Research Catalogue

Islington studio flat 4, at 14 Barnsbury Road, London, 2022, privately rented. Interior design and styling, as art installation. Looted, 2024. Investigatory research with artworks, 2023-2024. https://en.wikipedia.org/wiki/Looting https://en.wikipedia.org/wiki/Loot_(magazine) 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 at the end of March. The maintenance employed many Polish citizens, all dressed in black with black caps, adopting the XRW supporters' fashion code. Twenty-one (20+1) digital photographs of the studio, 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. My personal details were stolen, too. Was I going to be the twenty-second victim? Twenty-two (22) and twenty-three (23) photographs, including 2 (two) of myself: NOT a missing person. Golden Dawn were originally pagans, drawing from the ancient Greek mythology and ritualistic practices, including human sacrifice. The art world has been traditionally male dominated. This has not changed dramatically in contemporary art. 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, which 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, such as private rentals, 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. And for 'Ali'. 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. Saying this, the UK must still be scoring high on racism. A Nigerian was amongst the Golden Dawn victims of assassination in Greece. The exposition is inspired by jazz music. See exposition in connection with "The Origins of The Game", "Debris", and "XRW (Implicature)".

eferences other people give me

I include questions I was given at the Janine Antoni workshop, Toynbee Studios, in 2010, as feedback to my work. Much of Janine Antoni's art is about the female body and cultural identity. I address the participants by the first names they used to introduce themselves at the workshop. The questions were given in writing to each participant by the rest of the group, to offer material for thinking further their artistic practice in their own time. I include the answers I would give now, if I was asked the same questions. Artists, architects and designers give interviews about their work. Amongst them, architects tend to write more and publish more written work in relation to their practice.

The concept of 'crowism' allows to adapt the qualities of the crow and project them onto humanity's relationship. Like having an observation on the relation between a stat and the people culture motivation. The feature of the crow, takes no burden of humanity society which mean: does not agree taming, presents an individual self-thought, cannot be restrained by regime and cannot be adapted to the pattern of the Western society.

Hundreds of faces are arranged in a strict order. Hundreds of faces are hundreds of voices. Hundreds of stories answering the same simple question: “What have they never told you?” The faces seek the words, and the words seek the faces. It’s a silent dialogue, a cemetery of glances and suspended phrases. Everything is held up by light, thin, fragile pins. The images sway, in a precarious balance. Silences that weigh heavily. Breaths long denied. Hundreds of stories. Hundreds of confessions. An unyielding and necessary order. I am building the cemetery of doubt: a space where unspoken words, unresolved secrets, and incomplete emotions finally find peace.

Wittgenstein's "Ethics and Aesthetics are one" is the starting point of this research. "In the Notebooks, Wittgenstein states that 'the world and life are one', so perhaps the following can be said. Just as the aesthetic object is the single thing seen as if it were a whole world, so the ethical object, or life, is the multiplicity of the world seen as a single object". (Diané Collinson, The British Journal of Aesthetics, Volume 25, Issue 3, SUMMER 1985, pages 266-272) Art transcends boundaries of race, nationality and gender. It is a creative act of unifying in the context of humanity, from the subject to the various topics, by asking questions. This point is the lack of "reality" (dealing with reality) from a sociological perspective. However, it is impossible to define humanity and reality based on sociological statistics alone–which is my perspective of Wittgenstein's "Ethics and Aesthetics are one". Thereby, I examine 'world and life' from the 21st century perspective. In other words, my research is on immateriality from a 21st-century perspective in relation to the context of neuroscience—on multifoldness. I would like to explore the following "What is diversity and its coexistence?" ...