become
In this video art work 39 persons of different ages are invited to sit in front of the same black door, talk about their favourite object and in what, by using this object, they could be transformed. In the final cut only the silent expressions are kept.
Related Works
Α video art piece with performance and art installation elements in public space.
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.
In the realm of acoustic hyper-reality we meet aural simulacra of the order of maleficence. These are signals that mask and denature a profound acoustic reality. They are referential and representational, but in a way that they dissimulate reality and become its twisted Doppelgängers. Simulacra of the order of maleficence are perversions of reality. With the sound artwork ‘Natural Perversion’ Through a set of sonic processes the artist delves into autogenerative, autopoietic, responsive and biomimetic modes of creation exploring how the original naturally produced audio signal can be transformed into a sonic caricature and depending on the way it balances between its signifier and its signified aspect, it may re-interpret naturally produced concrete audible events into a musical language which serves both the acousmatic and the non-cochlear approaches to contemporary sound art.
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.
Blah as an artwork that interacts with the phenomenon of the speaking subject. The artwork responds to the human voice with air, and the intensity of the air is proportional to the volume of the voice.
Borrowing immersive practices from physical theater and the Black Box framework, the project seeks to create a liberating condition where visitors have the opportunity to experiment with their voice outside the system of organized language.
Blah is the artistic part of my master thesis on the problematic behind the three dimensions of organized language: communication-expression-meaning.
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With the opportunity of the preparation of the trip, the productive process of maintenance, repair and work in the area of the shipyard, the project "Forest of Winds" is created. The project was named "Forest of Winds" because of the sound of the wind passing through the masts of the boats. The "Forest of Winds" is a 360 video animation evolving into a theatrical space and indefinite time. The video depicts the invisible side of a dream, the dream of a journey and its preparation with the forms of workers hovering impersonal in space as work uniforms, creating a choreographed kinesiological narrative process. The forms of workers rub, shine and accomplish all kinds of jobs with their repetitive motions, until they are left in space like objects in an endless free fall.
Moments that meet and compose new ones through clips of a few seconds. Their common point is the associative thinking during their creation and the sense of the surrealistic-dreamlike mood.
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 audiovisual work "Paralysis by Analysis" presents a combined experience that unfolds in two chapters of two and three dimensions respectively.
