Inhabiting time: Story of a pop corn was performed at Polytechno, Corfu in December 2023. It was a poetic exploration of the time flow through transformation/ metamorphosis of materials, sounds and light.
Blind time action/ Ιππόλυση is a durational performance with unknown objects while being blind folded. The performer explores the relationship between her bodily presence with the space and the objects in her proximity while being blindfolded. The objects could be everyday objects and/or raw material that are donated to her by the audience.
Blind time action/ Ιππόλυση is a response to the work of Robert Morris ‘Blind time drawings’ (1990). Morris has been drawing while being blindfolded. The aim is to explore a. is the obstruction of our vision enabling our presence in a deeper psychophysical sense? b. how is my time perception informed and transformed when I perform blindfolded and how is my audience’s time perception influenced by my temporal experience? c. in what extent our presence is controlled by the gaze of the others? d. what is revealed when I perform while being blindfolded?
Re-discovering silence (2016) is a series of black and white ‘homemade’ photographs around the topic of stillness and intimacy in our households. Poetics/ politics of everyday life deals with the hidden poetics and aesthetic qualities of everyday often disregarded objects that surround us.
This work would like to offer a chance of retrospection, reflection and action: it calls for the activation and deepening of our inner gaze. Re-discovering silence is fascinated by interiors of houses bare of human life with an intense and dramatic lighting. I reckon that the current ecological crisis calls for our attention to the fact that human beings do not stand at the center of a passive universe: humans are not superior than other species.
Inside-out (2015) was a site-specific installation created during Prespes residency organized by Fine arts Academy, Florina, Greece
The space encloses and penetrates the material. The space allows the time to penetrate the material and produce/ mοuld new forms. During the encounter between time and space, gradually, matter’s limits are catalyzed thus dynamics is created, hence change comes into play before our eyes: the transition of space-time is visible in the materials.
Forms vary, get shaped, re -structured: garments’ fibbers blend with rust. The sculptor is space-time. I invite the time to impact on materials. I hasten its effect by opening a hole in the garment. My attempt is to illustrate artistically and visualize both concepts (space + time).
The two cut T-shirts (body, human presence or absence, meaning lived experience, in other words life) commune. They are appositely disposed opposite one another in a communicating relationship.
Among them “flows” space.
Being connected at a distance, they are a living system, a kind of contemporary eco-habitat.
‘Handle with care/ Soup’ was performed during Sounding out festival of performance art organized by Northern Lights Project in Derry, Northern Ireland. During the performance, the audience assisted the performer in her preparation of a soup. Microphones and amplifiers offered a deeper sensation of the sounds emerging from the cooking process.
‘Handle with care’ (2) was performed during BIFPA 2020 (curated by Brian Connolly) in Ulster University , Belfast. ‘Handle with care’ is a performative experiment upon the cooking process of pan cakes. I am interested to the creation of sound and its experimental and ontological aspects. The work aims to challenge the politics of our everyday life, our handling of objects and tools, the process-based nature of food and cooking as creative event. The aim is to create a synergistic performative experience among participants that will activate their interactivity, sensitivity and multi-sensory com-presence.
Participants were blindfolded prior entering the performance space so that their sense of hearing and touch was heightened. Participants were asked to be part of a chain of cooking process. At the end pancakes are served and shared among each other. Handle with care (2) would like to be understood in reference to Relational Aesthetics Theory (N. Bourriaud) as a means of reinventing socially constructed boundaries.
This video performance was filmed in Hermes Areal at Halle an der Saale. I performed an action with the Butoh (Japanese contemporary dance) visualization of cigarette’s ash falling in the ground: the embodiment of an internal collapse. This location was chosen in base of its business of multiple directions of the traffic flow occurring simultaneously: I located myself in ”an urban island”.
I can imagine the roads being like rivers and the crossing of the cars as if they were the waves.
I have been working on the contrast between the figure that is monochromatic and quite still and the surrounding that is mixed with many colors and in continuous movement.
Why collapse ? This action condenses my feelings about the actual situation in Greece as well as in Europe.The economical crisis signs a very particular historical period that has to do with an inner need of a change. The crisis is not only economical, but more existential. Many questions arise such as how are we really treating the environment, are money worth so as to loose human lives, what is really happiness in an occidental society, how people can find an other meaning of their social being including the conviviality with the nature ?
A collapse is always connected with an upcoming birth which we can influence with our choices?
Site specific performance / Video-performance / Collaboration project
Concept and performance: Eleni Kolliopoulou
Sculpting project: Yiorgos Drosos
A pendulum never stops its movement … There are always regular intervals in the motion of the pendulum; it (the movement) is reloaded from its energy, it embodies transparent pauses, re launches and absorbs / processes the vibrations of its environment …
The space is manifested in contrast to the perpetual motion of the pendulum favouring the construction of a ring system that may have similarities to a magnetic field.
The location of the performance is a central pedestrian square of Athens. The performer moves with softness, regularity and tenderness between the living space that remains limited to a human being within the urban landscape.
The large sculpture “The Runner” created by the contemporary Varotsos emerges in the background.The strong impact of the statue which depicts a ‘man running in high speed merges with the figure moving slowly.
The fragility of the body of the performer acquires and reinforces its expression as it moves into and through the orchestrated aggression and hostility of the traffic flow.
This action gives the space perceived an imaginary tone. Viewers glide slowly in this liquid and dreamy state. This artificial situation opposes itself to the organic and liquid presence of the performer creating a rhythm among the functionality of everyday life of the contemporary city and the need to escape…