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Speculating on the content of the self-enclosed act of communication exchanges (running to and from) that we have generated between ‘ourselves’ and the ‘primitive’, we can speculate the locus where Western thought has collapsed upon itself. The source of myself as a subject in a culture dedicated to the mastery of a mirage. Speculating on this mirage will undoubtedly one day come to be seen as the latest, open beta-version cycle of an old myth. Well, that journey started again, within the aphotic end of the savage night, pluggingin again, into the very bedrock of the psychophysical data-continuity of the cybertragic four-dimensional human. Accessing the web, sending emails across the planet, constructing simulations, having affinity with artificial intelligences and that feeling that I have built -only as an intellectual bricoleur can do- a new space teaming with the reconstructed myths that have shaped the collective human race for millennia, again and again.

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Daemon IV, installation view, Theodoros Giannakis and Petros Moris, 2017

XXX Heritage, Cabinet bar, Cocktail Heritage, Gorgon mask, Theodoros Giannakis 2017

Heritage, Cocktail drink, Theodoros Giannakis. 2017

XXX MOLLY, eBook Micro-controller screen, Theodoros Giannakis. 2017

Gorgon, apotropaic mask, Theodoros Giannakis. 2017

Daemon IV, Rose, Petros Moris, 2017

Daemon IV, Rose, Petros Moris, 2017

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Two years ago, we climbed up a hill situated on the edge of the Athenian suburbs. The specific hill is connected with its opposite twin hill by a railway bridge. We had seen this bridge several times before in the past. We had been passing tens of meters beneath it, traveling with buses on the highway that runs between the two hills. We got on the bridge by following a wide uphill path. Then, we climbed up a short but steep slope that was covered with red soil and harsh rocks. We finally passed through the violated mesh of a rusty steel fence that forbid the entrance to the passers-by. To our right, the city took the form of a white mass, composed by thousands of packed dots. To the left, we had a view of the port, of a silver sea and the coastline of the nearby island. Shipyards, factories and small settlements were scattered around the valley. Transmission towers were crowning the top of the opposite cliff. Cypresses and pines created a deep green layer beneath us.

We decided to climb up the hill and get to the bridge, after we heard of an incident that happened on the railway’s inaugural journey. The event got no press, apart from an article in a local blog. What the train driver reported was an impact that happened inside the railway’s tunnel. According to his story, the engine that pulled the thirty-eight container wagons of the train, collided with an improvised barricade. It was a stack composed of a huge cable coil made of wood, of lighting tubes and piled metallic trays. The later were ripped-off from inside the tunnel. The wooden coil must have been rolled up to that point, all the way up the steep slope, barely passing through the opening of the mesh fence. The train crashed on the unexpected obstruction. There were no significant casualties, so the engine and the thirty-eight containers continued their route. However, the mysterious sabotage was repeated on the train’s return journey. The same people that built up the stack in the first place, were probably the ones that installed it again, more or less in the same spot as before. Like in the first attempt, no remarkable damage was caused. As the train driver reported, the result was just the delay of the service, in order for the tunnel to be cleaned up from the scattered wood, the destroyed lighting tubes and the deformed metal that was still obstructing the rails.

The bridge was built some years ago as part of a greater infrastructural project, a commercial railway of foreign interests. The railway was supposed to expand the national railway network, by specifically connecting the industrial areas around Athens with the Piraeus port. To our knowledge, no one claimed the action of the sabotage in the railway’s tunnel.

The first time we visited the bridge we thought that we would find some evidence of the train’s double collision. We found nothing. Probably because the nearby tunnel that perforates the specific hill is not the only one along the length of the railway. We climbed up the same path some months later. Nothing seemed to have changed. We saw the same view. The port and the shipyards. The factories and the villages. The transmission towers, the cypresses and the pines. That time, we decided to cross the bridge all the way through, and climb down to reach the highway from the opposite hill. The iron rails looked still impressively new. The gray-green stone that was laying in between the rails looked freshly paved.

However, this time, the surface of the two sides of the bridge was covered in its entirety with forms of black paint. The whole image was so abstract and curious that it was difficult to say if the composition that was unfolding in front of us was an intended human intervention, or a strange material reaction that took place on the gray cement. The perplexity and chaos of what could possibly be described as a mural, looked like the residue of organically orchestrated movements. Like traces of processes and conflicts. These illegible inscriptions seemed to have sprung up from the landscape in the same mysterious way that the surrounding hills, the trees and the impressive infrastructural constructions had emerged. We took some pictures of the dark surface, without having decided about the origin of the vast painting. However, at the point where the bridge touches the slope of the hill that we finally reached, just where we took the path of returning, we saw a sprayed inscription consisting of three letters: “OFK”.

We finally started climbing down the hill. Within the warm and clear afternoon atmosphere, the rustling of the trees was competing with the confusing whistling of the highway. The delirious traffic was carrying bodies to the city and the suburbs, the shipyards and the factories. Like a torrent, it was dragging with it local produce, imported goods, stolen and recycled matter. At the middle of our journey we heard a loud noise. It sounded like giant rocks were rolling down the hill, or trees being uprooted by a strong wind. Between the cypresses, we saw the engine passing through the railway’s route. After a couple of seconds, it had disappeared inside the stone hill. It was the first and last time that we ever actually saw the train.

Last year, we exhibited one of the pictures that we took that day from the surface of the bridge. We included the signature that we discovered in the title of that photo. About a month later, we got an email from a funny account name. The content of the email was signed as “Ofrah Fergal Kasei”. It included one single question: Why you climbed up that bridge?

We are still working on an answer.

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Daemon I. Digital Video. Theodoros Giannakis & Petros Moris. 2016

Daemon I. Digital Video. Theodoros Giannakis & Petros Moris. 2016

Daemon I. Digital Video. Theodoros Giannakis & Petros Moris. 2016

Daemon II. Digital Video. Theodoros Giannakis & Petros Moris. 2016

Daemon II. Digital Video. Theodoros Giannakis & Petros Moris. 2016

Daemon III. Digital Video. Theodoros Giannakis & Petros Moris. 2016

Daemon III. Digital Video. Theodoros Giannakis & Petros Moris. 2016

Daemon III. Digital Video. Theodoros Giannakis & Petros Moris. 2016

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More Common Mirrored Wild Flowers. ePub. artist book. 2016

ePub Read online

ePub-v1 Read Online

*** eng soon***

“Oιδιπόδειο σχήμα

Οφείλω ωστόσο, σύμφωνα με το κλασικό οιδιπόδειο σύμπλεγμα, να αγωνιστώ ενάντια στους απογόνους μου, διότι δεν πιστεύω ότι η φιλοσοφία της τέχνης θα έπρεπε να υποχωρήσει μπροστά σε αυτό του οποίου υποτίθεται ότι είμαι γεννήτορας. Μια μεγάλη συσσώρευση αντικειμένων εμφανίζεται οπτικά από το Αρχιπέλαγος. Λαμβάνοντας υπόψη το γεγονός ότι οι λεπτομέρειες δεν ελέγχονται περαιτέρω, ούτε μπορώ να περιγράψω κάθε σύνολο πραγμάτων, το ίδιο το νέφος της πληροφορίας είναι αυτό που μέσα του σχηματίζεται η φυσιογνωμία της εποχής μας. Μέσα σε αυτό το Οιδιπόδειο σχήμα ο ίδιος ο όγκος δεδομένων μας αποκαλύπτει την μορφή του. ”

“Oedipus shape

I must, however, according to the classic Oedipus complex, to fight against my descendants, because I do not believe that the philosophy of art should collapse in front to what I supposed to be a genitor (generator).  A large accumulation of objects appears visually from the Archipelago. Considering the fact that the details are not further controlled, nor can I describe every sum total of things, the very cloud of information is what in itself forms the physiognomy of our time. Within this Oedipus shape the volume of data itself reveals its form.

More Common Mirrored WF. Epub. artist book. Screenshot. 2016

More Common Mirrored WF. Epub. artist book. Screenshot. Primitivism Mirage Alpha. 2016

More Common Mirrored WF. Epub. artist book. Screenshot. Inert inner membranes. 2016

More Common Mirrored Wild Flowers. Epub. artist book. Screenshot. Holy Horror. 2016

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Nightly build  α, relief. lightweight concrete, cast aluminium.  2015.

Nightly build  β. relief. lightweight concrete, cast aluminium. 2015 Nightly build  γ. relief. lightweight concrete, cast aluminium. 2015

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Days later, millions of microscopic fragments of phosphor-coated lamp glass, deformed metal and wood chips are still lying within the tunnel, mixed with the gray crushed stone of the railway. Every now and then, instances of light reflect on the scattered copper debris. Then, the sound of the machines fades slowly as the train proceeds on the black-painted structure of the bridge.

In Bridge, a peripheral event becomes the inspiration for KERNEL to re-imagine a critical narrative on the contemporary geopolitical shifts that relate to the worldwide movements of matter, energy and people. Contemplating on the location of Greece as a historical node between East and West, Bridge is a reference to a newly built infrastructural project located in the suburban landscape of Athens: a transport railway bridge of Chinese and American interests that was mysteriously sabotaged on its inaugural journey.

Installed on the gallery’s glass storefront, a perforated vinyl print depicts a 1:1 scale fragment of a black monochrome graffiti that was painted recently throughout the bridge by a local graffiti crew that signs as “OFK”. Facing the street, this abstract particular of the illicit intervention on the structure’s concrete surface suggests an idiosyncratic documentation and a metaphoric geographical displacement between two remote and diverse kinds of public space. Spanning the gallery’s two floors, the sculptural installation titled Passage (Overground/Underground) constitutes a rearrangement of the existing fluorescent lamps of the exhibition space. On the ground floor, the lamps have been detached from their original positions and have been accumulated in order to compose a light wall made of metallic cable-trays. This two-dimensional stack is powered up from the power sockets of the lower floor, through an extension of the cable-tray structure that connects the two levels of the gallery. On the lower floor, this minimal infrastructure gets a more functional character by supporting the hanging of the last remaining pair of fluorescent lamps. Setting an atmospheric dim environment, the lamps are adjusted to light up directly the wall-mounted works that are installed in this space: two rectangular surfaces composed of compressed copper wiring that was sourced from scrap yards around the area of the bridge.

Global logistical operations of automated networks and non-human subjectivities intersect in Bridge with local parasitical economies and obscure processes of material resources recycling. By the means of spatial and material coding, KERNEL looks at the moments of friction and resistance within systems of paradoxical colonization, of real-time connectivity and maximized efficiency that perpetually suggested extreme scenarios for the organization
of human time and life.

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Nightly Build Alpha. relief, lightweight concrete, cast aluminum, plastic. 2014.

Nightly Build 26.3.353 kk. 3d Digital Print. plastic. metalic paint. cast aluminum. 2014.

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The Rape of Europa a.k.a Small Erotic Beta 26.3.354aa. cast aluminium, plywood, acrylic paint, vinyl. 2014 The Rape of Europa a.k.a Small Erotic PreAlpha 30.5.354aa. cast aluminium, canvas, acrylic paint, azurite,ink. 2014 The Rape of Europa a.k.a Small Erotic. a tame White Bull. PreAlpha 30.5.354aa. cast aluminium, canvas, acrylic paint, azurite,ink. 2014

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Heritage, Cocktail, National Museum of Contemporary Art, Athens. 2013 A cocktail reception of the drink Heritage created by Theodoros Giannakis and book launch of Petros Moris’ ebook Commons: Portfolio

Heritage, cocktail, gin, almond milk, simple syrup, rose water, lemon, fennel, National Museum of Contemporary Art, Athens. 2013

Heritage Cocktail , National Museum of Contemporary Art, Athens. 2013

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ThunderFlow Heritage. Digital Video. Real time Data. Game Engine. Still Image. 2013

Thunderflow Heritage, crystal N&T,Natural&Technical. quartz crystal, cast aluminium, lead and silver, black satin ceramic 3d printed. 2013

ThunderFlow Heritage. Digital Video. Installation View. National Museum of Contemporary Art. Athens. 2013

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“I am the place that something has occurred”

Savage Night “I am the place that something has occurred” Real-time 3D interaction

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The Godmakers PreAlpha aka, Cabinet β. Repainted Poster, Seeds,Crystal Quartz, Bronze letter Ψ.Psi, seeds. mechanic parts. 2011

The Godmakers PreAlpha aka. Cabinet β : Computer Screensaver Text to Speech. Crystal Quartz. Bronze letter Ψ.Psi. seeds. mechanic parts. Cover reproduction of The Godmakers sci-fi novel, Frank Herbert. 2011

The Godmakers PreAlpha aka Cabinet β

*** text to speech***

You must understand that peace is an internal matter. It has to be a self-discipline for an individual or for an entire civilization. It must come from within. If you set up an outside power to enforce peace, this outside power will grow stronger and stronger. It has no alternative. The inevitable outcome will be an explosion, cataclysmic and chaotic. That is the way of our universe. When you create paired opposites, one will overwhelm the other unless they are in delicate balance.

— The writings of DIANA BULLONE

To become a god, a living creature must transcend the physical. The three steps of this transcendent path are known. First, he must come upon the awareness of secret aggression. Second, he must come upon the discernment of purpose within the animal shape. Third, he must experience death. When this is done, the nascent god must find his own rebirth in a unique ordeal by which he discovers the one who summoned him.

—  ‘The Making of a God,’ The Amel Handbook

excerpts from the science fiction novel The Godmakers by Frank Herbert

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RowFlow – FiniteBeing, Digital Video, Still Image, Real Time Data, Game Engine. 2011.

RowFlow – FiniteBeing, installation view, real time 3D HD projection, mirrors. 2011.

RowFlow – FiniteBeing, installation view, real time 3D, HD projection, mirrors. 2011.

RowFlow – FiniteBeing, installation view, real time 3D, HD projection, mirrors. 2011.

RowFlow – FiniteBeing, installation view, HD projection, mirrors. 2011.

RowFlow – FiniteBeing, installation view, HD projection, mirrors. 2011.

RowFlow – FiniteBeing, installation view, HD projection, mirrors. 2011.

RowFlow – FiniteBeing, installation view, HD projection, mirrors. 2011.

***eng soon***

RowFlow – FiniteBeing

Αφήστε με να σας μιλήσω για τον κήπο και για την όχθη που δεν φαίνεται. Να σας διηγηθώ για το πώς έγινα μάρτυρας μέσο της αναμονής μου στεκούμενος απέναντι του. Κάθε δύναμη, όσο υπέρτατη και να είναι, ολοκληρωτική, πανταχού παρών, δημοκρατική, αμφίλογος, αόριστη, ουδέτερη, στο τέλος πρέπει να προσεδαφιστεί στο πραγματικό έδαφος του κήπου και να αφήσει σημάδια τα οποία είναι δύσκολα να εξαλειφθούν. Αλλά προκειμένου να πλαισιώσουμε κριτικά την μαρτυρία μας αλλά και τον ίδιο τον “κήπο” θα πρέπει ίσως να προτείνουμε μια ριζική υποστασιοποίηση. Αυτό θα σήμαινε την μεταμόρφωση του σε ένα πεπερασμένο είναι, ανάμεσα σε άλλα πεπερασμένα είναι, και όχι πάντα να βλέπουμε τον κήπο και τα παράγωγα του σαν κάτι άυλο και αόρατο, χωρίς μια φόρμα, μπορούμε να το ανιχνεύσουμε και να το αλλάξουμε. Έτσι, η Αφροδίτη γεννήθηκε από την θάλασσα με αυτό το μικρό πυρήνα  αλμυρό μέλι μέσα της, που μόνο το χάδι μπορούσε να φέρει έξω από τις κρυφές εσοχές του σώματός της. Ροές από πληροφορίες τρέχουν μέσα στην βραχυπρόθεσμη χαώδης αρχιτεκτονική του. Το πρώτο όραμα μου για την γη καλύπτονταν από ρευστές μάζες. Είμαι από την φυλή των ανδρών και γυναικών που βλέπει όλα τα πράγματα μέσα από αυτή την αυλαία των ηλεκτρικών και μαγνητικών ρευστών, και τα μάτια μου είναι το χρώμα της ροής. Η φυσιογνωμία της εποχής μας, είναι θαμπή και κρυστάλλινη, Γιατί η φυσιογνωμία είναι πάνω από όλα καθρέφτισμα και είναι λάθος να νομίζουμε πως η ιδέα δεν έχει χρώμα.

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The Godmakers PreAlpha Aka, Cabinet α, Installation view. cabinet. 2010

The Godmakers PreAlpha Aka, Cabinet α, In Search of Lost Time, mechanical part. Polished Nickel Metal. 2010

The Godmakers PreAlpha Aka, Cabinet α, ψ Psi. Cast Bronze Letters. 2010

The Godmakers PreAlpha Aka, Cabinet α, Narcissus Arrays. Flower seeds. 2010

The Godmakers PreAlpha Aka, Cabinet α, Crystal N(natural) pre-alpha .Quartz crystal. 2010

The Godmakers PreAlpha Aka. Screensaver

The Godmakers PreAlpha Aka. Screensaver

The Godmakers PreAlpha Aka. Screensaver

The Godmakers PreAlpha Aka. Screensaver

The Godmakers PreAlpha Aka. Screensaver

The Godmakers PreAlpha Aka. Screensaver

The Godmakers PreAlpha Aka. Screensaver

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Dild Wild. Image still of realtime projection .2009.

Dild Wild, Timaeus. Program screencapture Print. 2009.

Dild Wild, Timaeus. Print on canvas. Swiss Institute, Milan. 2010.

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Beauties. Video Still. 3d HD Video. 2009.

Partial After Sense II, Beauties aka Pillar. Sculpture Installation. Projection. Pc. Metallic column. 2009.

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The contemporary is the Partial After-Sense of the gaze. It is the process in which the gaze together with the functions of the brain and the eyes tries to complement what is missing, what is not clear and what is difficult to understand or see. The contemporary is he who firmly holds his gaze on his own time so as to perceive not its light, but rather its darkness.  A sensation of aesthetics and ethics in a part of the contemporary that maintains its existence even after the removed sense.

***

Partial After Sense, Perceive its darkness. Print light on canva. 2009

Partial After Sense, Beauties. Video Still. 3d HD Video. 2009.

…………………………

Let no one say,and 

say it to your shame 

that all was beauty 

here, until you came.*

…………………………..

Let no one say. Interactive poem, realtime projection. 2009.

Partial After Sense, was here (fuit hic). Oil on oak panel of 3 vertical boards. replica preparation of  arnolfini portrait. 2009.

Partial After Sense, was here (fuit hic). Oil on oak panel of 3 vertical boards. replica preparation of  arnolfini portrait. 2009.

Partial After Sense, There’s Only Silence. Digital image tracking, Video Still. HD Video. 2009.

Partial After Sense, Three Frogs. Video Still. 3d HD Video. 2009.

Partial After Sense, Elements. Video Still. 3d HD Video. 2009.

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