepill About intothepill
Ôï Intothepill åßíáé ìéá êáëëéôå÷íéêÞ ðëáôöüñìá ðïõ Intothepill is an artist’s platform whose purpose is
äñáóôçñéïðïéåßôáé ìå óêïðü ôçí áíÜðôõîç åíüò the development of a common ground of exchange
êïéíïý ôüðïõ áíôáëëáãÞò êáé óõíåñãáóßáò, ôç and collaboration, the creation of networks and the
äçìéïõñãßá äéêôýùí, ôçí Ýñåõíá êáé ôïí ðåéñáìáôéóìü, research and experimentation among artists who are
ìå êáëëéôÝ÷íåò ðïõ áó÷ïëïýíôáé ìå ôá íÝá ìÝóá. Ôçí involved with new media. The core of the research
âáóéêÞ åñåõíçôéêÞ ïìÜäá ôïõ intothepill áðïôåëïýí team of intothepill is made up of Yiannis Isidorou, Lina
ïé: ÃéÜííçò Éóéäþñïõ, Ëßíá Èåïäþñïõ, ÃéÜííçò Theodorou, Yiannis Grigoriadis, Katerina Iliopoulou.
ÃñçãïñéÜäçò, Êáôåñßíá Çëéïðïýëïõ. It was founded in 2006 and it publishes e-issues
Ëåéôïõñãåß áðü ôéò áñ÷Ýò ôïõ 2006 êáé åêäßäåé periodically (intothepill.net), presenting works by
øçöéáêÜ ôåý÷ç óôï Internet (intothepill.net) ìå Greek and international artists. It has participated in
Ýñãá âßíôåï ÅëëÞíùí êáé îÝíùí êáëëéôå÷íþí. ¸÷åé festivals, and exhibitions in galleries, museums and
óõììåôÜó÷åé óå åêèÝóåéò óå ãêáëåñß, ìïõóåßá, video- independent spaces as the following: 2009: Expanded
festival, êáé áíåîÜñôçôïõò ÷þñïõò ôÝ÷íçò üðùò ôá Ecologies, National Museum of Contemporary Art
åîÞò: 2009: ÄéåõñõìÝíåò Ïéêïëïãßåò, Åèíéêü Ìïõóåßï Athens; 6th Synch Festival 2009, Technopolis, Athens.
Óýã÷ñïíçò ÔÝ÷íçò, ÁèÞíá· 6th Synch Festival 2009, 2008: Visual arts in Greece 3, “And now?”, Moni
Ôå÷íüðïëç, ÁèÞíá. 2008: Åéêáóôéêü ðáíüñáìá Lazariston, State Museum Of Contemporary Art,
óôçí ÅëëÜäá 3, Êáé ôþñá;, ÌïíÞ Ëáæáñéóôþí, Thessaloniki; Athens by sound, Greek pavilion, 11th
Êñáôéêü Ìïõóåßï Óýã÷ñïíçò ÔÝ÷íçò, Èåóóáëïíßêç· International Architecture Exhibition Venice Biennial;
Athens by sound, Åëëçíéêü ðåñßðôåñï, 11ç ÄéåèíÞò Art-Athina 08, Athensville, Parallel Plan, Helexpo,
ÌðéåíÜëå Áñ÷éôåêôïíéêÞò, Âåíåôßá· Art-Athina 08, Athens; 20th century on video, Trianon Filmcenter,
Athensville, Parallel Plan, Helexpo, ÁèÞíá· Ï 20üò Athens. 2007: Her(his)tory, Museum of Cycladic Art,
áéþíáò óå video,Ôñéáíüí Filmcenter, ÁèÞíá. 2007: Athens; Karaoke poetry bar by intothepill, ‘417' project
Karaoke poetry bar by intothepill, '417' project space, space, Parallel project of the 1st Athens Biennial
ðáñÜëëçëåò åêäçëþóåéò ôçò 1çò ÌðéåíÜëå ôçò Destroy Athens. 2006: intothepill, E31 Gallery, Athens;
ÁèÞíáò· Her(his)tory, Ìïõóåßï ÊõêëáäéêÞò ÔÝ÷íçò, Clips, Galerie Nord, Berlin; United Bac! 06, Barcelona.
ÁèÞíá. 2006: intothepill, E31 Gallery, ÁèÞíá. Clips,
Galerie Nord, Âåñïëßíï· United Bac! 06, Âáñêåëþíç.
www.intothepill.net
Åõ÷áñéóôïýìå ôïõò: Thanks to:
Synch Festival Synch Festival
Ãéþñãïò ÊáñíáâÜò Yorgos Karnavas
ÄçìÞôñçò ÐáðáéùÜííïõ Dimitris Papaioannou
ÅëÝíç Äåëåíßêá Heleni Delenika
Êùóôáíôßíïò Ìáôóïýêáò Konstantinos Matsoukas
Vortex Studio Vortex Studio
Stefi Productions Stefi Productions
© ãéá ôá êåßìåíá êáé ôéò öùôïãñáößåò: ïé êáëëéôÝ÷íåò © for the texts and photos: the artists
© intothepill êáé åêäüóåéò futura © intothepill and futura publications
ISBN 978-960-6654-93-0
Ìå ôç óõíåñãáóßá /
In collaboration with
144 I N T O T H E P I L L VOL.I