Research Catalogue

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. See exposition in connection with "The Origins of The Game", "Debris", and "The Loot".

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 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 in March. The maintenance employed many Polish citizens, all dressed in black with black caps, following the XRW supporters' fashion code. Twenty-one (20+1) digital photographs 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. Golden Dawn were originally pagans, drawing from the ancient Greek mythology and ritualistic practices, also of human sacrifice. My personal details were stolen, too. Was I going to be the twenty-second victim? https://en.wikipedia.org/wiki/Looting https://en.wikipedia.org/wiki/Loot_(magazine) Investigatory research with artworks. The art world has been traditionally male dominated. This has changed a bit in contemporary art, but not dramatically. 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 that 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 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. See exposition in connection with "The Origins of The Game", "Debris", and "XRW (Implicature)".

Happening, 2016. Participant's empirical 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 on own initiative 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, only 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 non-EU refugees in Greece initially in the 1990s, after the fall of communism in their home country. Religion was banned in communist countries; nowadays, Albanian-Muslims consist of 59% of the Albanian demographics, with other religious denominations, such as Christian Catholics, taking smaller percentages of the country's population. The democratisation of Albania began shortly afterwards, in 1994, when Albanians started protesting for political and religious pluralism in their country. At the beginning of the transition period after communism, under the Democratic Party government, Vlore became a port through which smuggling, mainly from Italy, was taking place. 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 performing arts student, who brought a live hen to slaughter in the studio. This can be taken as a metaphor for scapegoating non-EU refugees, by symbolically re-assigning the gender of male, or female persons, who are not 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 familial connections with Albania - or Kosovo, or North Macedonia, which are both former Yugoslavian countries, all the nationalities, including Albanian, used on fifteen (15) fake non-EU passports used illegally in the UK since 2013 and 2014. I had never even visited those countries before the summer of 2024. The 2016 project was for the purpose of researching and documenting, in an artistic ethnographic manner, the refugee and immigration crisis, as I experienced it in my native Greece, as well as to voice my opinions on this topic from my perspective as a native Greek. I spoke to non-EU economic refugees, who must not be confused with political asylum seekers: those are people who encounter persecution for political and ideological reasons from their countries of origin and citizenship; rather than illegal or legal economic immigrants, such as the men I spoke to. Albania, Kosovo, and North Macedonia, all the nationalities on the fake non-EU passports, including Albanian, used in the UK successively, since 2013 and 2014, are non-EU countries. 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, for the purpose of voting and for political participation in the UK, where I have spent most of my adult life. Paradoxically - or not so paradoxically, since I had also been investigating this case - the political outcome, since 2020 and 2023, of this project was that three fictitious "daughters" of mine had been on the Met police's databases, as 17, 22 and 23 Italian/Albanian female sex offenders. Supposedly, I must had been given birth to a daughter, of an unknown father, in Albania in 2001, 2002 and 2007! (!!the "prostitutes"; that's believable!!) Or two "schizophrenic" sons, Panagiotis Nigiannis, both, Albanians!; born in 2003 and 2004! as well as a son from Kosovo! born in 2009! - all of unknown fathers, because children take their father's surname.That is simply Golden Dawn's, the BNP's (the XRW UK component), and others' cultural "imagination" with regards to Albanians and Kosovo Albanian citizens, scapegoating them to cause me a serious case of digital identity fraud. Factually speaking, in 2002, I was living in Athens, Greece, engaged to be married to my former husband, a Greek left-wing national, working at MOB (Mauve) Architects, as an architect designer, with an international cohort of colleagues. I got married in 2003. I lived in Athens until 2004, working also at R.C.Tech architects. In 2001 and the period after 2004, I lived in the UK, working as an architect and in higher education; I don't have children. I gained my first practical experience as an architect in the UK, working in private architectural practice from 1999 until 2002. The police files with the fake IDs have finally been corrected by September 2024, including records of falsely alleged children of mine born 2002-2004, when I lived and worked in my native Greece. Specifically, in 2007, I was living in London since 2005, working as an EU/Greek university lecturer. When the G20 summit demonstrations took place in London, in 2009, with the known case of the death of Ian Tomlison by a police officer, named Simon Harwood - the investigative journalist, Paul Lewis, conducted the investigation - I had lived in the UK since 2005, working as an EU/Greek lecturer at the University of East London, where I was also known as Betty Nigianni by my students and colleagues. I never participated in any public demonstrations in the UK. However I have attended demonstrations in my native Greece and, in 2019, in the Netherlands. It is not uncommon, for politically-minded cultural producers and left-wing academics, to participate in public demonstrations about causes they support. There are no children in my medical records, during the whole time I have lived in the UK, which is a total of seventeen years, plus, twelve of those being a British citizen. Greek children (Italian, Albanian, almost all, besides children of British parents, who take whatever name) take their father's surname. Greeks don't have many (or any) children, they're suffering from a shrinking population for economic reasons, despite being 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 state authorities, as shown in documents that I made part of this exposition, from 2022 until 2024. The British authorities have been lagging behind for a long time; intentionally, with their impossible, unverified "stories", bashing the left and the liberals - or whatever is left of them - and whoever is decent - whatever has been left of that, too. The Greek police confirmed in 2024 that all claims about children of mine, also between 2002 and 2004 when I lived in my native Greece, have been dismissed; they wanted to know what details of mine had been stolen. The Greek Golden Dawn - with their "Big Idea" (Megali Idea) of conquering foreign countries, like North Macedonia and the Southern part of Albania, as well as their chronic attacks on immigrants and refugees in Greece - was convicted as a criminal organisation in October 2020, after a five year long public prosecution, which started in 2015 with the then left-wing SYRIZA government in Greece; and was concluded in autumn 2020, under the 2019 elected New Democracy government. Golden Dawn invented the 'concept' of the 'Real Greek', dependent on any Greek's political orientation. Saying this, they also dig up their target's ancestry: in my case, covering three generations, there are seven (7) Greek ancestors on my father's side, plus one (1), who was an Italian ancestor, my father's grandfather, with the first name Gianni, surname unknown; and eight (8) Greek ancestors on my mother's side. Golden Dawn has been losing their sixty seven (67) appeals and early releases, because of my international work that has been very risky, due to the organised crime methods followed in this case and all of Golden Dawn's criminal cases. The conversation included in this exposition took place during the period Golden Dawn was prosecuted in the Greek High Courts of Justice (Areios Pagos), 2015-2020. I was living in Athens at the time, from the summer of 2015, and remained until 2017, during the period the SYRIZA left-wing Greek party was in government for the first time in Greek political history, which was historic on its own. Despite the fact they were frightened, many non-EU immigrants to Greece provided testimonies in the courts during that period. 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; assassinated at age 34. For Alain Badiou, a communist-Maoist political philosopher, and the OP. For the abducted Albanian and of Albanian ethnicity immigrants. For Michalis Katsouris; assassinated at age 29. For the "Other Greek Left". Thanks to the Albanian embassy in London, the General Directorate of the State's Police in Tirane, as well as the Durres police, mentioning I am not tax subject in Albania, and the Durres prosecutor, who took my case in autumn 2024. Thanks to Edi Rama and his Socialist Party, a coalition of left-wing parties, government, for all the work that was done in the summer of 2024, during my first ever visit to Albania. Thanks to the Norwegian Labour Party of Jonas Ghar Store and left-wing coalition government. Thanks also to Skopje police and Prishtine police; as well as the newly elected Socialist Party in North Macedonia. Thanks to the Italian police at Bari. Last but not least: thanks to the Greek police chief, Marinos Stagakis, and the Greek police organised crime division, specifically Ioannis Papakostas, who spoke to me on the phone in the summer of 2022, offering a starting point. Thanks to the Swedish London embassy and the Norwegian London embassy that confirmed the identified and reported NRM membership. Thanks to the US London embassy that came in late, in the summer of 2024; the work hasn't finished. Thanks to the Oslo Greek embassy, autumn 2024, for handling my application for my new Greek passport within a short time frame. Thanks to the French police, autumn 2024. THANKS to the Swedish police, autumn 2024. Finally, thanks to the exceptionally few Met police officers, who eventually figured it out, as well as those British, such as the current British prime minister, Keir Starmer, since 2023 - special thanks; and others working behind the scenes for the last three years or so, but also more recently in Albania, Germany, and Sweden. It would not have been possible without them. It has been a long process with many obstacles along the way, seemingly insurmountable, but as proven not. For peace and for safeguarding democracy and everything that comes with it. Investigatory research, with legal and political activism, surrounded by artworks, 2016-2024. References: Fred C. Abrahams, "Modern Albania: From Dictatorship to Democracy in Europe", New York: New York University Press, 2015. Counterextremism Project, "Violent, Right-wing Extremism and Terrorism - Transnational Connectivity, Definitions, Incidents, Structures and Countermeasures", November 2020, available online. See all expositions under Art and Activism Exposed as Blog: "Debris", "The Loot" and "XRW (Implicature)".

This exposition charts the creation and musical-narrative structure of Pearl, my recent composition for symphony chorus, orchestra, and solo baritone: a setting of extracts from the medieval poem Perle, translated into modern English by Simon Armitage, commissioned as part of the BBC Proms in 2022. Envisioned as a contemporary adaptation of the poem’s historically distant, yet somehow timelessly poignant and continually resonant story, Pearl takes the form of a musical narrative that evokes both past and present, through personal and more universal reflections on the nature of loss, grief, and acceptance. By drawing together analytical techniques taken from musical theories of narrative (principally Byron Almén 2008), musical topics, and the adaptation of narratives across media (Marie-Laure Ryan 2014), with a self-narrative approach to documenting my practice in action (as advocated by Christopher Leedham and Martin Scheuregger 2018), I unpack my creative approach to Pearl in what might be understood as ‘bricolage’ as proposed by Robyn Stewart (2007). Constructing a ‘new story’ through a ‘plurality of approaches’, I adopt Stewart’s methodological eclecticism to theorize and situate the work as a musical narrative. However, through the slippage that occurs between narratology and self-narrativization, Pearl is shown to also mirror and situate my personal artistic experiences as a contemporary practitioner. In response to the recent and ongoing debate about the nature and validity of Practice Research in Composition, the article addresses calls to share the ‘messy, complicated, uncertain, and soft’ (Arthur Bochner 2000) aspects of the artistic process suggesting a more open, and even collaborative, role for the sharing of compositional research.

This exposition reports and assesses the experience of the project ‘The Creative Potential of Evolving Constraints in Peer-to-Peer Reciprocal Coaching: A Three-way Investigation’ (hereafter 3WI), funded by the Interacting Minds Centre, Aarhus University. 3WI was designed to gauge the utility of evolving creativity constraints — that is, deliberately adopted restrictions (whether self-imposed or suggested by another) to choices in a given creative project — in the development of projects by the three participants: a dance artist and filmmaker, a songwriter, and an academic video-essayist. The format of 3WI was as follows. At monthly meetings from September to December 2021, each participant presented work in progress and exchanged feedback with the other two participants. Each meeting culminated in the setting of tasks and constraints designed to guide the development of individual projects over the subsequent month. After an introduction to the format and aims of 3WI, the exposition begins with a description of 3WI’s procedural and theoretical coordinates: the Critical Response Process, a formalised protocol for eliciting feedback on creative projects developed by choreographer Liz Lerman; The Five Obstructions (Lars Von Trier and Jørgen Leth, 2003), a film which models the provision of creativity constraints; and theory and scholarship concerning the utility of creativity constraints. The exposition continues with a description of the projects being developed by each participant (a dance performance and dance film; two songs; two sections of an academic videoessay), and an individual and illustrated account of the feedback meetings and development of those projects over the course of 3WI. These accounts are followed by a discussion reflecting on setting and receiving constraints, and an assessment of the experience of the project. We conclude with some contemplation of the ethics of constraint-setting and the lessons of the 3WI experience for other makers. Constraint-based procedures are commonly employed and recognised as generative in artistic and design contexts, and they are also used in experimental academic work. 3WI was an attempt to test the utility of constraint-setting as a form of formative peer-to-peer feedback in the development of real creative projects. This exposition will be of interest to artists and academics interested in deploying creativity constraints for the development of creative and creative-critical projects. It will be particularly relevant for those who work in collaborative and interdisciplinary contexts.

The thesis Architecture of democracy focouses on the relationship between architecture and democracy and describes the word combination - a neologism in (Slovak and Czech) language - Architecture of Democracy. My assumption is that on the one hand, it is architecture that has the ability to influence social events and co-create the democracy that takes place in it. On the other hand, it is democracy that determines the conditions for architecture, architects articulate the ethos of the political era. Architecture here becomes not only an aesthetic medium, but its ethical function is synergistically applied. Can we notice this relationship between architecture and democracy? Is it really the fact that architecture can support the functioning of democracy? And does democracy have the ability to be transcribed into architecture? What tools does it use for this? As the main method, I create the method of the Barometer of Democracy Architecture, which is inspired by german-swiss politological instrument Democracy barometer. There the freedom and the equality are functional only in balance with the control. This equation allows us to look at architectural buildings through 9 properties, in which I perceive areas where architecture and democracy interact: 1. individual freedoms, 2. public freedoms, 3. mutual ties 4. transparency 5. participation 6. representation, 7. restrictions, 8. security, 9. competition. In the next step, I apply the Barometer of Democracy architecture to two buildings, the current seat of the Chamber of Deputies and the former seat of the Federal Assembly. For this application it is necessary to bring closer their short but competitive period, when both buildings were possible candidates for the democratic parliament of the new state of the Czech Republic in 1993. By following the views of differenet participants, decision-making committees, political discussions and the views of the professional and non-professional public, but also in comparison with the parliaments of the world and alternative student projects, several specificities of the current seat of the Chamber of Deputies in the palace complex in the Malá Strana will be clarified. In the final discussion, I will try to use Barometer of Democracy architecture as a heuristic tool that will try to articulate a possible future development scenarios. In the last step, I present student alternative projects and also my project, a winner in a public architectural competition for the reconstruction of the vestibule and entrance areas of the Ministry of Industry and Trade in Prague, in which I work with tree values freedom, equality and control in architectural way. Dizertačná práca sa snaží vysledovať vzťah medzi architektúrou a demokraciou a popísať tak slovné spojenie - novotvar v našom jazyku - Architektúra demokracie. Mojím predpokladom je, že na jednej strane je to architektúra, ktorá má schopnosť ovplyvňovať spoločenské deje a spoluutvárať demokraciu, ktorá sa v nej odohráva. Na strane druhej je to demokracia, ktorá určuje podmienky architektúre, nastavuje (nie len legislatívny rámec), v ktorom architekti artikulujú étos doby. Architektúra sa tu stáva nielen estetickým médiom ale synergicky je uplatňovaná jej etická funkcia. Dokážeme tento vzťah architektúry a demokracie vysledovať? Je to skutočne tak, že architektúra dokáže podporiť fungovanie demokracie? A má demokracia schopnosť prepísať sa do architektúry? Aké nástroje k tomu používa? Ako hlavnú metódu vytváram optiku Barometer architektúry demokracie, ktorý je inšpirovaný politologickým nemecko-švajčiarskym Barometrom demokracie. Tu je na miskách váh sloboda a rovnosť funkčná jedine v rovnováhe s kontrolou. Touto rovnicou je možné nahliadať na architektonické stavby skrze 9 vlastností, v ktorých vnímam oblasti, kde architektúra a demokracia navzájom interagujú : 1. individuálne slobody, 2. verejné slobody, 3. vzájomné väzby 4. transparencia 5. participácia 6. reprezentácia, 7. obmedzenia, 8. bezpečnosť, 9. súťaže. V ďalšom kroku aplikujem Barometer architektúry demokracie (BAD) na dve stavby, súčasné sídlo Poslaneckej snemovne a bývalé sídlo Federálneho zhromaždenia. Aby táto aplikácia bola možná, je dobré ozrejmiť proces a dôvody ich výberu. Obe budovy boli možnými adeptami na demokratický parlament nového štátu Českej republiky. V sledovaní pohľadov dobových aktérov, rozhodovacích komisií, politických diskusií a náhľadu odbornej a laickej verejnosti, ale i v porovnaní s parlametmi sveta a alternatívnymi projektmi študentov, sa objasnia viaceré špecifiká súčasneho sídla Poslaneckej snemovne v komplexe palácov na Malej Strane. V záverečnej diskusii sa pokúsim BAD použiť ako nástroj heuristický, ktorý sa pokúsi nasvetliť možné budúce scenáre rozvoja týchto stavieb. V ďalších krokoch prichádzam s aplikáciou na alternatívne študentské projekty a taktiež so svojím autorským návrhom vo verejnej architektonickej súťaži na rekonštrukciu vestibulu a vstupných priestorov Ministerstva priemyslu a obchodu v Prahe, v ktorých zadanie predznamenávalo architektonickú prácu so slobodou, rovnosťou a kontrolou. Contributor (graphical support): Matěj Hanauer, Petra Roubalová, Studio DIP The doctoral thesis supervisor: prof. Mgr. akad. arch. Roman Brychta The doctoral thesis consultant: doc. Mgr. Cyril Říha Ph.D.