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, with contacts in the Middle East, specifically Hezbollah, 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, succeeding two fake Albanian and a fake Kosovo passports, with different details than the fake Italian ones, which three children had: the youngest one, also had another fake Albanian, preceding the fake Kosovo, again with different details than the other fakes she had. A deceased Belgian filmmaker's, Chantal Akerman's, life and health insurance was falsified by the use of the two fake Albanian passports in 2018 and extended with the fake Kosovo, for the youngest, in 2019. Forza Nuova is suspected of being connected to two abductions: one domestic of an Italian citizen circa 2020 and one in Holland of a Spanish citizen circa 2022. 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 Jews is the archetypical diasporic population historically speaking. 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'.

In this research, I interrogate my practice as a performance photographer and explore how the digital space can be used as a tool to reflect on the unspeakable gazes and the notion of intimacy in an age where everyone can be seen and shown. The nature of the technologies used are as telling as we let them be but also pervasive in how they allow us to look into each other.

A new filigrane sound object (or series of objects) in the making, w.i.p.

This text is a sustained philosophical exploration of silence as an aesthetic, ethical, and epistemic medium. It examines silence not as the absence of sound, but as a generative presence that structures perception, meaning, and artistic encounter. Within the framework of Post-Interpretive Criticism, silence is positioned as the original ground from which expression emerges and the final condition to which all expression returns. The treatise analyzes distinctions between silence as containment and silence as erasure, arguing that the ethical force of silence lies in its use: it can dignify the unsayable or be weaponized to suppress and marginalize. The work draws on cross-disciplinary examples from sculpture, poetry, music, film, and museology, illustrating how restraint shapes the architecture of experience. It argues that silence is foundational to perception, authorship, and criticism, and that the erosion of silence in digital culture has produced a contemporary “poverty of depth” characterized by immediacy without intimacy. Within the museum context, the text advocates for silence as a curatorial principle—an element of spatial ethics that allows artworks to be encountered with attention rather than overwhelmed by spectacle or interpretive noise. It further articulates the responsibilities of the artist and the critic: the artist must discern which silence they invoke; the critic must understand which silence they break. This essay contributes to ongoing discussions in contemporary aesthetics, museum studies, and critical theory by reframing silence as an essential but endangered cultural resource. It presents silence as an uncommodifiable medium that resists institutional, linguistic, and commercial capture. The work aligns with and expands the theoretical commitments of the Post-Interpretive Movement, emphasizing moral proximity, restraint, and the ethics of presence. This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and _Art as Truth: A Treatise_ (Q136329071), _Aesthetic Recursion Theory_ (Q136339843), The Journal of Post-Interpretive Criticism (Q136530009), Canon of Witnesses (Q136565881)

This thesis investigates the crisis of Regie (i.e. of the agency of directing) in a post-#MeToo landscape. It argues that the outset of this crisis lies in an expansionist gesture – rooted in the avant-gardist ambition to merge art and life – by which directors have conflated artistic mandate with managerial control; a gesture culminating in the toxic institutional cultures painfully exposed during the last decade. Starting from this point of no return, the thesis examines the question of how to acknowledge the fact of directorial power abuse without cutting our practices off from the potential – or even the necessity – of directorial agency as such. Its title “Reinventing Regietheater” thus carries the tension between a historical form of theater (generally known as “directors’ theater”) and a yet-to-be-found future expression. Conceived as artistic research, the discrete focus of the thesis is the rehearsal space and its confines. Within the micro-scale of the latter, the crisis of Regie reverberates first and foremost in the non-foreseeable instances of the actor-director interaction; namely in the increasing scrutiny applied to the tool of improvisation. In contrast to the prevailing strategy of eroding the rehearsal space’s symbolic boundaries (in the interest of directorial accountability), the thesis conceptualizes – practically as well as theoretically – a “Space of Rehearsals” as a heteronomous zone of safe but ecstatic play. This “Space of Rehearsals” is constructed through a rehearsal method informed by the psychoanalytic concept of transference as well as the interaction framework “Wheel of Consent”. To answer its main questions, the thesis presents a “written part” as well as a set of “online resources” containing the documentation and “re-stagings” of the practical experiments. Four “books of Regie” present methodological reflections, a critical genealogy of a theater of directing (based on the author’s symptomatic practice) as well as the central concepts. Three so-called “Pre-studies”, devised through practical work with professional actors/collaborators form the empirical basis of the thesis, sketching out different possibilities for the actor-director relation in a re-invented Regietheater. In the proposition resulting from the above, directorial agency does not necessarily sit with the director. Nevertheless, the disciplinary divide between actor and director is upheld; as well as the radical asymmetry in the distribution of authorial power, albeit in temporally limited and co-curated iterations. The main argument of the thesis is thus that the artistic potential of the historical form of Regietheater can be salvaged without taking a revanchist or revisionist stance: the idiosyncratic directorial agency known as Regie has its place in consent-based rehearsal settings.

Abstract This Research Catalogue exposition with audio-visual examples documents ongoing research into artistic interactions helping to ascertain and streamline prosocial and empathic behavior in groups with divergent backgrounds and modes of thinking and how these skills can benefit the artistic endeavors positively. Promoting intersociality and an empathic approach to collective music making amongst individuals who represent different schools of musical thoughts and styles or expertise, as well as bringing to the table divergent cultural backgrounds and individual characteristics is the aim of Ensemble Improvisation Experimentell (E i E), founded and lead by me at the Music and Arts University of the City of Vienna (MUK) since February 2021. In a world of pandemics, climate crisis and war it may seem idealistic, even fanciful, to search for moments of ‘shared empathy’ or creative symbiosis amongst musicians in professional exchanges and its influence on artistic experience and outcome, without immediately searching for ways of dimming the fire of destruction through war and climate crisis that our global society faces. However, finding micro-solutions through artistic endeavors and promoting a more sustainable future for the arts themselves in general, and specifically for the genre of contemporary music, is a valuable goal and tool for infiltrating humanism with sustainable thinking and acting patterns. Extensive video and audio documentation of practice sessions and performances, as well as exemplary images are attached to this exposition.