Research Catalogue

Islington studio flat 4, at 14 Barnsbury Road, London, 2022, privately rented. Interior design as an art installation. Looted, 2024. My personal belongings were still at the property for two months, after I left on 27 March 2024 and was asked to collect them by 3 or 4 April 2024 from Woolwich. They moved in two or three under aged, who I have never met and were pretending to be my daughters. They must have been removing them one by one over the last few months. 14 Barnsbury Road was deemed illegal through the courts, shortly afterwards. The maintenance employed many Polish citizens, all dressed in black with black caps, like all XRW supporters dress. Twenty-one (21) digital photographs for twenty-one (21) missing Albanian non-EU immigrants. https://en.wikipedia.org/wiki/Looting https://en.wikipedia.org/wiki/Loot_(magazine) Investigatory research with artworks.

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 2013, 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. Investigatory research with artworks.

Sketchbook of 53 A3 drawings with coloured markers, including 4 A3 collages with newspaper cutouts and printed photos. Sketchbook cover with red nail polish. 22 A4 drawings with ballpoint pen. Preparatory work, 2023-2024. Although dealing with dark subject matter, I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012. This visual approach gives a slightly comical note to the subject.

PhD Artistic Research project environment embodiment - towards poetic narratives (2020-2024) by Fernanda Branco at the Oslo National Academy of the Arts. This artistic research explores experiential agency in encounters between body and environment. It draws from uncanny, embodied and poetic perspectives, unfolding as a constellation of sympoietic practices. Webdesign by Ellen Palmeira Illustrations by Aza

Abstract This artistic research project focuses on narrative accounts of Norwegians who self-identify with a ‘multicultural and/or immigration background(s)’, to explore how their (hi)stories can be woven into the tapestry of the contemporary Norwegian public memory and story. I set out to interview and collect their narrative accounts, which must also be understood as oral (topical) histories, focusing on (hi)stories of their lived experiences, with a special interest in an event that happened in a public space and has been experienced as a meaningful or life-changing moment. Through a collaborative process, the oral (hi)stories were transformed and used to produce interactive monuments installed on the sites where the narrated events took place. One of the key artistic challenges in the project was to grapple with the question of how not only the collaborators but also the public can be empowered to actively shape and engage with artistic works, becoming co-collaborators themselves. This artistic inquiry led to the development of monu(mo)ments, an artistic concept and initiative that is dedicated to turning stories of Norway’s diversity into interactive, performative works of public art. The monu(mo)ments are not just symbols of collective memory but embody that very concept in how they themselves function. Through an interactive/participatory design, the public is invited to contribute their own narratives, perspectives, and experiences, shaping the monu(mo)ment's meaning and relevance. They invite the public to become co-creators of the narratives embedded within their communal spaces, fostering a sense of ownership and agency, and blurring the boundaries between artist(s) and public, the past and the present. The project strives to illuminate the untold oral (hi)stories of these narrators by allowing them to take over public spaces and infuse them with gripping personal narratives to shift how we read those places and (re)negotiate their past/meaning. This is to create an ‘alternative history’, dedicated to writing and inscribing these voices into public spaces and our broader collective imagination. Other artistic results include a live-action role-playing game (LARP). Furthermore, the larp was modified to serve as a resource for educators, enabling them to address interconnected themes within their classrooms through immersive gameplay. It has been performed in schools, festivals, and conferences in Norway, Austria, and Denmark. Overall, by creating artistic works that (re)imagining public memory as a dynamic and interactive process, this artistic research project foregrounds and contributes to the ongoing efforts to capture and reflect Norway’s multicultural reality and identity.

Thesis of the Royal Academy of Art, The Hague, 2022 Master Interior Architecture (INSIDE)