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), 2019-20. 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

Projeto auto-propostp. Explorar dois tópicos: 1º A Membrana (Corpos adoptados) e a Caixa Sensorial

Foreword by Alexander Damianisch, Project Lead and Editorial reposition is a support project for research documentation and offers researchers of all disciplines and departments at the Angewandte the opportunity to publish their work according to peer-review principles. Colleagues of any level and doctoral students in arts and sciences are invited to share their work. This series showcases their diverse approaches to project-oriented research work and presents current insights, captivating research processes, and ongoing projects from a deeply personal perspective that courageously unearth the work-in-progress. The idea of reposition is to emphasise dynamic approaches that demonstrate the courage to adopt alternative perspectives and a focus that lies always on a dialogue in-between.

With "Withdrawing the Performer. Facilitating Participatory Sense-Making", Imani Rameses (Center Research Focus, PhD candidate PhD in Art), Charlotta Ruth (Angewandte Performance Lab), and Jasmin Schaitl (Angewandte Performance Lab) combine their approaches from visual arts, choreography, and cognitive neuroscience to examine participatory modalities in immersive performative settings through the lens of social cognition. They focus on the role of the facilitator, a nearly invisible and overlooked, but highly important part of any performative situation. Working with facilitator experts in a practice-based peer-to-peer exchange, the authors seek to understand different methods for reducing thresholds and modulating participatory situations.

Sophie Luger (Institute of Architecture) and Lenia Mascha (Institute of Architecture) address the increasingly important issue of urban noise pollution. "SoundCape. Combating Environmental Noise in Urban Areas" explores how sound and noise prevention can be incorporated into architectural design. To develop building structures for noise control in urban environments, the authors examine contradictory historical approaches from architecture and acoustics to learn about the relation of sound and material. Their approach focuses on geometry; experiments with Chladni patterns show that geometrical and material properties of architectural façades have an impact on spatial acoustics and result in the design of ornamental elements that can reduce unwanted noise in cities.