It’s Monday, the 13th of December 1943, the small town of Kalavryta is set on fire by the occupation army of Nazi Germany while the entire male population is being gathered on a nearby hill and shot dead. This war crime will go down in history, along with the massacre of Acqui Division, as the largest mass killing in Greece during WWII. Three men who witnessed these events as kids, locked up with the rest women, children and elderly people in Kalavryta’s primary school, recall this traumatic experience.

Where do memories go when they are lost? Are they still where we left them, if we don’t recall them? In this room, as private and irrevocable as our memory, objects animate a series of scenarios. A memory floods the room, another struggles to disclose itself, another one leaks back and forth in time. The idea of the ‘other’ hovers between what has already passed and what is reminisced every time. We never recollect events and spaces as such. We always enliven recollections in our own way. Through constant evocations that seek to perpetuate the existence of the ‘room’, memories converse with space and time, as well as with a part of ourselves. Either as past, forgetfulness or loss, they always contain something that is already gone.

The quarantine's experience time has functioned as a humanized time. Its previous social barbarity was imprisoned in the familiar cage of my soul and became my creation time. Each day was my friend, an eternal circular and dynamic present, a consciousness without conflicts. It was like an eternity that is experienced differently every moment. An unprecedented form of stillness gripped me and perpetuated in many abstract fragments which finally formed the new texture of my existence, in this peculiar isolation. I became from the carcass of time I was before, its qualitative disintegration… Reality was distorted and experienced illusively. The time from the alienation that was before, was transformed and became the cover for the scratched truth of myself. This kind of time my conscience had dreamed to live.

Α video art piece with performance and art installation elements in public space.

Myths are living stories that grow with time, change, adapt, but continue being a source for research, inspiration and creativity. The interactive audiovisual theatrical performance INRIRI questions the adaptation of an archetypal myth at a time of many dimensions and levels with elements from physical theater and embedded interactive technology in the performing space. Parts of the story are a Caribbean myth which transforms the body, a woodpecker and some new experimental technologies. On stage two bodies try to communicate with themselves and the environment around them and to discover anew what a body can be, what the relation and connection with the other body and which are the influences of the surrounding space on them.

Paraphrase, reference of the title to the depression caused by the shocking images of drowned children in the Mediterranean, the watery grave of persecuted refuges.

The current project is a digital, interactive, audiovisual application that can be used either as a virtual installation accompanied by a simultaneous projection of its content in the physical space or be distributed as an executable digital medium on any computer, compatible with its technical specifications. It examines the flow of information, its creation, collection, storage, interpretation and utilization through perceptual mechanisms that mutate -enhance or degrade- with the available tools of digital reality and its transformation from a sequence of serial, adjacent and referential values to one unified context, what is usually interpreted as meaning or significance. The participants of this reality are called upon to engage at the degree of signification that expresses them better, ranging from a purely perceptual and empirical viewing to a frantic clarification of everything included.

The atmosphere of the space and the emotional charge are the dominant points in the work. The windows ας protagonists have a dual meaning. Internet windows - tabs ας a means of socialization and communication, a substitute for a life.

The compositional method is based on the incorporation of sound material of cultural background into an electroacoustic piece. By drawing a linear narration, my aim was to demonstrate a unity, an imaginary community, which characterizes the Romani culture, despite the hybridic, complicated and diverse traditions deriving from the various European and Asian countries its people live in. A central question behind the making of this piece is what kind of role can a civilization have today, when the concept of space is eliminated by time- a key element in the dynamics of capitalism. What are the cultural consequences of the so-called annihilation of time and space, as materialized and tangible dimensions of social life? Are historical tradition and the search for roots promoted and reorganized as simulacra, imitations or/and museum culture, thourgh the demonstration of a partly deceptive past?