Through video, text and sculpture my practice examines organizational systems that have their roots in modernity and have been imposed far beyond 'the West', to consider their role in forming dominant narratives. My practice traces frictions between systems that aim to cohere speech (such as grammatical orders, law, History, phonology and algorithmic models) and narratives that evade them. Methodologically, my practice is informed by the long-standing research projects I am part of, such as System of Systems, and my encounters with others in the process. 'System of Systems' is an ongoing research project using the format of exhibitions, publications and public programming to examine the use of technology and bureaucracy in European migration processing systems.
Seven Types of Dust (work in progress) - HD video with audio.
Taking place in contemporary Thebes, the film
examines notions of contamination as a negation
to ideas of putity. Through a poem and images of
landscpaes, the film reflects on the contamination of
Thebes’ soil, its mythically impure identity and histories
of displacement. Contamination becomes a form of
being in relation with people and the landscape in the
film, and of addressing multiple forms of extraction in
the area.
Sprouts of a dragon’s teeth (Password: Thebes) - Screened at ICA London and Rotterdam Film Festival 2023 (IFFR).
Through meditative shots of landscapes and animals in Thebes, the film poetically reflects on notions of nationbuilding, autochthony, migration, othering and the role of myth in contemporary Thebes. While the focus of the work rests on human affairs, the non-human is brought to the forefront, questioning the ways human infrastructures affect not only the lives of people but also the environment and non-human animals. The film is written in collaboration with poet and theorist Stathis Gourgouris, Professor of Classics and English and Comparative Literature at Columbia University.
Essay Α, Essay Ε, Essay Η, 2023 - 80.5 x 80.5 x 23cm. Powder-coated steel, paper,
brushed steel.
Installed in what will become UKS’ library and
archive, the sculptures Essay A/Essay E/ Essay
H(2023) are the result of research into the role of
archives, administration and alphabetic writing in
forming histories of belonging and statehood. The
sculptures formally reference disused public displays
found in Athens and reading/writing stands. They
hold hand-tracings of archival documents from the
municipal archives of Thebes on A4 paper. Each print
painstakingly traces these historical pages by hand
leaving behind an echo of centuries of bureaucratic
labour to maintain societal structures.
Detail Essay H - Photo by Julie Hrnčířová.
Installation view of I am inside who I was, PuntWG 2022. - Work 1:
Notations, 2022, Metal wire and wooden beads, 200cm.
Work 2:
A promising ignition, 2022, Digital print on vinyl,
257x133cm.
Not all winters, 2022 - Fabric, 150cm x 70cm
work with Alice dos Reis and Bin Koh.
Part of the exhibition 'I am inside who I was', 2022 at PuntWG Amsterdam. All work is made collaboratively with Bin Koh and Alice dos Reis. The title of the show is borrowed from Rachel Zucker’s book-long poem 'Eating the Underworld' which re-tells the myth of Persephone, the
daughter of Demeter who ran away from her
mother to marry Hades and was the only mythical
figure that could move between the world of the
living and the underworld. The artists read the
role of the pomegranate fruit in the myth as a link
between the world above and under, a refusal of
dichotomies by being in between or both.
The lips, the lisp, the slip of the tongue - 2018, HD video installation with binaural audio,
15’ 25”, vinyl floor, artificial saliva.
The video depicts elements of the mouth as
autonomous agents, echoing the way voice
interfaces consider the speaking process
to be composed of distinct procedures that
independently define voice, language and speech
recognition. Speech in those interfaces is defined
not as an embodied thinking process but a
combinatorial method. The voiceover explores
processes of modelling the voice and its relation
to corporeality through its narratives and modes of
speaking. The video is composed of a sequence
of controlled ‘chapters’ that stage their own
collapsing into incomprehensible incantations in
the last scene.
