Research Catalogue

Preparatory work for art installation, 2016-present. 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. 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, shown on fifteen (15) fake non-EU passports, used illegally in the UK from 2013 and 2014, until 2023. I had never even visited those countries before the summer of 2024. I found out those countries are a completely different world, as ex-communist countries. For instance, in Albania, they only have state television, they don't sell Western music, they rarely play it in bars that most close at midnight, even in the summer on the coast. The 2016 ASFA project was for the purpose of researching and documenting, in an artistic and 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; unlike illegal or legal economic immigrants, such as the men I spoke to, who immigrate for economic reasons. Albania, Kosovo, and North Macedonia, all the nationalities on the fake non-EU passports, including Albanian, used in the UK successively, from 2013 and 2014 until 2023, when they were cancelled by the UK Home Office, are non-EU countries. Greece, my native, my parents' and grandparents' native, has been in the EU since 1981. I have also been a British 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, because I had also been investigating this case - the project's political outcome, since 2020 and 2023, was that three fictitious "daughters" of mine had been on the Met police's databases, as born in 2007, 2002 and 2001, Italian and Albanian female sex offenders; as well as two fictitious Albanian "sons" of mine, both thugs, as born in 2003 and 2004, on the National Police's databases. Based on counterfactual thinking, when we hypothesise with false antecedents, supposedly, I must had given birth to a daughter, of an unknown father, in Albania: 2001, 2002 and 2007: the "prostitutes"! Likewise, with the counterfactual thinking about me supposedly giving birth to two "schizophrenic" sons, Panagiotis Nigiannis, both, Albanians, born in Albania: 2003 and 2004! Let alone the son from Kosovo, born in 2009, in Kosovo! All of unknown fathers, because children take their father's surname, pointing at a sheer smear campaign of impossibility against myself. The above is NOT believable, because I had not been to Albania or Kosovo, before the summer of 2024, while I don't even know whether someone just being born in Albania or Kosovo automatically qualifies them for that citizenship. Even that wouldn't be possible, because I don't have Albanian or Kosovo nationality myself. The above simply reflects Golden Dawn's, the BNP's (the XRW UK component), and others', bizzarre cultural "imagination", with regards to Albanians and Kosovo-Albanian citizens, scapegoating them, in order to cause me a serious case of digital identity fraud. Even as we speak, the police files have been corrected with the persons' legal details since September 2024; however the relevant databases were updated and cleared in early spring 2025. What were the reasons? Saying the above, it hadn't crossed their minds that it's not possible to have more than three citizenship, which is also dependent on the countries of citizenship. I only have two. Factually speaking, in 2002, I was living in Athens, Greece, engaged to be married to my former husband, a Greek left-wing national, while I was 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, where I also worked for 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. Women go through nine months of pregnancy, with medical records of pregnancy, before going into child birth. I gained my first practical experience as an architect in the UK, working in private architectural practice from 1999 until 2002. I didn't have children. The police files (2018X2, 2020X2, 2023X1), created with fake IDs, were finally corrected by September 2024, including records of falsely alleged children of mine born between 2002 and 2004, when I lived and worked in my native Greece. The police databases were corrected by early spring 2025. What were the reasons and why was the Met "misbehaving"? Notably, 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 criminal case of the death of Ian Tomlison by a police officer, named Simon Harwood - the journalist, Paul Lewis, conducted the investigation and Sir Keir Starmer was the prosecutor. No, I didn't give birth to a child called "Chrysanthi Nigianni", Albanian; neither a "Panagiotis Nigiannis" from Kosovo: there are simply NO children in my medical records in 2009. By that time, 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 (aka), 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, without ever having any interactions with police. It is not uncommon for politically minded cultural producers and left-wing academics, to participate peacefully in public demonstrations about causes they support, such as anti-racism, anti-capitalism, anti-austerity, environmentalism, and the nuclear arms disarmament. This is also the tradition and political legacy of the so-called "other Greek left", as well as like minded political and ideological movements globally. There are no children in my medical records, which would include pregnancies, 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 children, besides those of British parents, who take whatever name) take their father's surname; fathers are also almost always tracked. 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. EU nationality supersedes all non-EU nationalities. This means that EU nationals simply CANNOT be non-EU immigrants; or, even worse, so-called non-EU refugees, meaning illegal immigrants, who go to the UK in boats and are summoned at the border in the South of England. NO ONE CAN HAVE FOUR NATIONALITIES: I only have TWO, Greek and British. 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 evidenced in documents that I made part of this exposition. The British authorities have been lagging behind for a long time; intentionally, with their impossible, unverified and unsupported by evidence, "stories", bashing the left and the liberals, or whatever is left of them, as well as 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, including fakse claims about myself having a child with Loucas Papadimos; 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, while it was concluded in autumn 2020, under the 2019 elected New Democracy government. With regards to the Greek, centre-left SYRIZA party, as it was led by Alexis Tsipras, I note that Zoe Konstantopoulou, a lawyer and former speaker of the Hellenic Parliament, as well as responsible for the justice, transparency and human rights brief for SYRIZA,, compiled the "Black Book of Shame", a case study of Greek political and financial scandals, between 2012-2014. Golden Dawn invented the 'concept' of the 'Real Greek', dependent on any Greek's political orientation, which is not an ancestry or race root; it's just ideology. In fact, the Greek race is a separate, one of the most ancient races, but they have become intermixed, over the centuries, like other ancient races, because of population movements, due to war, primarily in the past, and in modern times, due to immigration. The modern Greeks still have distinctive cultural characteristics, such as the Greek language and the Greek Orthodox religion, which sustained the Greeks during the four centuries of Ottoman occupation. People may also find distinct to other Mediterranean people Greek racial characteristics that have survived over the centuries. Based on a twisted notion of the 'Real Greek', connected with political ideology, not race or cultural characteristics, Golden Dawn 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. All the Greek ancestors were Christian Orthodox; I do not know about the Italian ancestor, whether he might have been an Italian Jew, since they persecuted by Italian Catholics at the time my ancestor moved to Greece from the North of Italy and became Hellenicised. Golden Dawn has been losing their sixty seven (67) appeals and early releases, because of my international work that was very risky, due to the organised crime methods followed in this case and all of Golden Dawn's criminal cases. The pairs: "Panagiotis (Nigiannis)" (b.2003) - "Betty (Nigianni)" (b. 2001); and "Panagiotis" (b. 2004) - "Betty" (b. 2002); were resolved with the local government in Southampton and in Hackney, London, respectively, as well as in Camden and Haringey, London, just recently, spring 2025. This means there are no local government, including council tax, housing, and social security, records in any of the above names and ages. I note that the "Betty" supposedly born in 2001 and 2002, as well as "Panagiotis", supposedly born in 2003, were adults, 17+, in 2020. With regards to the supposed "Panagiotis", born in 2004, who would be -17 in 2020. In 2021, the previous tax year to 2022, when someone did money laundering into my bank account, none of those would be -17 yeas old, which is the age threshold for those considered children, whose parents might collect child benefit in the UK. The conversation included in this exposition took place during the period Golden Dawn was prosecuted in the Greek High Courts of Justice (Areios Pagos). I was living in Athens at the time, from the summer of 2015 and remained in Athens until 2017, during the period of the second SYRIZA government, elected previously for the first time in Greek politics, 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 same period. Manolis Glezos was the only Greek politician, who went to visit Magda Fyssa, Pavlos' mother, a simple seamstress, 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: some still call it "communist" police, though I must admit I didn't liaise with any Albanian police officers that appeared remotely communist; in my view, it's just not neo-liberalised; 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; they offered me an informal political asylum, based on my case that Rama's government found critical. Thanks to the Norwegian Labour Party of Jonas Ghar Store and left-wing coalition government; they offered me formal political asylum and a settlement with my Greek passport, since Norway is in Schengen. They also settled financially four fake Albanian passports with Albania. Thanks to Skopje police and Prishtine police; as well as to the newly elected, after my visit, 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 male membership. Thanks to the US London embassy that came in late, in the summer of 2024; the work probably 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. Warmest thanks to the French police in Paris, April 2025. Finally, thanks to the exceptionally few (counting on one hand) Met police officers, who eventually figured it out, as well as those British, such as the current British prime minister, Keir Starmer, since 2023, which is when I first got to know of him, by researching his profile online - special thanks, since we have never met, however his work has not finished yet, having inherited three years at least of inefficient public administration. Other British, working behind the scenes for the last three or more years; no one is flawless, keep it up. More recently, thanks to others, international, from Albania, Germany, Sweden and Norway. 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. This hasn't finished yet, but I am optimistic there will be an end to it. For peace and for safeguarding democracy and everything that comes with it. Investigatory research on Golden Dawn and international affiliates, with legal and political activism, surrounded by artworks, 2016-2025. The text is written like a very long rap song. References: Fred C. Abrahams, "Modern Albania: From Dictatorship to Democracy in Europe", New York: New York University Press, 2015. Kyriakos Katzourakis, "O Dromos Pros Ti Dysi" (The Way to the West), 2001. Counterextremism Project, "Violent, Right-wing Extremism and Terrorism - Transnational Connectivity, Definitions, Incidents, Structures and Countermeasures", November 2020, available online. Barry Cox, John Shirley and Martin Short, "The Fall of Scotland Yard", London: Penguin Books, 1977. Havard Bustnes, "Golden Dawn Girls" ("Hatets Vugge", "Hate's Cradle"), 2017: https://www.imdb.com/title/tt7690522/ https://en.wikipedia.org/wiki/Death_of_Ian_Tomlinson https://www.ojp.gov/ncjrs/virtual-library/abstracts/satanic-beliefs-criminal-actions https://www.middlebury.edu/institute/ctec-publications-0/dangerous-organizations-and-bad-actors-nordic-resistance-movement See also exposition "The Loot", under 'Art and Activism Exposed as Research Blog'.

50 A3 drawings black and coloured markers, including: 3 A3 collages on paper with newspaper cutouts and printed photos. 12 A4 drawings on paper with coloured markers, glued on A3 paper + 1 A3 with black ballpoint pen and markers, glued on A3 paper. 13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 two-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. 22 A4 drawings with ballpoint pen. Some of the above is preparatory work for 4 large prints and 13 paintings. The 12 A4 glued on A3 are preparatory work for a collage on panel. I made the art between 2023-2024, from the perspective of the observer. Most of the research material came out of crime and fraud reports. I started writing the blog afterwards, since 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, to familiarise myself with elements of game design. 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 heavily the black marker and stick figures. Adopting this visual approach, I also wanted to evoke a comically sharp twist, as satirical comment, in the British tradition of political satire, to the otherwise dark subject matter. Finally, the artistic style refers to the populist character of actors, mainly far right of the XRW, but also others. The text is written like a trip-hop song. Parts of the analysis is inspired by Saul Kripke's interpretation of Wittgenstein's example of mathematical calculation. I used plenty of popular and less popular literary and philosophical references, for the visual art and in the writing. Saul Aaron Kripke was the inventor of the possible worlds philosophical hypothesis, which was seminal for philosophers working in the area of contemporary analytic metaphysics, including the theory of counterparts and the theory of names. He died in 2022. Lauren Berlant was a cultural theorist and gender studies scholar. She died in 2021. In the style of art, I was inspired by Jean-Michel Basquiat's drawings and paintings, which are laden with input from popular media sources, like jazz music and television, recorded in an automatic and naive drawing manner, turned into abstracted paintings. For Nikos ('Rama', 'Mr X'), Filip ('Philip'), and Brandon - August, September, and October 2024. For "Daddy G" and 'Eric' ("Her Man") - December 2024, January 2025. Who are not politicians, but are doing something political, so they must take care. See also exposition "The Loot", under 'Art and Activism Exposed as Research Blog'.

Este projeto nasceu de um desconforto antigo, mas só encontrou forma quando o corpo — finalmente — começou a falar. Um corpo que, por anos, foi moldado pela obediência, pela culpa, pela contenção. Um corpo que serviu mais para agradar do que para existir. O Corpo que Nunca Foi não é apenas uma instalação visual. É uma travessia. Cada moldura carrega fragmentos de uma história interrompida, silenciada, violentada — mas que, ao ser contada, transforma-se em matéria de resistência. As peças não são ilustrações da dor. São gestos de enfrentamento. São corpos simbólicos criados a partir de camadas de memória, de experiências vividas, de feridas abertas e cicatrizes malformadas. Há nelas vestígios de abandono, de fuga, de abuso, de ausência de proteção. Mas há também outra coisa: o impulso de continuar. O espaço onde as obras habitam — um ambiente branco, forrado como uma câmara asséptica — não é um lugar de pureza. É o contrário: é o lugar onde tudo o que foi considerado “sujo”, “impróprio”, “mentira” ganha finalmente forma e voz. Neste quarto simbólico, o que antes era invisível torna-se presença. O projeto parte de histórias profundamente pessoais, mas oferece um espelho onde outras mulheres possam reconhecer as suas próprias trajetórias — sem medo, sem vergonha, sem a culpa herdada de séculos de silêncio. Aqui, a arte não quer consolar. Quer escancarar o que foi escondido, nomear o que foi abafado, e abrir espaço para outras existências possíveis. Mais do que um processo de cura, este projeto é um rito de insurgência contra os mecanismos que perpetuam a dor como destino. Aqui, a matéria ferida se ergue como discurso.

Editorial: Sounding the Contradictions in and of the (Post-)Soviet Realm

Alexander Holm have been developing the artistic research project 'Sworld' on the APD program at RMC in Copenhagen 2021-2024. The project seeks to explore how simultaneous experience of sounds with- and without a visible cause can evoke human experiences of ghosts, absence and lost memories. The project researches and expands on composer and theorist Michel Chion's audio visual concept of Synch Points, examined through a versatile compositional praxis including choreography, text, voice, walks and live performance.

This artistic research explores a performance practice that integrates the phenomena of gravity and breathing as extensions of musical expression in improvisation. The aim is to develop a musical language that translates the qualities and characteristics of gravity and breath into sonic gestures, examining how they generate tension and release through both musical actions and silences. The project draws inspiration from traditional Korean music and dance, in which an embodied awareness of gravity and breathing constitutes a foundational approach to performance and interpretation. These cultural references serve as a framework for rethinking musical practice and transcultural awareness. As part of the research process, I undertook studies in traditional Korean dance, the vocal tradition of Pansori, and the percussion instrument Soribuk to understand how gravity and breathing are communicated artistically, verbally, and methodologically across these three disciplines. Insights from this embodied practice were then translated into the context of Western contemporary improvisation. The resulting concept is designed to enhance the performer’s awareness and is specifically conceived for a solo drum set context.