Μου προξενούν το ενδιαφέρον οι προσωπικές ιστορίες που βγαίνουν στην επιφάνεια μέσα από αντικείμενα, τόπους και καταστάσεις. Οι μάρτυρες της ατομικής κληρονομιάς τείνουν να αμφισβητούν την έννοια της ιδιωτικότητας. Η έννοια της μνήμης συνδέεται με κάποιο τρόπο πάντοτε με το έργο μου και την διαχειρίζομαι ως ένα αδιάσπαστο φαινόμενο της καθημερινότητάς μας. Η συλλογή, η αρχειοθέτηση και η συγκέντρωση των πραγμάτων είναι μέρος της διαδικασίας του έργου και αυτή η μεθοδολογία είναι συχνά ορατή στην εκτέλεση του έργου.
Ι am intrigued by personal histories that reveal from objects, places and situations. The leftovers of a private heritage tend to question the notion of privacy. The notion of memory is somehow always interlinked in my work and I deal with it as an inseparable phenomenon of our everydayness. Collecting, archiving and gathering things is part of my process and often visible in the execution.
‘Our obsessions with memory functions as a reaction formation against the accelerating technical processes that is transforming our Lebenswelt (lifeworld) in quite distinct ways. [Memory] represents the attempt to slow down information processing, to resist the dissolution of time in the synchronicity of the archive, to recover a mode of contemplation outside the universe of simulation, and fast-speed information and cable networks, to claim some anchoring space in a world of puzzling and often threaten heterogeneity, non-synchronicity, and information overload.’
Huyssen, A. in Gere C. 2006
(γεν. 1987, Θεσσαλονίκη, Ελλάδα)
Ζει και εργάζεται στην Θεσσαλονίκη.
Σπουδές στο Λονδίνο (Μ. Βρετανία): 2007-2010 BA (Hons) Fine Art (Drawing), Camberwell College of Arts, UAL & 2010-2011 MA Graphic Design Communication, Chelsea College of Arts and Design, UAL
Έχει παρουσιάσει τη δουλειά της σε ομαδικές εκθέσεις, όπως:
2008 Re-located, The Foundry, London (GB) | Fluxfeast, The Bear, London (GB)
2009 139/5, Trinity Buoy Warf, London (GB)
2010 Degree Show, Camberwell College of Arts, London (GB)
2011 Xhibit2011, (touring exhibition) The Gallery, London (GB) | The Core Gallery, London (GB) | Chelsea Salon Series, Chisenhale Gallery, London (GB) |Chelsea Postgraduate show, Chelsea College of Art and Design, London (GB) | The Title Art Prize, Blank SPACE, [selected by Paul Roonie, Tomas Harold, Neil Harris and Mark Devereux], Manchester (GB)
2012 Demo 3, Dynamo Project Space, Thessaloniki (GR) |III Moscow Biennale for Young Art, MOMMA, Moscow (RU) | 1st International Biennale of Santorini, Santorini (GR) |Celeste Art Prize 2012 (shortlisted by Eva González-Sancho) Members Show 2012, OUTPOST Gallery, selected by Ruth Ewan, Norwich (UK)
2013 Kodra Fresh 2013, Action Field Kodra, Thessaloniki, (GR) | Demonstrations 4th Thessaloniki Biennale of Contemporary Art, Thessaloniki (GR)
2014 NE Fest, Sofia, BG
2016 Aristotelous project, Kalfayan Galleries, Thessaloniki (GR)
Έχει επίσης παρακολουθήσει residencies / workshops:
AIR Mini Residency, Byam Shaw, [with Anna Hart and Ruth Ewan], London (GB)
Demo 3, Dynamo Project Space, Thessaloniki (GR)
INSPIRE festival, Macedonian Museum of Contemporary Art, [led by Lionel Esteve and Alexandros Tzannis], Thessaloniki, (GR)
Artivists for change, Dynamo project space, Thessaloniki, [GR]
49th Dimitria, Maison Crystal, workshop and performance with ULAY, Thessaloniki (GR)
Remembering to forget
300 used memory cards purchased from eBay, wooden cabinet, perspex glass, padlock, key
For several months I have been gathering memories from eBay. Collecting is a way of validating things. It is a repetitive ritual that could be character- ized as obsessive. It is often associated with time, a kind of archaeology that reveals memories and nostalgia. I was intrigued to see the content and I started checking the folders. There are pictures, videos, texts, playlists with music and other personal documents. Even though we are very used to peeping at private things that we are not supposed to see, for example with the use of social networks like facebook, I felt that I should not be watch- ing this, especially after watching an odd video. It is quite possible that many of these memory cards were lost or stolen. ‘Remembering to forget’ is a collection of 300 used memory cards, stored in a cabinet that resembles to museum collections. It is a public work consisting of tiny gadgets that contain in their virtual space personal histories. The cabinet remains locked to protect the privacy of those memories.
In the meanwhile, 2016
Paper queue clippings
The work is a collection of priority number papers and waiting times from several queues of several stations. The total amount of time is eight hours, the formal working time in Western societies, which the artist is using as a tool of classification, demarcation and meaning. The work underlines the waiting process as an idea of incompleteness. A duration of time which is accompanied from people’s various positions, approaches and attitudes towards time, and even more waiting itself. In the meanwhile uses the traces of some natural places where the feeling and reality of waiting is evolving and through this “witness” it creates a hint about the relevance of this condition, of the finite time interval. During this waiting time many things can occur. The difficulty of the work examines the waiting process as a ritual and is linked to the human condition itself, as it is one of the familiar and relative condition of achieving a goal, while in other, it indicates a state of inactivity and immobility. It can function as a passing ceremony to adulthood, while in other cases what is interesting is the feeling of waiting itself, like an adventure that when it’s over you are left with a void. So waiting what? The answers and approaches are so relevant, so not final, as the human existence itself.
film poster containing the word ‘dirty’, washed in washing machine, soap
This is a collection of movie posters purchased from eBay -containing in their title the word ‘dirty’- that have been washed in the washing machine, in the program fast coloured in 60 degrees.
When Players get played..
film still, collection of business cards from shops that have closed down, taken by their (ex) customers.
‘When players get played’ is a collection of approximately 200 business cards from companies that have closed down. The idea came when I relocated myself to Thessaloniki Greece and I tried to visit shops that I use to go, then I discovered that many of them didn’t exist anymore and also by seeing numerous ‘lettings’ and ‘sales’ ads on the city’s window-shops. I started gathering business cards from friends, family and unknown people. The process of getting those cards was difficult but as soon as the people would get them from their chest drawers and had to go through all of them, unintentionally they narrated me stories related to the now no longer existing places. I have hired a magician to make the cards disappear. I like the fact that the figure of the magician is both innocent and dark and you are never sure if he is tricking you or it is magic indeed.
You can see the video here http://vimeo.com/47046639
work in progress
‘Viewings’ is a project that explores the public view of Archway in London, through a private spot and is about a curiosity to discover the area from an intimate setting. The process of gathering these views was achieved by visiting the estate agencies of Archway. I was pretending to be interested in renting a flat in the area. The performative action continued by arranging viewings. During the visits I had a camera and I took pictures from the windows. Parallel to these actions I kept a diary with the business cards of the estate agencies and my notes in order to register my ideas and remember details of the agents, their descriptions, my thoughts and anything that I considered as important. The pictures are the documentation of the action and a way to capture a moment and a place. I don’t intend to uncover their personal things but delicate ‘bits and pieces’.
A slight trace of something
second hand souvenirs
This work is a collection of souvenirs bought by foreign tourists when they traveled to Greece. For some reason they decided to sell them on eBay auctions and I buy them creating a work that examines both repatriation and misplacement. It is interesting that these mass produced objects are made to be transported ‘back home’ as a traveling evidence and a token of remembrance. These stereotyped icons of culture are a superficial understanding of history but also a history on their own and a paradoxical testimony of personal, unique experience.
The nine highest priced paintings paid at auctions or private sales
The work is composed by nine punch cards, a medium that stores digital files, as a way to translate the ‘aura of the digital’ into a tactile form.
Decoding the nine highest priced paintings into the binary code, using the fortran system we remain with abstract holes that represent the highest priced paintings, questioning ideas such as the reproduction of the image, the uniqueness and the elite.