Research Catalogue

Happening, 2016. Participant's research, including improvised full recorded interview with first generation Albanian immigrants to Greece, images, and thematic text. The research was conducted for the workshop, "Logics of Worlds", inspired by Alain Badiou's work and organised by architect Filippos Oraiopoulos, at Athens School of Fine Art (ASFA), Master of Visual Arts (Marios Spiliopoulos, Giorgios Xiropaides), December 2016. Adopting the political approach of Badiou's "L' Organisation Politique" to apply direct intervention for societal problems, including immigration and labour, I used play as a method to facilitate improvised discussions. People share and respond more freely when participating in structured, but playful interactions, such as those a game involves. Albanians speak three languages, Albanian, Italian and, a few of them, Greek, so I wasn't able to translate parts of the conversation. Avlona is an English now obsolete name for Vlore, an Albanian seaport and former ancient Greek colony Aulon. Albanians came as refugees in Greece initially in the 1990s, after the fall of communism in their home country. Religion was banned in communist countries. Notably, the men I spoke to didn't want to be visualised. Hence, the exposition aims to juxtapose the experimental and the conceptual in the fine arts; and to make the 'invisible' visible. Badiou is also known for his philosophy of metaphysics of the four "truth procedures": Politics, Science, Love and Art. The workshop was slightly interrupted by a performance art student, who brought a live hen to slaughter in the studio. This can be taken as a metaphor for scapegoating (by symbolically re-assigning the gender of male) Albanian non-EU refugees. For this exposition, I include an essay by Pantelis Boukalas, in Kyriakos Katzourakis, O "Dromos Pros Ti Dysi" (The Way to the West), 2001, as well as Kyriakos Katzourakis' introduction in English. I don't have any personal or other connections with Albania - or North Macedonia or Kosovo: I had never visited before 2024. This was a project to research and document in an artistic manner the refugee and immigration crisis, as I experienced it in my native Greece and to voice my opinions on this topic from my perspective as a native Greek. I spoke to non-EU economic refugees. Non-EU economic refugees must not be confused with political asylum seekers, who encounter persecution for political reasons from the countries of origin or citizenship. Albania (North Macedonia and Kosovo) is a non-EU country; Greece, my native (and my parents' and grandparents' native), has been in the EU since 1981. I have also been a UK national, by naturalisation, since 2011. Paradoxically, the outcome of this project was that fictitious non-EU "daughter" of mine has been on UK police databases, as 22 Italian/Albanian female. I must have been given birth to a daughter in Albania in 2002! (!! the "prostitute"; that's believable!! Golden Dawn's, the BNP's, and others' cultural "imagination" with regards to Albanians): factually speaking, in 2002, I was living in Athens, Greece, engaged to be married to my former husband, a Greek national, working at MOB (Mauve) Architects, as an architect designer, with an international cohort of colleagues. In 2009, I was living in the UK as an EU lecturer at the University of East London - also known as Betty Nigianni, by my students and colleagues. I never participated in any public demonstrations in the United Kingdom. Greek children take their father's surname and the Greeks don't have many children; they're suffering from a shrinking population, although they are in the EU since 1981. My concerns about serious international organised criminal activity (not even honouring children's basic rights) were reported and confirmed by the Greek, Scandinavian and Albanian authorities. The British authorities have been lagging behind for a long time, intentionally, with their impossible unverified "stories", bashing the left - or whatever is left of it - and whoever is decent. The Greek Golden Dawn - with their "Big Idea" (Megali Idea) of conquering foreign countries, like North Macedonia, and their chronic attacks on immigrants and refugees in Greece - was convicted as a criminal organisation in October 2020. They invented the 'concept' of the 'Real Greek', dependent on any Greek's political orientation. Now they're losing their sixty seven (67) appeals - and early releases. The conversation took place during the period Golden Dawn was prosecuted in the Greek High Courts of Justice (Areios Pagos), 2015-2020. Many non-EU immigrants to Greece provided testimonies in the courts, despite the fact they were frightened. Manolis Glezos was the only Greek politician, who went to visit Magda Fyssa, Pavlos' mother, in the Greek courts. For Pavlos Fyssas, aka Killah P. For Alain Badiou, a communist-Maoist political philosopher, and the OP. For the missing Albanian and of Albanian ethnicity immigrants. For Michalis Katsouris. For the "Other Greek Left". Thanks to the Albanian embassy in London and the Tirane and Durres police. Thanks to Edi Rama. Thanks also to Skopje police and Pristine police. Thanks to the Italian police and refugee authorities at Bari. Finally, thanks to the Greek police chief and the Greek police organised crime division. Investigatory research with artworks.

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.

O projeto apresenta-se como uma investigação centrada nas reverberações da prática artística diante dos arquivos institucionais e privados e de imagens e objetos-vestígios encontrados no Vale do Ave (Portugal), relacionados à história, ao imaginário e à memória do itinerário do algodão e da indústria têxtil algodoeira neste território. Através de caminhadas, do respigo de imagens, documentos e objetos e de um processo crítico de fabulação ativam-se linguagens artísticas que questionam as narrativas e discursos monolíticos prevalecentes nos modos como a história se constrói e instituí nos espaços de enunciação pública, formando as identidades regionais e nacionais e os imaginários sociais e coletivos. Problematiza-se assim as ausências e os negativos produzidos por uma história monumental, como espaços aporéticos mas ao mesmo tempo produtivos e agenciadores de outras narrativas potenciais acerca do passado, do presente e do futuro. English: From the absent image The project presents a research centred on the reverberations of artistic practice in the face of institutional and private archives, images and trace objects found in Vale do Ave (Portugal), related to the history, imagery and memory of the itinerary of cotton and the textile industry in this territory. Through walking, gleaning of images, documents and objects, and a critical process of fabulation, artistic languages are activated, questioning the prevailing monolithic narratives and discourses on how history is constructed and instituted in public spaces, forming regional and national identities and social and collective imaginaries. In this way, the absences and negatives produced by a monumental history are problematised as aporetic spaces that are simultaneously productive and agents of other potential narratives of the past, present and future. Download Accessible PDF

In Doppel- oder Mehrfachbelichtung bergen die zufälligen Vermischungen von unterschiedlichen Orten und Zeiten auf einem Photo die Möglichkeit, Unbekanntes, Unbewusstes aufzuspüren, Spekulationen über Zufall, Leere und Unendlichkeit anzustellen oder Immanenz zu erfahren. Dieser Artikel begibt sich mit dem Konzept der Non-Photographie von F. Laruelle, des aleatorischen Materialismus von L. Althusser sowie den immanenzphilosophischen Überlegungen von G. Deleuze und F. Guattari auf die Spuren einer Ontologie resp. einer non-onto-photo-logischen Beschreibung von Doppel- oder Mehrfachbelichtungen. Im Zentrum dieser Betrachtung steht die Annahme, dass eine Photographie nicht als ein Klon der Realität, als ein fetischistischer Realismus zu betrachten ist, sondern als Umkehrung dieser Ordnung: In der Imagination begründet sich die Realität der Photographie, weil in Doppel- oder Mehrfachbelichtung durch das Ineinandergehen der Objekte den Objektformen die Kausalität entzogen wird. Es entsteht ein erkenntnistheoretisches, ein sinnliches Dazwischen. Diese zentrale Annahme, dass in einer solchen Nicht-Standard-Ästhetik der Doppel- oder Mehrfachbelichtung keine Doubles der Welt produziert werden, sondern Indeterminanten, hat zur Folge, dass diese Zufälligkeiten, Variablen und Szenarien auch als solche erkannt werden müssen, weshalb in diesem Artikel theoretische Legenden im Anschluss an Laruelle, Althusser und Deleuze/Guattari entwickelt werden, die es erlauben, die Immanenz der Bilder zu erfassen. English N-fold Exposures - Non-Photography, Aleatory Materialism, Images without Objects In classical photography, analog double or multiple exposures are considered as an accident, a mistake, or unaesthetic. But the accidental blending of different places and times in a photo holds the possibility to detect the unknown, the unconscious, to speculate about co-incidence or to experience immanence. This article goes on the traces of an ontology resp. a non-onto-photo-logical description of n-exposures with Francois Laruelle’s non-philosophical visual aid as well as the philosophy of Althusser, Deleuze and Guattari. At the center of this consideration is the assumption not to regard a photo as a clone of reality, as a fetishistic realism, but as an inversion of this order: not the photo simulates reality, but the image establishes reality. Therefore a photo can develop a life of its own, a reality of its own. Through the interlocking of objects in multiple exposures, the object forms in the photography are deprived of causality, thus creating an epistemological, a sensual in-between, i.e., possibility spheres of imagination and experience. The reflection that in the non-standard aesthetic of n-fold exposure no doubles of the world are produced, but indeterminants, has the consequence that these variables and scenarios has to be recognized as such. That is why in this article theoretical legends are developed, which allow to capture the immanence of the images by means of a non-standardized aesthetics. Download Accessible PDF

Through a form of critical autoethnography, this study diffracts aspects of the author’s artistic practice through the intimate process of mourning to delineate a particular mode of knowledge production within artistic research that queers the relationship between the inside and outside of epistemic and ontological perspectives. The first section considers the abyss as a figure between grief, the unknown, and modes of knowledge production within artistic research. The second section bridges the work of theorising as a form of reconfiguring the world through the study of diffracted light, and further delineates the practice of vibrant contemplation as a method of entangling art practice with theorisation processes beyond a dichotomous opposition between art and science. The final section contemplates the figure of the afterglow as a material-discursive phenomenon that emerges from the temporality of mourning vis-à-vis artistic research. Download Accessible PDF