Research Catalogue

Building-Sound Compositions in (half-)public places: Starting from Graz, six vacant buildings in different European cities were researched as aural architectures and understood and experienced as an integral part of building-sound compositions. Techniques and strategies ​​were developed how sound art can react systematically to site-specific architectual conditions or how these environmental acoustic characteristics can become part of a previously non-existent composition.

GOON In 2023, at the age of 28, I was diagnosed with testicular cancer. This life-altering event led me to take a closer look at my sexual desire, question my relationship with my genitals, and rethink how I perceive my gender identity. Today, as I navigate a healing period, I seek to explore sensuality as a space of resistance and emancipation. GOON is an attempt to free myself from the shame surrounding (my) queer sexualities. GOON is a research performance inviting the audience to look up close at the way they see and seek pleasure. With a choreographic approach, I am researching queer eroticism as a place of joy. Ignoring the constraints of sexual norms, this exploration focuses on shaping a body that is both playful and desired, despite its apparent dirtiness.

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 four 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 four fake Italian passports for fictitious female Albanian citizens, succeeding two fake Albanian and a fake Kosovo passports for three of the four Greek teenage users, with different details than the fake Italian ones, which three of the four teenagers 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 exposition also showcases and juxtaposes a performative video, drawings and other visual art, by "Mohammed", aka 'Onzedouze', an investigator, who turned his hand to art, in order to record and communicate, in an improvised, codified , but still artistic manner, what was of interest to him with regards to a relevant investigation. The title "Enlightenment Panel" comes from Peter Sloterdijk's 'Critique of Cynical Reason', published in 1983, which critically discusses philosophical and popular cynicism. See exposition, also in connection with expositions under 'Art and Activism Exposed as Research Blog'.

The subjective experience of time pressure in today’s efficiency- and performance-oriented society is fuelled by a paradox: acceleration is omnipresent due to economic and technological demands, while at the same time complexity and self-responsibility require more time for decisions. This exposition examines individual and institutional ways of dealing with discrepant time demands. Where and how do different age groups experience divergent time regimes that occur simultaneously? Which techniques do individuals and institutions use or invent to synchronize different time perceptions, rhythms, and activities? How can artistic research create asynchronicity and make it experienceable through filmic means? And, finally, to what extent can filmic thinking produce ways of knowing that convey (as yet) unverbalized perceptions of time? Methodologically, this research combines analytical and artistic approaches in an essayistic procedure comprising cinematic practice and writing. On the one hand, it explores different aspects of divergent perceptions of time in a series of case studies under the leitmotif of “asynchronous determinations of time.” Situated in both immaterial and care work, in which bodily and affective temporalities are highly important, these empirical investigations consider the role of lifetime (age, biography, memory) and temporal modes (tempos; imperatives, indicatives, subjunctives). On the other hand, this study develops specific artistic procedures for focusing perception by means of narration, fragmentation, montage, visual and linguistic interventions, extractions and interweavings. Since simultaneous non-simultaneities (tend to) overwhelm subjective experience, the procedures adopted in this research contribute to new forms of filmic thinking and images of thought. They should be understood as an incentive to empathize with different understandings of time.

In recent years, it has become a real possibility for artists to engage with spatial sound technologies that allow for movement beyond the stereocentric paradigm. Thus, spatialization has mostly lent itself to avant-garde traditions, electronic music, and sound art. However, the rapid advancements of technologies have called for artists, songwriters, and musicians of all genres to contribute to this development not only by following and fitting into these new formats but also by shaping them through artistic engagements with them. When considering sound in space as a new component in the music creation toolbox, a new dimension is added that provides creative and performative potentials of situating songwriting and music creation within a spatial sound practice. Beyond the literal, what kinds of metaphorical or emotional resonance can emerge from the vibration between various bodies, such as composers, performers, and audiences, as well as bodies of sound, technologies, interfaces, instruments, scene, setting, speakers, aesthetics, and orientations? Voicing Spatial Songs was conducted by avant-pop duo SØSTR, which consists of sisters Louise Lind Foo and Sharin Foo.

This essay proposes the “Erased Museum” as both a critical framework and an institutional ethics: a museum that recognizes loss as its primary collection and disappearance as a mode of curation. Drawing from Absential Aesthetics, it argues that destruction—by fire, flood, war, neglect, theft, or obsolescence—does not terminate cultural meaning but reorganizes it into a second, invisible archive composed of voids, residues, and public conscience. Through case studies and touchstones including the Library of Alexandria, Brazil’s National Museum (2018), the Mosul Museum (2015), and architectural and curatorial practices that preserve wounds rather than conceal them (e.g., post-damage restorations and void-centered memorial architectures), the essay reframes conservation as a dialogue with entropy rather than a fantasy of permanence. It also traces contemporary artistic strategies that curate absence directly—fabricated archives, missing inventories, empty frames, restitution bureaucracies—showing how loss can become documentation rather than mere lament. The work concludes by extending the ethics of disappearance to the digital domain, where decay occurs without smoke, and by proposing “transparent loss protocols” as a future-facing curatorial responsibility.