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.

Visual investigation and documentation of the slaughter of pigs.

Artist Paris Chatzigiannis, in his studio, talks about his life with painting.

A short portrait of a young person with artistic and existential concerns.

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

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?

The project composes a series of random artifacts relating to art and design history, used either ας decorative or utilitarian artifacts, turning them into a non-definitive object [bouquet] floating in space.

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.

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

This short film is the portrait of a man, emphasizing a specific aspect of himself, that is, his engagement with musical improvisation.