Zoe Panagiota Nigianni

new contemporaries
United Kingdom (citizenship) °1974
research interests: interdisciplinary
affiliation: University of Amsterdam Alumni
en

Originally trained in architecture and design, I have received further training in analytic and continental philosophy through postgraduate studies. My work, also in the form of publications, continues to explore the relevance of philosophical methods, concepts, and contexts of analysis, including ethics and social philosophy, for design and the arts. My use of media has been contingent and expansive, depending on the question that is explored.

 

 

 


research

About Artistic Research

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research expositions

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Design

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Writing for Fine Art

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Filmmaking

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  • Visual Communication (2011-2012)
    Degree: Associate, Malmo University, School of Arts and Communication (Sweden), recipient: Zoe Panagiota Nigianni
    Visual communication, graphic design, photography.
  • Fine Art (2008-2011)
    Degree: Associate, Slade School of Fine Art & Royal School of Drawing (United Kingdom), Morley College (United Kingdom), recipient: Zoe Panagiota Nigianni
    Drawing I, Painting I, Painting II, Drawing as a way of thinking, Drawing into painting. Drawing the human anatomy, Drawing the unexpected in the studio, Portrait drawing. Casting and molding.
  • Contemporary dance and performance (2007-2011)
    Degree: Associate, Shiobhan Davies Dance (United Kingdom), London Contemporary Dance School (United Kingdom), recipient: Zoe Panagiota Nigianni
    Contemporary dance, dance improvisation, contact improvisation.
  • Performance Matters: Performing Idea (2010-2010)
    Degree: Associate, Whitechapel Gallery (United Kingdom), Toynbee Studios (United Kingdom), recipient: Zoe Panagiota Nigianni
    Conceptual art and performance workshop.

comments

Exposition: Rehearsal for A Play in Two Acts (01/02/2020) by Zoe Panagiota Nigianni
Zoe Panagiota Nigianni 12/05/2020 at 11:54

Quote unquote:

 

"First some anthropologists adapted textual methods from literary criticism in order to reformulate culture as text; then some literary critics adapted ethnographic methods in order to reformulate texts as cultures writ small. And these exchanges have accounted for much interdisciplinary work in the recent past. But there are two problems with this theatre of projections and reflections, the first methodological, the second ethical. If both textual and ethnographic turns depended on a single discourse, how truly interdisciplinary can the results be? If cultural studies and new historicism often smuggle in an ethnographic model (when not a sociological one), might it be "the common theoretical ideology that silently inhabits the 'consciousness' of all these sepcialists... oscillating between a vague spiritualism and a technocratic positivism"?"

 

Hal Foster, The Return of the Real, Cambridge, MA: The MIT Press, p. 183.