a multifaceted project on-the-go

about home and object accumulations:

1. sculpture,in a storage spage, Thessaloniki 2009
2. art-publication, in collaboration with J.Gilbert (writer) + I.Vaverka (designer),
Publication Project of DAI with Delphine Bedel as Editor, Enschede 2010
3. street-installation, Thessaloniki 2011
4. installation, performance and other events, presented at the group exhibition ‘Symbiosis’, XV Biennale de la Méditerranée, Thessaloniki, 2011 /////

‘The Restoration of a Wall’ follows the transformations of the accumulated home objects of a migrant (the artist) and it examines how these transformations could change notions and practice of Home. This process strives to apply such a change in a more relational and collective way.

In the course of time, the project adopts various forms and formats. In brief:

at first, the accumulation of home objects -in boxes and in a moving out or storing situation- becomes a Wall (a refuge or a prison?)(Thessaloniki 2009).

Then, a ‘restoration study’ -through a publication- analyses the structure of such a Wall and the value and meaning inscribed on the objects that compose it (DAI, Enschede 2010).

Towards its restoration the Wall changes contexts: from a storage room, to the streets, to a hotel-exhibition space. It changes forms: from a line to a space, from its stillness of moving/storing to its activation.

In its most recent phase, the accumulation of home objects unfolds in a multiplicity of temporary sites, of everyday personal and public activities as well as individual and collective situations (readings, meals, a discussion, a jamming session, a give-away-shop).

This shift from one form to the other, from one context to the other, becomes a simulation of migrations. These migrations of home and of home-objects raise issues of individual consciousness towards self-emancipation.


You can see more about the project in the paper ‘Home on-the-move-and-in-place: towards a strategy of emancipation‘. The paper was presented in the ASCA workshop ‘Dislocating Agency and Moving Objects’ in Amsterdam in April 2013.




art-research and videos, presented at the Symposium “communi(cati)on of crisis”, PI Institute for Live Arts, Nafpaktos, 20-25 june 2011

“Clown interviews” is an artistic investigation initiated by viki semou and catherine grau. It looks at the potential of the CLOWN as a figure of reading, reacting to, and embodying crisis. In the frames of the project, clowns are asked to respond as clowns and as people-being-clowns to ‘what is crisis’ and ‘how to deal with it’.


#1 Rosy de lux / Raquel Rives, #2 Clolonel / C., M., and Y., #3 Psychopath / Ian


Communicating with their bodies, actions and gestures clowns operate on the periphery of the power structures of language, offering new reading through marginalized forms of communication. Maybe this is a reason why they are usually perceived as figures on the edge of the society.

Like the fool in Shakespeare’s work, clowns are in a position of ‘commenting’ the ‘main’ action. They mirror it with humor or tragedy. How can this mirrored image be enlightening for the understanding of this ‘main’ action? Could it be a starting point for the interaction with or reaction to or even subversion of it?

A clown is also seen as a figure in a permanent state of crisis, directly linking situational readings with personal experience and always taking the plunge in facing inherent failure. So, how can the clown contribute to a discourse on the theme of crisis? What does crisis mean for a clown? How can the clown connect with all the different scales in which a crisis can take place? Could they maybe show us the way out of a society/situation of a permanent crisis? And how can we begin to understand crisis within a crisis continuum? Could we learn how to deal with crisis using clown techniques?

We asked a professional clown, a clown-activist group and a clown-performer-artist to reflect and respond to these questions as clowns and as people-being-clowns. Their responses resulted in 6 videos.




Three-fold intervention about Dirt and Cleanliness: installation with stickers, audio installation and performance

presented at group exhibition: ”Affectionately Yours”, curatorial project: “If I can’t dance I don’t want to be part of your revolution”, DAI and Wyspa Institute of Arts, Gdansk, Poland, May 2010 /////

Impersonating a sanitary control agent, viki semou inspected the space, the objects and the people visiting the exhibition. What or whoever had been approved was stamped or noted with a sticker. As an anti-statement, in the toilets of the exhibition space, an audio-piece on a loop talked about the power structures integrated in the definitions of what is dirty and what is clean.

More specifically, the sanitary control started with the inspection of the envelops that were handed out personally to promote and advertise the event. Inside them, there were notes, fragments, cards, whatever each one of the participants wanted to imply or say about their work before the exhibition. They were all approved. The control continued with inspecting the way to the exhibition spaces, through the shipyard where they were located. Not everything was inspected, not everything was approved. Then, the exhibition spaces themselves followed.

During the opening of the exhibition, as a sanitary control agent, the artist stood at the entrance of the exhibition. controlling who could enter or not. She was pointing to whoever looked ‘suspicious’ to her, asking them strictly and stifly in greek to step aside. An assistant of hers would take them aside and check their faces. If approved, they would have to lift their sleeve and get stamped

The audio installation sheds light on the toilets as the site of our everyday purification rituals, as a private area, as a dirty place nobody talks about. but also as an area of communication of dirty, forbidden messages. Most of all, in this case, as an area of propaganda of opinions and statements that do not have the room to be expressed elsewhere.

hygiene-sample of the audio piece

In this project, dirt and cleanliness, are approached as an affective pair, that saturates all aspects and scales of our lives. It is stated that notions of what is clean or dirty are inscribed on space, objects, patterns of behavior, the body and that we affectively communicate our point of view about them. ‘Hygiene’ points out:

  1. the arbitrariness of such definitions of dirtiness and cleanliness;
  2. the direct connection of such definitions to control when approving what is clean, and rejecting what is dirty.
  3. at the very end, that there are power relations created through this whole process that are as well arbitrary. Because whoever defines what is dirty or clean and can check and control the application of these definitions is in a position of power concerning the rest of the people.


The project has been also presented as a video-lecture-performance in Dutch Art Institute, in June 2010.




First to be Saved in Case of Fire

performative action + video-documentation
in collaboration with Yota Ioannidou and Sevgi Ortac, and the participation of 14 residents of Detroit. April 2009, Detroit, USA./////

14 residents of Detroit were invited to visit 3 abandoned places in the city (an elementary school, a courthouse and a house) and choose something from there ’to be saved in case of fire’.

A camera was filming them while they were looking for something to be saved, wandering into the buildings as long as and as far as they wanted till they were done or tired or interrupted by the conditions surrounding the buildings; the limits of accessibility, danger, cold, police… The project was conceived as a platform to build up a network and get to know the city of Detroit by its people. It was conceived as a specific route to save this knowledge and experience of a place that, albeit dramatic and decadent, promised counter interventions of urbanism and social change.

In this process of looking for something to be saved in abandoned and already destroyed places, the significance of such a goal fades away and what becomes important instead is the relationship of the camera-us-the tourists/strangers, the persons invited-the locals, and the places visited. The Detroiters (re-)visit these places to guide us through them. We see them through the camera, through their trajectories and their stories and they (re-)see these places through the conscience of our presence.

It was an effort to deal with both the ‘spectacle of decadence’ and the disappointment abandonment brings.

/////This project was made in the frames of the curatorial project Detroit Unreal Estate Agency, of Dutch Art Institute & Partizan Public, Detroit, USA /////