The Loot
(2025)
Zoe Panagiota (aka Betty) Nigianni
Islington studio flat 4, at 14 Barnsbury Road, London, 2022, privately rented. Interior design and styling, as art installation. Looted, 2024. Investigatory research with artworks, 2023-2024.
https://en.wikipedia.org/wiki/Looting
https://en.wikipedia.org/wiki/Loot_(magazine)
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 from Woolwich. After I left, the landlords moved in two or three under aged, who I have never met, so that they pretend to be my daughters. Subsequently, they must have been removing them one by one over the last few months and until October 2024.
14 Barnsbury Road was deemed illegal through the courts, on 22 April, shortly after I was forced to leave at the end of March. The maintenance employed many Polish citizens, all dressed in black with black caps, adopting the XRW supporters' fashion code.
Twenty-one (20+1) digital photographs of the studio, for twenty (20) missing Albanian and of Albanian ethnicity, non-EU immigrants; as well as one (1) missing Italian citizen. Golden Dawn has taken responsibility.
The twenty-one persons whose details got stolen were abducted by mainly Golden Dawn and, secondarily, the NRM; they are deceased. My personal details were stolen, too. Was I going to be the twenty-second victim?
Twenty-two (22) and twenty-three (23) photographs, including 2 (two) of myself: NOT a missing person.
Golden Dawn were originally pagans, drawing from the ancient Greek mythology and ritualistic practices, including human sacrifice.
The art world has been traditionally male dominated. This has not changed dramatically in contemporary art. Female artists have sometimes adopted male attitudes, or personas, to break into the art scene; see Sarah Lucas and Tracey Emin from the YBA movement. I hold the view that art is not gendered, that there is no art for women or so-called women's art. Good art transcends such categories, tapping into more universal experiences. Saying this, I would like to quote Nancy Spero, who doesn't crudely distinguish between male and female art, as follows:
"What if the default gender for 'artist' were female? What if, when we looked at a work by a woman, we said to ourselves, "That is art," and when we looked at a work by a man, we automatically identified it in our minds as 'men's art'?"
In 1999, I wrote a long essay about the architectural uncanny, which I submitted as my graduation thesis for my first MA in architectural theory. I called it "Space as a 'Bad' Object: A criminal investigation on the notion of space". I got inspiration from detective novels and real-life crime stories. The long essay was about the role of architectural space in crime. It was completely unsupervised: I received a distinction by a Bartlett staff member. I took the digital photographs in conceptual adherence with that essay.
I was a postgraduate philosophy student 9/2017-11/2019 at the University of Amsterdam, Netherlands.
In this exposition, I include two new photographs from a series of digital photography called "Forensics", taken with my mobile phone, after I was forced to leave the property I was renting, on 27 March 2024. I gave the photography series that name, because it has served the purpose of investigating, recording and tracking a crime, for which architectural space, such as private rentals, has been used.
For Chris, who was suddenly transferred by his employer, from London, where his daughter lives, to somewhere outside of London; and for Lawrence, whose temporary post was prematurely terminated, though he was planning to return to his legal studies. To all those who don't just "play" the cultural and racial diversity clause; they don't just rely on identity politics, because the class problem has not been resolved for them, either.
The exposition is inspired by jazz music.
See exposition in connection with "The Origins of The Game", "Debris", and "XRW (Implicature)".
XRW (Implicature)
(2025)
Zoe Panagiota (aka Betty) Nigianni
50 A3 drawings black and coloured markers, including:
3 A3 collages on paper with newspaper cutouts and printed photos.
12 A3 drawings on paper with coloured markers + 1 A3 with black ballpoint pen and markers.
13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 wo-sided.
17 A3 drawings on paper with coloured markers.
1 drawing on sketchbook cover with red nail polish.
1 text drawing on sketchbook cover inside.
1 drawing on sketchbook cover back inside with black, orange and gold markers.
Some of the above is preparatory work for 4 large prints and 13 paintings.
22 A4 drawings with ballpoint pen.
I did/made the art between 2023-2024, from the perspective of the observer. I started writing the blog afterwards, from the summer of 2024.
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. I mixed this with stylistic elements of the architectural sketch, using heavily the black marker and stick figures. Much of this work is, amongst other, about children. I wanted to emphasise that, by intentionally applying stylistic elements from children's drawings, in a naive and loose architectural composition. Using this visual approach, I wanted to evoke a comically sharp twist to the otherwise dark subject matter.
"Pop and Politics" (Pop Og Politikk)
Where does the boundary run between art and popular culture? Pop art embraces the iconography of mass culture. Themes are taken from advertising comics, cinema and TV. The slick, impersonal style is a deliberate provocation.
In Norway, pop art is part of a broader left-wing protest movement. Everything from capitalism and imperialism to environmental and gender politics is subjected to critical scrutiny. The exclusive, unique artwork is replaced by mass-produced prints and posters, well suited to spreading a political message."
From the National Museum, Oslo, Norway, 2024.
For Nikos, Filip (Philip), and "Brandon" - August, September, and October 2024. For 'Tricky' - January 2025.
The text is written like a hip-hop song. The art is influenced by Jean-Michel Basquiat,
See exposition in connection with "The Origins of The Game", "Debris", and "The Loot".
Aftermath - Or E for Installation
(2025)
Zoe Panagiota (aka Betty) Nigianni
Design for interactive art installation with urban regeneration proposal, as well as video about environmentalism and our technologically mediated private and public lives; installation catalogue design with photography and textual collage, 2021-2023.
"There is a massive abundance of goods that end up in landfills. With such abundance of goods, no one should be deprived."
Visitors will have to leave an unwanted item of theirs and take another to collect the installation catalogue. The installation will be monitored for this purpose. Designed with Wi-Fi light technology for agility training, the interactive floor in the entrance will be controlled by the visitors through a tablet computer that will allow them to select the difficulty level.
The exposition offers a critical viewpoint to the contemporary gallery-mediated commercial environment by making reference to the non-monetary economies of artistic and cultural production.
Art "is an instrument of war for attack and defense against the enemy". The enemy is whoever exploits their fellows out of egoism or personal interest (Pablo Picasso).
With summary and questions about David Murakami Wood's article "The Global Turn to Authoritarianism", 'Surveillance and Society', (15), 3/4, 2017: 357-370.