Research Catalogue

We hereby begin to frame the internationally collaborative work of Ixodos to be reviewed, and propagated by the Research Catalogue and its affiliate institutions. This exposition is based on questions initially asked by/with artist Livia Moura, Carolina Cortes, Bianca Berdardo, for Instituto Mesa. Ixodos is an international platform for transversal-translocal art exchanges, facilitating and accompanying residencies, projects, exhibitions, the sharing of knowledge, and the building of our common soul and greater selves. These art exchanges are not just between artists and art institutions but also between social, political and ecological projects and movements around the world, starting from Cyprus and Brazil. Ixodos was ritually initiated In June-August 2018 by Carolina Cortes, Chrystalleni Loizidou, Evanthia Tselika, and Livia Moura in Greece and Cyprus, initially in connection with Hippocrates' Garden in the island of Cos, It generated its second residency programme at A Casa Lar, Rio de Janeiro, in June-August 2019. ​ Ixodos é uma plataforma de intercâmbios, trocas, facilitando e acompanhando residencias, projetos, exposições, o compartilhamento de conhecimento, e a construção e expansão de uma alma comum e de nossas existências. Esta troca artística não é apenas entre artistas e instituições artísticas, mas também de projetos e movimentos sociais, políticos e ecológicos (ambientais) no mundo, começando com Chipre e Brasil.

About this project output from Critique and the Cypriot Summer, an artist residency in the village of Lofou 4/7/2016 - 9/7/2016 with Nurtane Karagil Hayal Gezer Marinos Houtris Chrystalleni Loizidou Invited by Xarkis & Confrontation Through Art with the support (in no special order) of NIMAC NeMe ARTos Re Aphrodite Point Centre for Contemporary Art Pater Theofanis ...

on what things look like

An experiment on the Artistic Research Catalogue

Soon after the Pussy Riot case ruling came out on August 17th, images began to circulate online of the Liberty Monument of Cyprus with the Pussy Riot balaclavas covering the faces of the statues. I received messages about this from friends who know of my work on Cypriot commemoration, along with the suggestion that this is something I should write about. Although this intervention/make-over as well as the Pussy Riot case are certainly interesting, what I found most compelling was the fact that others thought this occasion to be significant and worthy of analysis in itself. This is something that monuments and their related rituals are usually great at: having the character of poignancy without being very articulate about it. Here is a reading into this one, for those inclined to find meaning in the exercise.