Research Catalogue

Mijn Research Catalogue over mijn onderzoek naar CHAOS

Research document

Through 2 workshops in Amsterdam and in Athens, we created a toolkit with artistic games and props, which all passengers can use in order to interact with others in public transport. My aim is to empower citizens to transform the non-place (Augé, 1995) in means of public transportation into performance space/time and, subsequently, social space/time (Lefebvre, 1991) through a creative form of civic encounter. Public transport is not only a public utility and a means of accessing other public places; it is also itself a mobile public space (Paget-Seekins & Tironi, 2016). Using public transport is an outdoor "necessary activity," which is more or less compulsory, such as going to work or waiting for a bus, where people are in "passive contact" with each other -they only see and hear other people- and only minimum activity takes place (Ghel, J. 2011, p. 9-13) " I dance in the shadows of the public and the personal. I travel between the rational and the irrational, between fantasy and reality. I invite you to a trip whose purpose is the journey, to introduce you to my friends, the known and the unknown, the transient, the ephemeral, the everyday. People, passing by, hurrying along, watch me, thousands of them swarm to my temporary island, my railcarriage, my home. They sit down across from me smiling at me. Do you want to play? Do you want to play? in this game there is neither winner nor loser. The realization of the significance, and yet the insignificance of my existence gives me balance. There is no stop-free trip, just as there is no stop without a traveller. I liken life to a string that pulsates and is constantly reshaped at any moment without specific angles or bows and sides, a string that offers us no chance to measure it. This is the field that concerns me primarily, the general reshaping taking place on all levels. I don’t separate life from creation nor do I separate art from life. I bear responsibility for the act of everyday life, conscious of the whole and of the future. I am a sensor of the universe and my actions are recorded and return to me, not so much in the form of punishment or reward, rather as the trajectory I pursue in my own significant / insignificant life. " IOANNIS KAROUNIS

BLOD, BLOD(y), BLOD – an exposition of recurring processes, trails and building blocks of the film and research project BLOD through the lens of its methods. The BLOD methods are articulated as a Manifesto, written to accommodate a multitude of contents, forms, and modes of collaboration, while demanding cross-disciplinarity, honesty and risk-taking. The methods are non-linear, looping, and embedded in the manifestations of the research: films, performances, presentations, etc. The BLOD project aims to create multivocal cinematic experiences through embodied practices. The research explores relation-building through a feminist methodology of creating gaps and friction – between audience, story, time, matter, and co-creators. The project asks: how to tell multifaceted, non-exploitive stories of womb-related states of life and death, rarely depicted in cinema? And how to disturb film industry hierarchies through a collaborative practice that maintains individual artistic integrity and promotes collective authorship? The BLOD research shares its outcomes via the mediums of its artistic practice: videos, texts, digital expositions. This exposition is designed to reflect the connections and interactions of the research's building blocks: ideas, places, materials, people, time, experiences, technologies. To enjoy BLOD, BLOD(y), BLOD: move around it with your mouse, follow dotted paths out from the center towards texts, images, and videos. Hover over numbers and words in BOLD to reveal expanding texts. Linger on images and videos for captions, translations, and instructions for further interaction. Along the outer rim of the main page are spiral buttons to take you back to the center with a click. Subpages have links on the main page but are also listed in the Content index in the upper left menu. The exposition is mainly in English. Videos in Swedish have English translation.

A LIST OF NIKOS KOKOLAKIS's WORKS, INCLUDING INSTRUMENTS OF THE OBOE FAMILY (March 2023). A list of Nikos Kokolakis's works, including instruments of the oboe family, was published for the first time, after a personal interview with the composer Nikos Kokolakis about his works, in the frame of a Ph.D. research, about Hellenic (Greek) Oboe Repertoire, of the Ph.D. candidate: Christos Tsogias-Razakov.

The exposition Scented Rooms aims to be a form of resistance that finds itself in poetry and politics, poetic imagery, re-thinking censored archives, existential reflections on photography and cinema, and dance. At the very core of the research is an important historic icon in Iran; The country's oldest theater which was burnt down by extremists during the 1979 Islamic Revolution, closed forever and has decayed over time. The burning of this theater, along with many others, was the starting point for imposing restrictions on art and culture. The research departs contextually from the efforts of the Islamic government to control civil society. It is a reaction to a history of imposing a specific language discourse and discarding elements that represent a non-religious view, visual changes in the urban space and limiting access to specific types of information that refer to citizens’ collective memory. Giving agency to this theater, the research aims to revive the collective and public memory of a society, being the voice of those that have been silenced for a long time.