You and Me and Everything Around Us
(2021)
author(s): Zoe Panagiota (aka Betty) Nigianni
published in: Research Catalogue
Single-channel video with text and voice-over. Invitation at the Women Artists' Movement Show, The Crypt Gallery, London, 2009.
You and Me and Everything Around Us
(2020)
author(s): Zoe Panagiota (aka Betty) Nigianni
published in: Research Catalogue
Single channel video, 3’, 2008
The probe for the work was the philosophical question what it is to exist in the world: in environments, with others, people, objects, surfaces; and whether the answer can be intuited.
The work evokes the temporality of such experiences, which is contingent upon the ever-changing nature of things. Objects have often had multiple owners, and so they carry traces of previous worlds. When encountering objects new to us, we may find ourselves appropriating them through affective attachment to assimilate them into our world. Inspired by the everyday lives of the house's occupants, the work is also about the affective bonds developed during and because of their temporary co-existence.
Experimentation with overlaying resonates with the artistic expression of overlapping materials, textures, spatial qualities, and reflected images. Photographs, film footage and sounds were recorded in an improvised way over a one year period in an old house in Walthamstow, East London. The artistic treatment of the subject matter as a time-based media assemblage, which exploits the home style video format, critiques popular staged presentations of everyday life, while exploring the house as an evolving over time system.
Deer, Tigers, Perec and The Everyday - a choreographic approach
(last edited: 2019)
author(s): STELLA MASTOROSTERIOU
This exposition is in progress and its share status is: visible to all.
My research focuses on the interrelations between different types of spaces and the types of movement they encourage or impose. The research is inspired by the writings of writer Georges Perec and informed by concepts and methods from the fields of sociology, anthropology and architecture.
This portfolio supplements the written exegesis of my practice-led research process, which revolves around two interwoven strands / projects, and serves as an analysis of the artistic outcomes and as documentation of the artistic processes. The practice research has been constantly informed by theoretical concepts deriving from an extensive theoretical research, which will be selectively reported. Several smaller projects, experiments and workshop processes that I will briefly delineate in this paper, led into forming two more elaborate projects that I have been developing in the past year and will be more extensively reported in this paper.
The first strand has to do with working in the public space and aims to devise ways of thinking and creating in and for the public space. Under the title I DON’T SEE DEER, I work with observation and writing as a tool for studying everyday life and movement in the public space, in order to highlight existing aspects of the city and propose new site-specific situations. Both the research process and the artistic outcomes were located outside – in the urban space. The process and the outcomes of this part of the research have so far been translated into various forms: a video work, a live performance, a photographic series, a workshop, and most importantly the outline of a flexible way of working that I can bring into different places and groups.
In the second strand, I attempt to incorporate concepts, tools and findings from working in the public space into choreographic research and creation for the stage. While keeping observation of street life as one of my main tools, the practical research here was mainly studio-based. This strand led to the creation of the work WE ARE NOT TIGERS that I presented as my final project for the master.
The two strands did not follow any successive chronologic line. Instead they emerged and were developed concurrently, as autonomous processes that constantly affected and informed one the other, throughout the past year. In this paper though, I will mainly follow the chronological order of how my research path evolved, while linking the practice-led research to the theoretical research.