Research Catalogue

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 until summer 2020. I exposed relief and improvised sculptures made with industrial paints, as well as found objects, 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. Someone collected the relief. 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 performance 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, and other basic human rights, such as safety and liberty, due to their political beliefs and related activities, if any. 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 by authoritarians. 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. This happened with the theft of my personal details, specifically my Greek driver's license number, by Italians, in Amsterdam, in the winter of 2020. My number was used on three fake Italian driver's licenses,in my name known as (aka), for criminal activity in the UK. My name known as (aka) was also used on three fake Italian passports for fictitious female Albanian citizens. Notably, Roberto Fiore, Forza Nuova's neo-fascist leader, inherited briefly Alessandra Mussolini's post in the EU parliament. All the more so, after mediation with the Albanian government, the Italian government settled in the autumn of 2024 one remaining fake Italian passport for a fictitious Albanian citizen, probably in connection with Golden Dawn, who had their own three MPs in the EU parliament. Rumours have it that Fiore was once upon a time an MI6 agent. It is confirmed that he has ties with the British National Party (BNP), the British XRW component. Italian Jews, including Greco-Italian Jews, were persecuted by the Catholics and almost exterminated in the late nineteenth century. My great grandfather, from my father's side, with the first name Gianni, went to my native Greece, from the North of Italy, around that time, He became Hellenicised and adopted the Greek Orthodox religion. We don't know his surname. The Holocaust and the Slavery past are the black marks of modern historical times. Drawing on the philosophical notion of impossible objects, the works attempted an indirect postcolonial critique: a suggestion for alternative, autonomous and communitarian lifestyles; and a performative metaphor for global refugees of all kinds. At the time, in autumn 2019, I had attended an environmental protest in Amsterdam that was generally peaceful. Investigatory research with artworks, some of it carried out in Amsterdam, the Netherlands, where I was a philosophy student, from 2017 until late 2019, and remained until the beginning of autumn 2020. I did not have student insurance, as it was obligatory, because I was covered by the NHS through EHIC (European Community coverage), while the UK was still in the EU. I didn't have travel insurance either. Dutch travel insurance, under the reference number E111, was opened by unknowns on my behalf in the summer of 2020, to cover the expenses of routine women's healthcare and family planning tests, but was closed as fraudulent after I reported to the Dutch fraud authority that I didn't open it myself; neither I had any knowledge about who might have done that. The title "Enlightenment Panel" comes from Peter Sloterdijk's 'Critique of Cynical Reason', published in 1983, which critically discusses philosophical and popular cynicism. This exposition is in progress. See exposition, also in connection with expositions under 'Art and Activism Exposed as Research Blog'.

This research is an advanced research of Metamorphosis - Ethics and Aesthetics are One - from a Neuroscientific Perspective in 2024. I explore post feminist theory from a new perspective in the 21st century. Thereby I deal with spatiality between virtual reality and physical space theoretically and practically. Wittgenstein's "Ethics and Aesthetics are one" is the starting point of this research. "In the Notebooks, Wittgenstein states that 'the world and life are one', so perhaps the following can be said. Just as the aesthetic object is the single thing seen as if it were a whole world, so the ethical object, or life, is the multiplicity of the world seen as a single object". (Diané Collinson, The British Journal of Aesthetics, Volume 25, Issue 3, SUMMER 1985, pages 266-272) Art transcends boundaries of race, nationality and gender. It is a creative act of unifying in the context of humanity, from the subject to the various topics, by asking questions. This point is the lack of "reality" (dealing with reality) from a sociological perspective. But it is impossible to define humanity and reality based on sociological statistics alone–is my perspective of Wittgenstein's "Ethics and Aesthetics are one". Thereby, I examine 'world and life' from the 21st century perspective.

This exposition or archive is a work in progress, under construction, for gathering material of encounters with junipers.

Este ensaio faz parte da investigação em arte no âmbito do doutorado em artes plásticas na Universidade do Porto, e foi escrito com o intuito de registro de memória e debate sobre a obra artística "Congá Fora do Tempo" com lentes direcionadas ao ponto de vista filosófico e da investigação em arte, tentando compreender como uma instalação acompanhada de uma ação sutil pode proporcionar uma experiência sensível e espiritual ao espectador, à obra e às pessoas à sua volta. A espiritualidade aqui abordada não é a espiritualidade de Merleau-Ponty, em que a espiritualidade é um fenómeno enraizado na corporeidade e na perceção, mas a espiritualidade presente em cada pessoa, de maneiras diferentes. --------------------------------------------------------------------------- This essay is part of the art research within the scope of the doctorate in fine arts at the University of Porto and was written to record memory and debate on the artistic work “Congá Fora do Tempo” with lenses directed at the philosophical point of view and art research, trying to understand how an installation accompanied by a subtle action can provide a sensitive and spiritual experience to the viewer, the work and the people around it. The spirituality addressed here is not Merleau-Ponty's spirituality, when it is a phenomenon rooted in corporeality and perception, but the spirituality present in each person, in different ways.

The creation of this artwork employs a practice-based research approach, exploring plastic waste materials and transforming them into interactive installations. The artistic approach in this creation utilizes media art to embody the conceptual ideas. The production process of the artwork is divided into several stages: field observation of everyday objects in the community of Dakar, design, electronic device study, and assembly of the artwork. Additionally, other artistic approaches include the use of readymade and plastic recycling. The result of this creation process is presented in a park near the residential area in Sicap Liberté.

The Recorded Body is a process-based sound art project about bodily iteration and interdependence. It uses participatory performance and embodied listening techniques to explore the following questions: How do we recognize each other's bodies? What is contained by the body, and what is outside its bounds? When does a body need or necessitate other bodies?