This documentary is about my grandmother, Areti. I have her name. She is a very simple and sweet person. She always wants to take care of and feed us.

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.

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

The present postgraduate thesis was prepared in the context of the completion of the postgraduate program of the Department of Sound and Visual Arts of the Ionian University.
The study of the subject will be the facts and data on the occasion of the completion of 200 years since the Greek Revolution.
The present work aims to enrich the theoretical framework of study. Its structure is based on data that I have collected (rare photographic material, letters, etc.), from the Public Archives of the State, the Kapodistrias Museum and the Reading Company.

The cinematic portrait of a visual artist, Demetris Papazachos, a senior student of the Fine Arts School in Thessaloniki, is about featuring an artist without just showing his artwork but emphasizing at his personality and his artistic thinking instead. Through his internal journey, gay culture elements are projected while an interesting question is raised: Who is "A Visual Artist" at last?

Dimitris Besios is involved with modelism for over 45 years. He is answering questions about his hobby.

This documentary follows a young man who collects “useless” objects, like electronic devices that people throw away. To him, a broken hoover or a rusty stove is an opportunity to explore its “inner micro-world”, which is comprised of complex circuits, motors and other electronic systems. It is also a chance to alter those devices and give them a new life.

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.

When the observer is standing in front of a work of art and is trying to comprehend it, they are consciously entering a recognition process. This is achieved because the brain recognizes the relationship between some shapes or colors in the piece of art and, automatically, recalls them from memory. This procedure creates the necessary conditions for the creation of new neural synapses. Using these facts?, the artist suggests an audiovisual performance that includes an interference of audio to the visual aspect? in real time.