Research Catalogue

Modo de trabalhar no projeto coletivo na plataforma RC: Owner do projeto de grupo é o Rodrigo, todos os outros são co-autores.

Sculpted and painted wood, combined with treated rusty objects. Duct tape with boat paint models for metal sheet sculptures, 2020. Digital drawings, 2021, 2023. Dutch steel sailing boat part-restoration and renovation, Amsterdam (with Sean A. Hladkyj), 2019-20. Relief and improvised sculptures made with industrial paints, as well as found objects, were exposed to weather conditions, including heavy rain and wind, over a few months on a floating timber raft. Working with the changes the weather was causing to the ad hoc studio, I made changes until the painting was finished, photographed, then dumped. The relief was collected. I applied the colours from those available in a symbolic manner, abstracting the view of a ghetto in a large city. The objects stand for the landmarks. The pieces would comprise of the scenography for a theatre performance, informed by my conversations with a theatre lighting technician. The event would also include a donation event of the art objects. See external link for the theatre play, based on the tradition of the philosophical dialogue and employing the idea of performing philosophy to make it accessible to a wider audience. Political asylum has been traditionally offered to people who flee from their countries of origin and citizenship, because of violations of their dignity, which is a human right, for their political beliefs and related activities. Currently, seven human rights of mine, five basic, have been infringed in the United Kingdom, where I have been a citizen since 2011; the origin is my native Greece. Political asylum is only offered to people, who are non-citizens of the country where asylum is sought from. At the same time, political asylum has become harder to offer, due to the global nature of persecution of whoever is perceived as a dissident. Since 2020, Forza Nuova, the Italian affiliate of the Greek Golden Dawn, has participated in the organised international criminal case, of which I have been the target, originating from my native Greece, "accelerating" in the Netherlands and the UK in 2020, Covid-19. Notably, Roberto Fiore, Forza Nuova's leader, inherited briefly Alessandra Mussolini's post in the EU parliament. Drawing on the philosophical notion of impossible objects, the works attempted an indirect postcolonial critique; a suggestion for alternative, autonomous lifestyles; and a performative metaphor for global refugees.

The exposition is an artistic PhD thesis and contains research outputs in three categories, Performance Archive, Research Publications and Method Development tied together by an essay. I.Essay: Testimony of a Pilgrim. II.Performance Archive: No Show - exposition. Island - exposition. Strings - exposition. Pleased to Meet You - exposition. III.Research Publications: Porous and Embracing Dramaturgy for Transformative Encounters - video article. A Quest for Existential Sustainability - video article. Transformative Encounters - podcast series. IV.Method Development: ME-THOD. How-little-is-enough-approach. Abstract At the core of this artistic doctoral thesis are four performance projects designed to counter the consumer-driven nature of contemporary performance-making while also addressing the need to develop sustainable methods of performance. Guided by the question: how to construct sustainable methods of performance for transformative encounters? the inquiry transcends the different layers of performance-making to explore the potential of performance as a catalyst for societal change. As a part of the Agenda 2030 Graduate School, an interdisciplinary research initiative at Lund University, the project focuses on existential sustainability and investigates how performance can enhance participants' sense of meaning and motivation for adopting sustainable lifestyles and increasing sustainable awareness. The thesis output is presented in three categories; a performance archive documenting, detailing and analysing the performances and their impact; research publications, disseminating findings and key concepts through different public formats; and method development accounting for the methodological approaches that have emerged through the process. The four performance works of this artistic research are: No Show (2020), Island (2020), Strings (2022), and Pleased to Meet You (2022/2023). The three publications of the project are: How Little is Enough? Embracing and Porous Dramaturgies for Transformative Encounters, a video article; How Little is Enough? A Quest for Existential Sustainability, a video article; and the podcast series Transformative Encounters. Utilizing Me-thod, a pluralistic situated methodology grounded in the artist´s personal background and skillset, together with the how-little-is-enough approach, which minimizes production and focuses on essential needs, the project has collected insights into how performative encounters can initiate transformation in participants and foster connections to the world around them, thereby enhancing existential sustainability and nurturing care for the environment. Through repeated cycles of action-based artistic research, employing qualitative materials and autoethnographical approaches, rich data was generated. The findings emphasize the importance of personal engagement, embodiment, and authentic exchange as catalysts for transformation within performative encounters. Through this investigation, the thesis aims to contribute to the development of sustainable approaches to performance-making that facilitate profound and meaningful human experiences in an era marked by unprecedented societal and environmental challenges. ISBN:978-91-8104-107-1

This article provides insight into the choreographic situation LUFTIG, where the idea of air as conveyor of tactile experience is passed on, reworked and performed by children and adults. It examines how shifting the focus from movement language to a distinct expressive idea affects the choreographic process, and looks at how involving young people as choreographers and choreographic material affects the aesthetic experience of the now for artists and audience. Drawing on Tygstrup's idea of transformative time (2018), Gumbrecht's concept of the broad present (2018) and Taussig's thoughts on the adult's imagination of the child's imagination (2003), the author argues that in performance work where children are both choreographers and choreographic material, the adult’s imagination of the child’s imagination and the actual actions of the physically present child are at the same time mutually dependent on and at odds with each other, leaving the adult teetering on the edge of contemporary reality and primordial retreat. In the work proces, the child has a special propensity for easing the work for all which can only be deployed if we are able to circumvent tendencies of mutual projection of imagined imaginations. This requires a singular work process, where we - children and adults alike - can inhabit questions together without relying wholly on our previous knowledge of and experience with known performance parameters.

Our main interest is based on understanding spatial relationships from first-person experience, from our virtual and real body. Through the act of walking, movement in real time, we become cursors that dash across the interface of reality. A continuous process that brings us closer to the production of meanings, new relationships and representations, and also a dialogue with space and time, and the network. This article seeks to present a series of disruptive experiences, documented by the authors themselves, which constitute an exploratory framework of space to discover different symbolic interrelationships, and sketch out constructions of the common space in haptic, political, social and cultural mode. It offers a repository of unexpected, intersubjective encounters, from the empirical practice of walking, which arouses new perspectives to be able to interpret circumstantial spaces, to lose oneself in ‘non-places’, or reflect as to how to approach the landscape and/or the city by opening new imaginaries that add value to the ‘glocal’ place that we traverse and/or inhabit.

This exposition details the opening phase of new research between an experimental sound artist and an archaeologist, with a detailed examination of critical epistemological questions that have arisen from the beginning of this project. Both collaborating researchers are situated within hybrid specialisations. As the project unfolds, archaeo-chemical data is explored and animated through methods developed from intersections of data science and musical practice, resulting in performance and installation environments in which knowledge of material culture of the ancient past may be made present through listening. However, beyond a case study, this exposition points to how interdisciplinary artistic work produces results that have value outside of normative paradigms for any of the fields from which it is derived, while offering critical insight about those fields. This exposition is formed of these insights. Readers are introduced to the structure of the data, its relationship to the materiality of the artefacts described, the technological apparatus and compositional methodology through which the data is sonified, and the new materiality of the resulting artistic experiences. Sonification exists at a nexus of sound production and listening, interwoven with information. Meaning and interpretations arise from artistic decisions concerning sound composition and the context for listening to take place. Meanwhile, listening teaches us about data and about the physical and cultural spaces into which we project it. In this way, sonification is always already interdisciplinary.