Me, myself & ai

work-image
Views: 1555

Α creative dynamic dialogue with artificial intelligence (ai). The cursor is about to press "generate". Analyzing.



Finem
Fani Arapi
Finem
Inside the body
Eleni Mitrouska
Inside the body
7500+1 sculptures
7500+1 sculptures
Safe Travel
Safe Travel
Yorgos Psailas - A portrait of the British Cemetery caretaker
Spyros Christoforatos
Yorgos Psailas - A portrait of the British Cemetery caretaker
Binary Stitches
Tinatini Popiashvili
Binary Stitches
Private - Public
Dimitra Politi
Private - Public
Allimonò
Allimonò
EX-SITU [existing situations]. Destruction as an social-artistic practice.
Tonia Aino
EX-SITU [existing situations]. Destruction as an social-artistic practice.
BRAIN_RINTH
BRAIN_RINTH
Finem
Views: 1539

The performance Finem deals with app[ause ας a transformative act. The aim of the action is to deconstruct applause ας a social expression of admiration and recognition.

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Inside the body
Views: 1246

Every expression of the subject is inherent in the body image, indicating the lack of being, which desire tries to cover.

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7500+1 sculptures
Views: 1332

The Video installation in the exhibition emphasizes and at the same time negates the temporality of a medium whose dominant form of expression is space.

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Yorgos Psailas - A portrait of the British Cemetery caretaker
Views: 2324

A short documentary, based on the theory of Observational Cinema. It is the portrait of the caretaker of the British Cemetery in the island of Corfu, Greece, Mr. Yorgos Psailas. The documentary deals with his daily life in the cemetery. Mr. Psailas also recounts the most important moments of his life as well as his thoughts about life and death.

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Binary Stitches
Views: 993

"Binary Stitches" is a captivating exploration of the intersection between tradition and technology. 

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Private - Public
Views: 1549

This changing frame represents an allegorical image of human nature, which when it is in dialectic with the outside world - during the transition from private to public life, experiences conflicting feelings of apprehension, anticipation, reticence, curiosity and extroversion.

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Allimonò
Views: 1621

The fulfillment of a last wish leads Filippo to a retrospection from the mountains of Epirus to the recent past of the year 1945. His meeting with his history revives the memory of a whole village, unfolding the relations and the bonding of two peoples against the commands of an era, which is not as far as we think.

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EX-SITU [existing situations]. Destruction as an social-artistic practice.
Views: 2086

EX-SITU[existing situations] is an interactive installation that incorporates a computer, sound, and lighting technologies in which users/ viewers take part in the destruction of the painting by stepping on it. At the same time, a motion tracking system marks visitors and a light spot tracks them.​
The content of EX SITU calls for awareness of social indifference, self-promotion, and their impact on society. The structure of EX SITU is intentionally ambiguous, revealing the obsession/fascination for the protection of material in contrast with the empathy for other people.
The interactive installation underlines the responsibility of individuals in society. The theoretical part analyses the Destruction in Art Symposium in 1966 and The bystander effect, or bystander apathy, in which individuals are less likely to offer help to a victim when other people are present.

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BRAIN_RINTH
Views: 1921

BRAINRINTH is a multi-channel video installation. The work attempts – through technology – to approach brain-related functions of memory, drawing on material from personal experience of the body in crisis. The title BRAINRINTH –from the words Brain and Labyrinth – is a play on the intractable riddle of an archetypal Greek structure (the labyrinth) and the labyrinthine processes of the human brain. The BRAINRINTH installation seeks a poetic mapping of the human brain.
Due to the shock of trauma, our understanding of the functioning of the body, and of nature itself –which we are trying to dominate – seems desperate and full of anxiety. Taking this into account, if we adopt a position in which we keep a distance of aesthetic neutrality, perhaps this reality begins to look less frightening.

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AVARTS IONIAN UNIVERSITY

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