Describe your studio/work practice.

I am a curator and researcher based in Athens. My curatorial practice revolves around thematic cycles, each delving into diverse yet interconnected areas of inquiry. At the core of my exploration lies a fascination with the notion of the archive. This involves examining how archives shape our understanding of history, memory, and identity and the ways in which they influence contemporary artistic practices.

In parallel, my research focuses on post-humanism and hydro-feminism, exploring the porous boundaries between human and non-human entities and water as a facilitator, as well as queer/feminist theory as a methodology for the development of exhibitions. These inquiries prompt us to question conventional anthropocentric perspectives and reimagine relationships with the environment and each other.

Furthermore, I am engaged with the realm of dance and the moving body, particularly in relation to politics and political movements. A series of exhibitions explores how embodiment intersects with activism, resistance, and the negotiation of power dynamics.

By examining the body’s expressive potential in motion, we seek to uncover alternative modes of political engagement and social transformation.

In my practice, I am committed to merging theory and practice, bridging the gap between conceptual inquiry and artistic production. This involves working closely with artists to curate exhibitions that collectively provoke critical dialogue and engagement with pressing socio-political issues.

Moreover, I strive to operate both within and on the margins of institutions, recognizing the potential for creative intervention and disruption in established frameworks. By navigating the tension between institutional constraints and creative autonomy, along with the artists, we aim to foster spaces of experimentation and innovation where new ideas and perspectives can emerge and flourish.

What does participation in the Venice Biennale mean to you? 

Participation as a curator in the Venice Biennale holds profound significance for me on both personal and professional levels. It is even more meaningful as both the artist group I am collaborating with and I are younger art practitioners, marking a potential paradigm shift in the country’s representation. This opportunity feels significant as it provides a platform to challenge existing norms and reevaluate the notion of individual success.

The work Xiromero/Dryland is a collective effort, and I am honored to curate the work created by Kostas Chaikalis, Thanassis Deligiannis, Elia Kalogianni, Yorgos Kyvernitis, Yannis Michalopoulos, and Fotis Sagonas, in collaboration with EΜΣΤ | National Museum of Contemporary Art, Athens, under the guidance of its commissioner and artistic director, Katerina Gregos.

The Venice Biennale provides an unparalleled platform to showcase the work of artists on an international stage and carries immense responsibility. It signifies an opportunity to contribute to the global discourse on contemporary art, shaping narratives, and fostering dialogue around pressing social, political, and cultural issues.

For me, participation in the Biennale is about facilitating meaningful connections between the artists and audiences, fostering understanding and empathy across diverse perspectives, and amplifying voices that are often marginalized or underrepresented. It is a chance to challenge preconceptions and expand the boundaries of artistic expression.

Ultimately, participation in the Venice Biennale transcends merely presenting artworks; it’s about catalyzing conversations and provoking thought. It is a privilege to be entrusted with this opportunity, and I am committed to approaching it with a deep sense of responsibility to the artists involved.

What do you expect in terms of  your career as a result of this participation?

Participation in the Venice Biennale is a tremendous honor, and I am deeply grateful for the opportunity it affords me as a curator. While I certainly hope that this experience will lead to positive personal developments in the art field, I approach it with a sense of humility, recognizing the problematic notion of “success”. I see this participation as a chance to learn and grow, to connect with fellow curators, artists, and audiences, and to deepen my understanding of the complexities of the present time and the role that art could play. Rather than focusing solely on personal achievements, I am committed to contributing to the larger dialogue of contemporary art, using the doors that open after the Biennale to facilitate the broader community.

Ultimately, my aspirations are grounded in a sincere desire to continue exploring and creating projects, growing alongside the artists, and maintaining a sense of integrity in the way we think, produce, and present.

Did you feel or sense anything during the application process or preparation that made you aware of being Central-Eastern European? If yes, what were the advantages or disadvantages of this? (eg.: financial aspect, reception) 

During the application process and preparation for the Venice Biennale, being from Greece and in the Eastern part of Europe and the Balkan peninsula certainly influenced my perspective and experiences in several ways. One notable aspect revolved around the very theme itself: situated knowledge and the pivotal role of experience in shaping the artwork and the artists viewpoint who convey the local essence of rural life and celebration within the broader global context. Here, aesthetic directions may evolve, traditions may shift, yet the political dimensions of these processes remain an ever-open subject of inquiry. The work delves into the political potential of sound and music, alongside the impact of technology on rural landscapes and cultural diversity, exploring the vibrant tapestry of a provincial fair.

Additionally, the financial aspect weighed heavily, as securing funding posed considerable challenges—particularly when compared to artists coming from regions with more abundant resources or institutional backing. This underscored the necessity for resourcefulness and creative problem-solving to navigate the financial hurdles inherent in such a significant endeavor. Nevertheless, it was heartening to witness the public state’s willingness to support our project.

Moreover, being from Southeastern Europe, I couldn’t help but acknowledge the broader context of Central and Eastern Europe, especially concerning our work amidst an agricultural crisis over the entire geographical area.

One advantage stemming from our regional background lies in the potential for the artists’ work to offer a nuanced perspective on issues such as identity, history, and geopolitics. This creates a space for diverse voices and alternative narratives within the global art discourse. However, the challenges stemming from not being from a city traditionally considered an art center may include limited visibility or recognition compared to artists from more established art hubs. Nonetheless, these challenges serve as catalysts for innovation and resilience, propelling us to push boundaries and carve out a unique space within the broader art landscape.

We see these factors as essential parts of our practice, the semiotic-material nodes that shape our ethical and political viewpoints enriching the dialogue. We recognize that our perspectives are constructed and contingent, grounded in our physical presence in a specific place and time. However, we also aim to challenge linear conceptualizations and create disruptions. Ultimately, the question is how to produce cracks in the canon. 

As a curator at the Venice Biennale, did you notice any changes in yourself during the preparation? E.g: Has your attention, taste, or opinion changed? Has your range of interests expanded? If yes, in what way

Curating the Greek Pavilion at the Venice Biennale inevitably leads to personal growth and evolution. While I have experience working on large-scale exhibitions, the Venice Biennale represents a dream come true project for me, and I feel that it undoubtedly expands my horizons.

During the preparatory phases, and given the nature of the work Xiromero/Dryland, my attention is drawn to a wide array of artistic expressions and ideas. This prompts me to refine my curatorial vision and deepen my understanding of contemporary art practices. Engaging with artists from diverse backgrounds and disciplines has broadened my range of interests, exposing me to new perspectives and pushing me to explore unfamiliar territories within the art world. Themes such as the renegotiation of tradition, labor issues, and the agricultural crisis emerge through the artists I am working with.

Indeed, the notion of taste is broadened, and I am excited to see myself navigating the complexities and hopeful possibilities of collective work, narrative frameworks, and the transformation and expansion of my curatorial sensibilities. This journey challenges me to question my assumptions and embrace a more expansive approach.

Furthermore, the thematic focus of the Venice Biennale and the global dialogue it fosters shape my perspectives on pressing socio-political issues, environmental concerns, and cultural dynamics. Engaging with these themes deepens my commitment to curatorial practice as a means of sparking meaningful conversations, challenging dominant narratives, and fostering critical engagement with the world around us.