Research Catalogue

"New ideas might be conceived and developed more rapidly in disciplines that are more abstract. The inductive methods of experimental innovators in painting makes their enterprise resemble the more empirical disciplines considered by psychologists, while the deductive approach of the conceptual innovators makes theirs resemble the more abstract disciplines." David W. Galenson, "The Life Cycles of Modern Artists", NBER Working Paper Series, 2003. Artists and architects have been at times captivated by visionary ideological viewpoints, which they used as inspiration and to make suggestions for applications with their artworks and designs. My use of the diagram and the image aims to convey the simple message that art strives for evolution; meaning to strengthen the mind, to research capabilities, to communicate a disinterested, though not necessarily apolitical, view of social changes, to overcome banality and offer an alternative way of looking at the world. For many artists, this motivation has traditionally often gone hand in hand with political goals and motivations. The decline of the commercial art market in the 1980s gave rise to artists working mainly, but not solely, with ephemeral installations, including the ubiquitous video art, performance, and the broader range of conceptual art. Painting remained as an established fine art practice, with a renewed interest to conceptualism. The portrait is of the artist, myself, at a young age, dated 1993, when I was a student at the NTUA. Betty Nigianni is my name known as (aka), which I also used as my artistic pseudonym.

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 purely 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. This was until recently, summer 2024 and spring 2025, making it a total of six (6) and five (5), as well as two (2), with the latter still pending. 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), the NRM's, and others', bizarre cultural "imagination", with regards to Albanians and Kosovo-Albanian citizens, scapegoating them, for the explicit purpose of causing me a serious case of digital identity fraud, tied in with a Golden Dawn known crime, the assassination of Greek left-wing, anti-fascist rapper Pavlos Fyssas, aka Killah P. Even as we speak, the 2020 police files were 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? As far as the 2023 records are concerned, which were created when I was living in London and the fraud case first became known. 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), 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"? And what has happened with the (2023X1) police files of a trafficked teen, like the above? 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", who are cooperative with all sorts of people, on mutual agreement that some things are given to all, such as security and liberty, and should be safeguarded in civil and democratic societies. 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. The offensive hate campaign against someone like myself, who has never been a mother, but cares about children and young people. Following on the above, because aspects of the propagandistic rhetoric are to instill fear of immigrants, 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 and other EU countries in boats and are summoned at the border. NO ONE CAN HAVE FOUR NATIONALITIES, like one of the lot, also a mother, was purporting, because she had four fake passports with four different nationalities: two non-EU and two EU. My concerns about serious international organised criminal activity, not even honouring children's and teens' basic rights, were reported and confirmed by the Greek, Scandinavian (though some are lagging behind, mainly in Sweden) 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 false claims about myself having a child with Loucas Papadimos (recently flipped to the father being Keir Starmer); 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. A grotesque and perverted manifestation of their view of Greekness was the 22nd fake passport, which was, in fact, a FAKE Greek passport, in my deceased mother's name, for someone born in 1976, found in 2025, but used in the UK since 2022. Needless to say, 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 digs 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 were 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 records, 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 years 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 that 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 the Italian and Greek abducted. For Michalis Katsouris; assassinated at age 29. For the "Other Greek Left". For Chantal Akerman, deceased 2015 in Paris, France. 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, the 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, though abruptly terminated, as well as a settlement with my Greek passport, since Norway is in Schengen. Most importantly, they 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, although counterfeit were removed; the Chantal Akerman connection to the case is the link to the US, where the late filmmaker lived and worked as an academic. 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, 5 and 6 arrondisements, April, with an English speaking police officer; and update in May 2025 at the same police station, with a police officer who used Google translate to communicate with me. Gare du Nord police was disappointing with a robbery of my rucksack and laptop, partly because they don't speak English and were getting facts wrongly. 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, stop-and-start, 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. 59 pocket sketchbook black marker and ballpoint pen drawings. 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. I use heavily popular culture signifiers, names of fictional characters from film, television, music and painting, as reference to actual individuals. 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. The exposition is underpinned by an underlying Marxist interpretation that, in my view, is relevant not just to economists and political philosophers, but also to people working in different sectors of our modern economies of advanced capitalism, such as banking and cybersecurity. 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", 'Eric' ("Her Man") and 'Prudence' ("Mole's Beau", or "Her Man's alter-ego") - December 2024, January 2025, May 2025. Who are not politicians, but are doing something political, so they must take care of what they do. See also exposition "The Loot", under 'Art and Activism Exposed as Research Blog'.

"Unlike unrealized architectural projects, which are frequently exhibited and circulated, unrealized artworks tend to remain unnoticed or little known. But perhaps there is another form of artistic agency in the partial expression, the incomplete idea, the projection of a mere intention? Agency of Unrealized Projects (AUP) seeks to document and display these works, in this way charting the terrain of a contingent future." From AUP-eflux Archive In painting, the artist can also be a model for the artwork. In performance art, artist and model come together for the performance. The exposition explores the role of figuration in contemporary art. Some of the material was selected for my participation, with my artistic pseudonym, Betty Nigianni, in conceptual artist's Janine Antoni workshop, "Loving Care", Performance Matters: Performing Idea, Toynbee Studios, Whitechapel Gallery, London, 2010 With essay about Marina Abramovic's work, published at eflux/Art and Education papers, 2012; originally presented as a conference paper at the Yale Centre for British Art, 2010, slides including the artist's writings. Fragments of the research for the installation project, developed in the studio and through my participation in urban research workshops, have been archived at AUP-eflux Archive.

I include questions I was given at the Janine Antoni workshop, Toynbee Studios, in 2010, as feedback to my work, which I presented with my artistic pseudonym, Betty Nigianni. 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.

Painting, digital video with dance performance, 2010-2011. Apartment renovation in central Athens (with Sean A. Hladkyj), 2016-17. 1. What happens at the borders where two colours meet? Purposefully exposing by meticulously smudging the edges of painted surfaces shows that there is a small area at the margins that remains undecided. 2. How do we formalise external sensory information? Experimenting with painterly techniques, such as pouring paint directly onto paper and moving the paper around to apply liquid paint, for the larger painting, I methodically applied processes of rationalisation and abstraction for painting a tree branch from life. The research for the painting and the final work were produced during a painting workshop at the Slade School of Fine Art. The digital video was recorded at one of the rehearsals for a dance performance by choreographer J. Y. Corti at the London Contemporary Dance School. The title "Enlightenment Panel" comes from Peter Sloterdijk's 'Critique of Cynical Reason', published in 1983, which critically discusses philosophical and popular cynicism.

Sculpted and painted wood, combined with treated rusty objects. Duct tape with boat paint models for metal sheet sculptures, 2020. Digital drawings, 2021, 2023. Dutch steel sailing boat part-restoration and renovation, Amsterdam (with Sean A. Hladkyj), 2019 until summer 2020. I exposed relief and improvised sculptures made with industrial paints, as well as found objects, to weather conditions, including heavy rain and wind, over a few months on a floating timber raft. Working with the changes the weather was causing to the ad hoc studio, I made changes until the painting was finished, photographed, then dumped. Someone collected the relief. I applied the colours from those available in a symbolic manner, abstracting the view of a ghetto in a large city. The objects stand for the landmarks. The pieces would comprise of the scenography for a theatre performance, informed by my conversations with a theatre lighting technician. The performance would also include a donation event of the art objects. See external link for the theatre play, based on the tradition of the philosophical dialogue and employing the idea of performing philosophy to make it accessible to a wider audience. Political asylum has been traditionally offered to people who flee from their countries of origin and citizenship, because of violations of their dignity, which is a human right, and other basic human rights, such as safety and liberty, due to their political beliefs and related activities, if any. Currently, seven human rights of mine, five basic, have been infringed in the United Kingdom, where I have been a citizen since 2011; the origin is my native Greece. Political asylum is only offered to people, who are non-citizens of the country where asylum is sought from. At the same time, political asylum has become harder to offer, due to the global nature of persecution of whoever is perceived as a dissident by authoritarians. Since 2014, Forza Nuova, the Italian affiliate of the Greek Golden Dawn, with contacts in the Middle East, has participated in the organised international criminal case, of which I have been the target, originating from my native Greece, "accelerating" in the Netherlands and the UK in 2020, Covid-19. This happened with the theft of my personal details, specifically my Greek driver's license number, by Italians, in Amsterdam, in the winter of 2020. My number was used on three fake Italian driver's licenses,in my name known as (aka), for criminal activity in the UK. My name known as (aka) was also used on three fake Italian passports for fictitious female Albanian citizens. Notably, Roberto Fiore, Forza Nuova's neo-fascist leader, inherited briefly Alessandra Mussolini's post in the EU parliament. All the more so, after mediation with the Albanian government, the Italian government settled in the autumn of 2024 one remaining fake Italian passport for a fictitious Albanian citizen, probably in connection with Golden Dawn, who had their own three MPs in the EU parliament. Rumours have it that Fiore was once upon a time an MI6 agent. It is confirmed that he has ties with the British National Party (BNP), the British XRW component. Italian Jews, including Greco-Italian Jews, were persecuted by the Catholics and almost exterminated in the late nineteenth century. My great grandfather, from my father's side, with the first name Gianni, went to my native Greece, from the North of Italy, around that time, He became Hellenicised and adopted the Greek Orthodox religion. We don't know his surname. The Holocaust and the Slavery past are the black marks of modern historical times. Drawing on the philosophical notion of impossible objects, the works attempted an indirect postcolonial critique: a suggestion for alternative, autonomous and communitarian lifestyles; and a performative metaphor for global refugees of all kinds. At the time, in autumn 2019, I had attended an environmental protest in Amsterdam that was generally peaceful. Investigatory research with artworks, some of it carried out in Amsterdam, the Netherlands, where I was a philosophy student, from 2017 until late 2019, and remained until the beginning of autumn 2020. I did not have student insurance, as it was obligatory, because I was covered by the NHS through EHIC (European Community coverage), while the UK was still in the EU. I didn't have travel insurance either. Dutch travel insurance, under the reference number E111, was opened by unknowns on my behalf in the summer of 2020, to cover the expenses of routine women's healthcare and family planning tests, but was closed as fraudulent after I reported to the Dutch fraud authority that I didn't open it myself; neither I had any knowledge about who might have done that. The title "Enlightenment Panel" comes from Peter Sloterdijk's 'Critique of Cynical Reason', published in 1983, which critically discusses philosophical and popular cynicism. This exposition is in progress. See exposition, also in connection with expositions under 'Art and Activism Exposed as Research Blog'.

Design for interactive art installation with urban regeneration proposal, as well as video about environmentalism and our technologically mediated private and public lives; installation catalogue design with photography and textual collage, 2021-2023. "There is a massive abundance of goods that end up in landfills. With such abundance of goods, no one should be deprived." Visitors will have to leave an unwanted item of theirs and take another to collect the installation catalogue. The installation will be monitored for this purpose. Designed with Wi-Fi light technology for agility training, the interactive floor in the entrance will be controlled by the visitors through a tablet computer that will allow them to select the difficulty level. The exposition offers a critical viewpoint to the contemporary gallery-mediated commercial environment by making reference to the non-monetary economies of artistic and cultural production. Art "is an instrument of war for attack and defense against the enemy". The enemy is whoever exploits their fellows out of egoism or personal interest (Pablo Picasso). With summary and questions about David Murakami Wood's article "The Global Turn to Authoritarianism", 'Surveillance and Society', (15), 3/4, 2017: 357-370.

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, 2023-24. Interactive research blog. 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. The company behind 14 Barnsbury Road was deemed illegal through the courts, on 22 April, 2024, 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. The household of tenants was mixed and multicultural, but mainly British natives, with the exception of a couple from Hong-Kong, an American citizen, and myself, a naturalised British citizen, originally from Greece. 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 confirmed persons, whose details got stolen were abducted by mainly Golden Dawn and, secondarily, the NRM; they are deceased. A new addition of one (1) more fake passport, Greek, of a woman of Greek citizenship abducted, most likely by Golden Dawn, circa 2022: making it to a total of twenty-two (22). Twenty-two (22) and twenty-three (23) photographs, including two (2) plus one (1) of myself: NOT a missing person, from the 2022-2023 period in the eventually looted, in spring 2024, Islington studio. Two (2), plus one (1) targeted cultural producers: the anti-fascist Greek musician, Pavlos Fyssas, aka Killah P. (domestic); the French/Belgian filmmaker of Jewish origins, Chantal Akerman (global), who lived and worked in France, as well as the US, and whose personal details, specifically her life insurance policy and her medical file, got stolen in connection with the case, can be added to the toll of two (2) deceased. My personal details, name known as and artistic name, as well as numbers connected to my personal details, were stolen, too, while I (post-global) was targeted as a cultural producer, an artist and former academic. Was I going to be the third victim? Golden Dawn were originally pagans, drawing from the ancient Greek mythology and ritualistic practices, including human sacrifice. The visual imagery and the art included in the photographs is influenced by the marketing and advertising industry; I brushed shoulders briefly with students in the creative industries teaching at the Winchester School of Art. I used this an ironic commentary on Golden Dawn trying unsuccessfully to create a brand through propaganda, not political marketing. 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 unsupervised until submission: 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 new photographs from a series of digital photography called "Forensics", taken with my mobile phone, after I was forced to leave the Islington 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, my former neighbour, who was suddenly transferred by his employer, from London, where his daughter lives, to somewhere outside of London; and for Lawrence, a second generation immigrant from Nigeria, whose temporary post was prematurely terminated, though he was planning to return to his legal studies. And for Ali. And for Oliver, also my former neighbour. In memory of Howard, also a tenant at Bellview, and former neighbour. 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, especially for people of African descent. A Nigerian was among the Golden Dawn victims of assassination in Greece. I was listening frequently to Massive Attack, a British trip-hop band, when I was living in Islington. Sophie Calle is a French writer and photographer, working on themes of identity, intimacy and everyday existence. Her work is partly inspired by the detective fiction genre.

Design, 1995-96, 2023. Design, 1996-97. Photography, 2010, 2011. Essay, 2015. Collage Text, 2022. The exposition serves as commentary and guide on the place of art, in a gradually environmentally and technologically challenged world. I designed this exposition as a 'teaser' on how architects, who work mainly conceptually, might conduct research from different art and media sources, as well as their own broader artistic work. In this art and design context, I further make a commentary on outgrown conceptions of the foreign, in terms of the so-called "exotic', and the non-foreign,within the political context of contemporary globalisation. Thus, I raise open questions on the impact of architecture and design on global politics. The re-design proposal, inspired by De Stijl, illustrates the modernist historical view that art appears to be regressive, rather than progressive: as soon as a movement or a school becomes established, reaching its culmination, it starts declining. Finally, I have included a graduate school architectural design project in the archaeological site of Eleusis accompanied by new commentary. With essay about experimental film making in the British avant-garde, published in "Architecture and Culture" journal, 2015, which is about the environmental challenges of the urban environment. The reference to the TV show "Alone", a competitive prize show of sole or two-person players, is a reminder that humans can live in the natural environment developing survival tactics already applied by their ancestors. I included those references to make hints at the relationships between film, television and contemporary architecture as an artistic medium, in the old-fashioned tradition of architecture belonging to the fine arts. About how to navigate this exposition: Scroll from top to bottom, then from bottom to top, then scroll to the top right, then scroll to the bottom right. For Luke, who I haven't met; with respect and care.

Unrealised design for garden house in North London, 2002. An unrealised house commission prompted my preoccupation with the question of creative value, which for architecture largely relates to the local economy. Similar to, but not quite the same as authorial or intellectual property rights, the question of creative value for writers is not connected to local economies, although it is determined to a certain degree by cultural values.

Design for a new house, scrapped 2002, reworked 2021 with bird observatories on mud landscape. Flipping the initial scaled sketches for the house, I selected the naturally lit staircase as the main sculptural and building element for bird observatories, spread on the mud landscape of a natural bird habitat. The sculptural structures are proposed to be installed on site following the parallactic model, which re-frames the site as the medium through the pieces.

Net art for unrealized site-specific performing arts installation, 2020 The exposition shows fragments of work prepared for an unrealized interactive site-specific public installation at Siobhan Davies Dance Studios, South London. The installation would include dance performance, video/photography and structures with objects. The work was produced at different times between the winter and summer of 2011. The installation was to be a collaboration with dance artist Susanna Recchia and photographer Rachel Cherry. Audiences would traverse or remain on site as long as they wished. The Critical Pathways workshop by choreographer and artist Rosemary Butcher served as the starting point. Walking journeys allowed for emerging themes, such as pilgrimage, walking-the-lifeline and potentiality. The concepts of the moving body and the plane tree, a variety imported into the city, became intertwined. The performers would enact processes related to journeying and nomadism. The installation would create a virtual landscape of remoteness: a place for reflection. Revisiting these works, I draw from Deleuze and Guattari's notion of becoming animal to suggest that we rethink the notion of animal via the concept of the plan(e)/plateau. Deleuze and Guattari's advancement of the notion of the plan(e), from a metaphoric articulation of processes of translation into a conceptual apparatus of intersection across forms, enables the co-existence of multi-dimensional multiplicities against their reduction to two dimensions. The plane is one of consistency that is sustained across multiplicities. If it is the plane of Nature in the Deleuzian sense of natural history, it allows for the infinite multiplicity of individuals. Entering the plan(e)/plateau, one becomes part of an individuated assemblage depending on their relations of movement. In memory of Rosemary.

Site-specific single channel video and photography, with drawing, 2010-11 Deductive logic.

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.

A philosophical essay.

Interactive digital art installation for dance performance in collaboration with choreographer Jia Yu Corti, London Contemporary Dance School (The Place), 2011. Dance improvisation by Robert Anderson and Kathy Crick.

Single channel digital video, with photography and text, 5' 41'', 2007 'Novel' is a half-photography, half-fiction digital video, which was inspired by my temporary dwelling in different cities during the period of a year. For my contribution to this catalogue, I briefly discuss the artistic process and thinking behind the project. In parallel, I reflect upon the possible theoretical links between visuality, narratives, architecture, and urbanism. I suggest that personal associations are definitive and significant in the ways we tend to occupy and subjectively interpret contemporary urban spaces. After a lengthy process of collecting photographs and digital film footage, as well as selecting written material, some of it in the form of quotes, from my journal, I completed the video in 2007. My method was: - I made preparatory sketches that I included in the video (film still 1). - I used a montage technique I saw in one of Peter Greenaway's films: the separate 'window' on the top or bottom sides of the video (film stills 2, 4, 5) that denotes parallel action. - I overlaid photographs (film still 3), a technique that allowed me to create the animating effect of the moving image, without using film footage. In painting, the artist can make layers out of collaged material that might be unconnected or purposefully juxtaposed to the painting's subject. Using the above method, I asked the viewer to watch the video more like a moving series of paintings, rather than as a film. The video, like my other video art work, was exhibited and archived under my artist's pseudonym, Betty Nigianni. Written in 2012, the essay is a separate piece to accompany this exposition. Note: Please disregard comment I posted about a notification that doesn't appear anymore.

Single-channel video with text and voice-over. Invitation at the Women Artists' Movement Show, The Crypt Gallery, London, 2009.

Single-channel video with text. Shown at: Online Exclusives, Afterimage Online, 2015. The Journal of Media Arts and Cultural CRiticism, 2007. 3rd Athens Video Art Festival, Athens, Greece, 2007. "Video as Urban Condition", Video-pool Archive, Austrian Cultural Forum, Austria, 2007. "Her Shorts", International Women's Video Art Festival, Plugged Art, USA.

Single-channel digital video designed as a video installation for the live music performance by Elica. Shown at: Small Music Theatre, Athens, Greece, 2007.

Single-channel digital video with text and voice-over. Shown at: 2nd Athens Video Art Festival, 2006.

Single-channel digital video with voice-over. Shown at: "Take 291", 291 Gallery, London; "Troma Fling", Independent Film Festival, Edinburgh, 2005.

Play in the format of the philosophical dialogue, 2019 Drama is pretense. But, unlike fiction, a theatrical play is not a pretended representation of a state of affairs; rather it is the pretended state itself, in which the actors pretend to be the characters doing the pretending in the actual performance of the theatrical play. The actor is in this way irrealised in the character. Aside from writing the play, which consists largely in pseudo assertions, the playwright gives the actors directions on how to pretend to make assertions and to perform actions. Therefore, the playwright is writing a recipe for pretense. Instead of pretending to write assertions, the playwright gives directions to the actors on how to enact a pretense. The philosophical dialogue has been an established, although uncommon, method of philosophical writing, which usually deploys fictional characters to present a discussion between several divergent viewpoints on a topic of ordinary or philosophical interest. The juxtaposition and debating of opinions in ordinary uses of language, without prioritizing any opinion, endows the dialogue with open-endedness instead of conclusiveness. As McKeon (in Prince, 1996: 3) argues: "Dialogue is statement and counterstatement, based on ordinary ways of life and ordinary uses of language, with no possible appeal to a reality beyond opposed opinions except through opinions about reality. Truth is perceived in perspective, and perspectives can be compared, but there is no overarching inclusive perspective." In this exposition, I exploit the dialogic format to expose the views of Jean-Paul Sartre, a well known philosopher and father of the existentialist philosophical and literary movement, and Maurice Blanchot, a rather obscure philosopher of literature and literary critic. Notably, both Sartre and Blanchot were active in the post second world war period, which significantly shaped their philosophical insights; specifically on modes of writing, including fictional prose, about a variety of topics, from politics, to ethics and aesthetics. Because referencing is rarely used in philosophical dialogues, here I employ full bibliographical referencing in the end. The dialogue presents an advantage for reaching a wider readership, beyond the confines of those with strictly philosophical and academic interests. Prince, Michael, "Philosophical Dialogue in the British Enlightenment: Theology, Aesthetics and the Novel", Cambridge: Cambridge University Press, 1996.

Photography with sound and net art, drawing, found folk sculpture with digital drawing, readymades, 2012, 2020, 2021. Accompanied by archival material. The exposition exposes the question of what is artistic research. Usurping the mini-essayist format, which is traditionally associated with research in say the area of philosophy, the exposition formally operates on different levels. I selectively included visual art research material from my own artistic archive, as well as anonymous material that's readily available from the internet and in film archives. In this way, I wanted to emphasise the role of archiving and using archives in the artistic process, as an element of artistic research and artistic production that might involve remediation. Taking that we live in a largely theoretic culture, which means that we use external information systems for storage and retrieval of written, visual and other material, the implication is that art is part of this theoretical system. Moreover, I specifically problematise the notion of value in relation to the visual arts by using the popular media figures of the counterfeit and the impostor, with reference to the so-called "impostor syndrome", correlated with being a minority of some sort in one's field: "A different thought is that two people may be answerable to the very same standard of success or competence, yet be subject to different epistemic standards for reasonable belief in their respective success or competence. This would be an example of pragmatic encroachment." (Katherine Hawley, "What is Impostor Syndrome?", Proceedings of the Aristotelian Society Supplementary Volume 93, 2019). I use visual art and figurative examples as illustrations, adapting from methods, such as the example, used in analytic philosophy. I suggest that some artworks operate as philosophical provocations of the archive: "The artwork just exists", as Frank Stella argued. Artworks and archival artistic material are offered for aesthetic contemplation; they don't possess any "magical" qualities, they don't cause any phenomena or events in the world. In this view, I ordered this exposition as a design proposal for two independent, yet interconnected exhibitions: one for the final artistic exhibition show; and one as a general overview for the artist's studio, set up as a stand alone, if parallel, exhibition.