exhibition catalogue

12ç ÌðéåíÜëå ÍÝùí Äçìéïõñãþí Åõñþðçò êáé Ìåóïãåßïõ

12th Biennial of Young Artists of Europe and the Ìediterranean Countries

ÍÜðïëç Naples

19 28

ÓåðôÝìâñéïò 2005

September

04 05 ×áéñåôéóìüò Õðïõñãïý Ðáéäåßáò & Ðïëéôéóìïý ê. Ðåýêéïõ ÃåùñãéÜäç Address of the Minister of Education and Culture, Mr. Pefkios Georghiades

08 19 Êåßìåíá Êáëëéôå÷íþí Artists Texts

×ñéóôéÜíá Áâñááìßäïõ / Christiana Avraamidou ÊõñéÜêïò Ìáñãáñßôçò / Kyriakos Margaritis Ìáñßá Ëéáíïý / Maria Lianou ×Üñéò Åðáìåéíþíäá / Haris Epaminonda ´Áííá ÖùôéÜäïõ / Anna Photiadou ×ïñåõôéêü Ó÷Þìá Solipsim / Dance Group Solipsism

02/03

22 33 ÂéïãñáöéêÜ Óçìåéþìáôá Biografical Notes

×ñéóôéÜíá Áâñááìßäïõ / Christiana Avraamidou ÊõñéÜêïò Ìáñãáñßôçò / Kyriakos Margaritis Ìáñßá Ëéáíïý / Maria Lianou ×Üñéò Åðáìåéíþíäá / Haris Epaminonda ´Áííá ÖùôéÜäïõ / Anna Photiadou ×ïñåõôéêü Ó÷Þìá Solipsim / Dance Group Solipsm

34 ÊñéôéêÝò ÅðéôñïðÝò Selecting Juries

36 ÅðéìÝëåéá Credits

(Ëïãïôå÷íßá / Literature) (Ëïãïôå÷íßá / Literature) (ÃëõðôéêÞ / Sculpture) (Âßíôåï Áñô / Video Art) (ÃñáöéêÝò ÔÝ÷íåò / Graphic Arts) (×ïñüò / Dance)

ÐÅÑÉÅ×ÏÌÅÍÁ

Ç Êýðñïò, Ýíá áðü ôá éäñõôéêÜ ìÝëç ôçò ÌðéåíÜëå ÍÝùí Äçìéïõñãþí Åõñþðçò êáé Ìåóïãåßïõ, óõììåôÝ÷åé êáé öÝôïò óôç óçìáíôéêÞ áõôÞ äéåèíÞ êáëëéôå÷íéêÞ äéïñãÜíùóç, ìå áñéèìü ôáëáíôïý÷ùí êáé óôáèåñÜ åîåëßîéìùí íÝùí êáëëéôå÷íþí. Ç åðéëïãÞ ôùí êáëëéôå÷íþí ìáò Ýãéíå, üðùò êáé óå êÜèå Ýêäïóç ôçò ÌðéåíÜëå, Ýðåéôá áðü ðñïêÞñõîç ðáãêýðñéïõ äéáãùíéóìïý, ìå âÜóç ôç èåìáôéêÞ ðïõ õðïâÜëëåôáé áðü ôçí åêÜóôïôå Äéïñãáíþôñéá Áñ÷Þ. ÖÝôïò, ïé äéïñãáíùôÝò åðÝëåîáí ùò èÝìá ôï «ÐÜèïò», ðïõ óßãïõñá áðïôåëåß ðñüêëçóç áëëÜ êáé åîáéñåôéêÜ åñåèéóôéêÞ «áöïñìÞ» ãéá ôç äçìéïõñãéêÞ öáíôáóßá, êõñßùò ôùí íÝùí. Óôç öåôéíÞ ÌðéåíÜëå ÍÝùí Äçìéïõñãþí ðïõ èá ðñáãìáôïðïéçèåß óôç ÍÜðïëç ôçò Éôáëßáò, ðåñßðïõ ÷ßëéïé êáëëéôÝ÷íåò áðü äéÜöïñåò ÷þñåò ôçò Ìåóïãåßïõ êáé ôçò Åõñþðçò èá óõíáíôçèïýí óå ìéá ðïëýâïõç ãéïñôÞ äçìéïõñãßáò. Èá áíôáëëÜîïõí êáé èá ìïéñáóôïýí åìðåéñßåò, èá óõíåñãáóôïýí óå êïéíÜ ðåäßá Ýêöñáóçò, èá óõíïìéëÞóïõí êáé èá óõæçôÞóïõí ìå ôï êïéíü ó Ýíáí áíïéêôü ÷þñï óõæÞôçóçò êáé åëåõèåñßáò, èá ðñïâÜëïõí ôï üñáìÜ ôïõò ãéá ôïí Üíèñùðï, ôçí ôÝ÷íç êáé ôïí êüóìï. Ìå ëßãá ëüãéá: óõíÜíôçóç, áíôáëëáãÞ, óõíåñãáóßá, óõæÞôçóç, óõíýðáñîç. Áîßåò êáé áéôÞìáôá, ðïõ áðïêôïýí éäéáßôåñá êñßóéìç äõíáìéêÞ óå ìéá ðáãêïóìéïðïéçìÝíç êïéíùíßá, ðïõ áðåéëåßôáé ôüóï áðü ôïí êßíäõíï ôçò ïìïéïìïñößáò êáé ôçò ïìïéïãåíïðïßçóçò üóï êáé áðü ôïí êßíäõíï ôçò õðåñôñïöéêÞò ìïíáäéêüôçôáò. Ç áðÜíôçóç ó áõôü, åßíáé ìüíïí ï áëëçëïóåâáóìüò êáé ç óõíäçìéïõñãßá ìÝóá óôïõò êüëðïõò ìéáò áíïéêôÞò äéáðïëéôéóìéêÞò êïéíùíßáò.

Ïé íÝïé äçìéïõñãïß åêöñÜæïõí áêñéâþò áõôü: ôï üñáìá ôçò óõíÝíùóçò êáé ôçò ðïëõöùíßáò ìÝóá óå Ýíáí ïéêïõìåíéêü, êïéíü êüóìï. Ôåëåéþíïíôáò, óõã÷áßñù ôïõò äçìéïõñãïýò êáé õðïóôçñéêôÝò áõôïý ôïõ ôüóï óçìáíôéêïý èåóìïý, êáé åý÷ïìáé ïëüøõ÷á ôç óõíÝ÷éóç êáé åíäõíÜìùóÞ ôïõ. Ôáõôü÷ñïíá, åý÷ïìáé óôïõò íÝïõò äçìéïõñãïýò íá êáôáöÝñïõí íá êÜíïõí ðñáãìáôéêüôçôá ôï üñáìá ìéáò åìðíåõóìÝíçò êáé äçìéïõñãéêÞò êïéíùíßáò, óôçí ïðïßá ç åôåñüôçôá êáé ç ðïëéôéóìéêÞ ðïëõ÷ñùìßá èá ãßíïíôáé óåâáóôÝò áðü üëïõò.

ÐÅÕÊÉÏÓ ÃÅÙÑÃÉÁÄÇÓ ÕÐÏÕÑÃÏÓ ÐÁÉÄÅÉÁÓ ÊÁÉ ÐÏËÉÔÉÓÌÏÕ

04/05

Cyprus, one of the founding members of the Biennale of New Artists from Europe and the Mediterranean, participates for yet another year in this important international artistic event, with a number of talented and rising young artists.

As with every Biennale, our artists were selected following a pancyprian contest on the theme submitted by the organizing authority of each event.

This year, the organizers chose «Passion» as their theme; indeed a challenge but also an extremely stimulating motive for creative imagination, especially amongst young people.

In this year s Biennale of New Artists, which will take place in Naples, Italy, around one thousand artists from different countries of the Mediterranean and Europe will meet in a bustling celebration of creation. They will exchange and share experiences, cooperate in common fields of expression, converse and discuss with the public in an open area of debate and freedom, project their vision for Man, Art and the world. In a few words: a meeting, an exchange, a cooperation, a discussion, coexistence. Values and demands which acquire a particularly crucial dimension in a globalised society, threatened both by the danger of uniformity and homogeneity but also that of excessive uniqueness. The answer to this can only be mutual respect and joint creation within the context of an open multicultural society.

New creators express exactly this: the vision of a reunion and diversity in a universal, common world.

Concluding, I would like to congratulate the creators and supporters of this important event and express the wish that it will continue and strengthen.

I also wish new creators to be able to turn into reality the vision of an inspired and creative society, where differences and cultural diversity will be respected by all.

PEFKIOS GEORGHIADES MINISTER OF EDUCATION AND CULTURE

06/07

ÊÅÉÌÅÍÁ ÊÁËËÉÔÅ×ÍÙÍ

ËÏÃÏÔÅ×ÍÉÁ / ×ñéóôéÜíá Áâñááìßäïõ Ðñïò ôïí áíáãíþóôç

áé ôéò á ìÝóá ó´ åóÝíá. Êáé äéáðñáãìáôåýåô Ç ðïßçóç Ýñ÷åôáé ìüíïí üôáí ÷Üóù åìÝí óéìï ôùí ìáôéþí ïêëåß áíïéã ôï åóý, áé ôåýåó áãìá äéáðñ åéá ëÝîåéò áíÜëïãá ìå ôïí ôñüðï ðïõ ìå ôéò áôÝëåéåò ôùí ðáýóåùí êáé ôç öôþ÷ óïõ. Êáé ðïëëÝò öïñÝò óôåíï÷ùñéÝôáé êé åóý, üôáí ï ÷ñüíïò ó´ åãêáôáëåßðåé óå éÝóáé ôùí ëüãùí, Ýôóé üðùò óôåíá÷ùñ íá õðÜñîåé ÷ùñßò åóÝíá, ðïõ öõãáäåýåéò ôçí ìéêñïðñÝðåéåò. Ç ðïßçóç äåí ìðïñåß ðïõ ì´ áëÞèåéá Ýîù áðü ôç æùÞ óïõ. öáíôÜóìáôá óôéãìþí. ¹ ÷ùñßò åóÝíá ¹ ÷ùñßò åóÝíá, ðïõ êáôáäéþêåóáé áðü óôá ÷Ýñéá ìïõ, ü,ôé äåí óïõ áîßæå é. ðÜíù ò Ýíá ìéêñü ìïëý âé ó÷åä éÜæåé ëçðôç ÷ùñßò åìÝíá. Ç ðïßçóç åßíáé ìéêñÞ ÷ùñßò åóÜò êáé áóýë õ ×ñéóôéÜíá Áâñááìßäï Êýñéá õöïëïãéêÜ ÷áñáêôçñéóôéêÜ êáé ò Óôçí ðïßçóç ôçò ×ñéóôéÜíáò Áâñááìßäï ôçò ðïéçô éêÞò ãñáö Þò ôçò ×ñéóôáñåôÝ õ éÜíáò ãåíéêüôåñá êáé åéäéêüôåñá óôçí Áâñááìßäïõ, ðïõ óõóôÞíïõí ðáñÜëëçë ðáñï á óõëëïãÞ, åíôïðßæïõìå ìéá èåìáôïëïãßá ýóá êáé Ýíáí éäéüô õðï ëõñéó ìü åßíáé : á) ðïõ ç åîáêôéíþíåé ôïí ðïéçôéêü ëüãï ãýñù åíáñãÞò êáé áîéïóçìåßùôá ëéôÞ åêöñá , äýï âáóéêïýò èåìáôéêïýò Üîïíåò: áðü â) ïé áíïßêåéåò ëåêôéêÝò óõíäÝóåéò óôéêÞ êáé ïé Ýñùô á êáé ôïí èÜíá ôï. ÐñÝð åé ôïí ðñùôüôõðåò åéêüíåò ðïõ óôçñßæïõí íá ôçí åðéóç ìáíèåß üôé ôïýôï ôï èåìáôéêü ðñïóðÜèåéá áíÜäåéîçò ôïõ áðñïóäüêçôïõ ò äåí ðáñï õóéÜ æåôá é ìÝóá áðüæåýãï óôï ïéêåßï, ã) ç õðïäüñéá áõôï-åéñùí ôçí êáé ä) ç Þñåìç áíÜóá ôçò öùíÞò. ÐáñÜåßá ðáñá äïóé áêÞ áíôéè åôéêÞ ôïõ ïðôéê Þ, ãåãïíüò üôé ïé ìáñôõñßåò ôïõ ðïéçô ôï óýìöùíá ìå ôçí ïðïßá ç ðáñïõóßá ôïõ åíüò õðïêåéìÝíïõ ðïõ êáôüñèùóå íá óêÜøåééêïý áêõñ þíåé ôçí ðáñï õóßá ôïõ Üëëï õ. ùò Áíáäåéêíýåé ìÜëëïí ìéá óõìðëçñù ôéò ñßæåò ôçò ýðáñîÞò ôïõ, ðñïô ìáò ìáôéêÞ êáé ôáõôüóçìç ó÷Ýóç üðïõ ôï Ýíá äéáèë ðáñáäïèïýí ðïéçôéêÜ êñõóôáëëùïý Üôáé ìÝíå ò, ìÝóá óôï Üëëï , Ýôóé þóôå ï Ýñùôáò íá Ý÷ïõí ðåñÜóåé ðñþôá áðü Ýíá åðßðï íï âéþíå ôáé ùò èÜíá ôïò êáé ï èÜíáôïò ùò óôÜäéï âßùóçò êáé ýóôåñá áðü Ýíá ñï Ýñùôáò. ó ô Ü ä é ï Ý í ô ï í ç ò ê á é ä ñ á ìäåýôå á ô é ê Þ ò Åäþ, üìùò, ðñÝðåé íá óôáìáôÞó åðåîåñãáóßáò, åßíáé åêðëçêôéêÞ ç áßóèç êáé óç íá îåêáèáñßóïõìå êÜôé. ÐáñÜ ôï ïõìå ðïõ äçìéïõñãåßôáé óôïí áíáãíþóôç ìéáò ãåãïíüò «åêöñáóôéêÞò áèùüôçôáò» Þ ìå ôçí Ýííïé üôé ôï áßóèçìá ôçò áðþëåéáò ðçãÜæåé áðü á Ýíá åõáßóèçôï ãõíáéêåßï âëÝììá, üôé ôá ðïéÞ ìáôá ôçò äüèç êáí, ìÜôáéá ÷áñßóôçêáí. ÅðéìÝíù ó´ áõôü ãéáôß ðñüêåôçò èá áíáæçôÞóåé êáíåßò óôçí ðïßçóç ôçò ôç éôáé ëåãüì åíç «ãõíá éêåßá ãñáö Þ» ðïõ åêöñÜæåé ãéá Ýíá ìïíáäéêü ëõñéêü ðïéçôéêü ëüãï ðáó÷ßæïíôáò íá ìåôáäþóåé ôçí áãùí ðïõ ôçí ðëåõñÜ ôïõ êáôáðéåóìÝíïõ öýëïõ ðïõ êáé äéåêäéêåß ôá äéêáéþìáôÜ ôïõ. ôï Üã÷ïò ìéáò ôáëáíéæüìåíçò ýðáñßáîçò, Ðáíáãéþôçò ÍéêïëáÀäçò åðéôõ ã÷Üí åé óõ÷í Ü íá ïäçã Þóåé áíáãíþóôç ðéï ìáêñéÜ áðü ôá ãíùóôïí Öéëüëïãïò ôÜ ìïíï ðÜôéá êáé íá áíïßî åé êáéíï ïñßæïíôåò åõáßóèçôçò ãñáöÞò. ýñéïõ ò

- ÈõìÜóáé; - Ðþò íá ìçí èõìÜìáé. ìïéÜæåéò ìå êÜôé ðïõ ìïõ ðåóå áð ôçí ôóÝðç ôï áðüãåõìá, ì üôé ðáôÜù ôá âñÜäéá Ì´áñÝóåé ðïõ åîáôìßæåóáé. óôéò ëåùöüñïõò -èõìÜóáé; ÌÝíù ìüíç. ÐáíóÝëçíïò Þôáí ìá âëÝðáìå üëïé ôï ßäéï ÐáñåêôñÜðçêá áðüøå öåããÜñé; êáé åßðá íá õðÜñîù. Ï áÝñáò èá ôï ´ëåãå Ç ìéá áðåëðéóßá ðÜíù óôçí Óôï óêïôÜäé... ôá ðÜíôá åßíáé áðáëüôåñá. Üëëç. Ìá Ý÷ù ìáæÝøåé ó´ Ýíá ÊÜôé äåí ì´ áñÝóåé óôá êáëáèÜêé ìáæß Êáé óáóôßæåéò... ÷Ýñéá óïõ áðüøå. ôá ðñÜãìáôÜ óïõ, óáí óïõ öáíåñùèåß ç Ôá Ýîù ìáò áðëÜ, êáñäéÜ ôçò ïìïñöéÜò ìïõ ãéáôß ðáñåêôñÝðïìáé óáí íá ìéëÜìå ãéá ôçí êáé ðáó÷ßæåéò íá æÞóåéò. áðüøå ÁèÞíá ôá âñÜäéá. Ìá åßóáé åêåßíï áêñéâþò êáé ëÝù íá õðÜñîù. Ãéá ôá ìÝóá ìáò, ôï åßäïò ôçò áðïõóßáò ðïõ áããßæåé êáêïìáèçìÝíá Èá óïõ öÝñù ÷Üäéá ðïëëÜ ìéá Üëëç öïñÜ, óôéò åðüìåíåò æùÝò ìáò, áð ôçí áãïñÜ, óáí êýìá, üðùò ðÜíôá. ãéáôß åßóáé Üíåñãïò êáé êáé åêåßíï áêñéâþò ôï ðñÝðåé íá æÞóåéò. åßäïò ôçò óêéÜò Èá ´ñèïõí êáëýôåñåò ðïõ öåýãåé êñõöÜ Ìüíåò ðáñïõóßåò äßðëá ìÝñåò. óôéò ìýôåò ôùí ðïäéþí Áí îå÷Üóåéò, èá ´ñèïõí. ìïõ ôá âñÜäéá, ôçò... ÎÝ÷áóå. óêéÝò, Äåí ì áñÝóåé ðïõ åßóáé ðïõ ìéëÜíå ãéá óÝíá. áíïé÷ôüò êáé öõóÜåé. Åßóáé åêåßíï ôï åßäïò ôçò íý÷ôáò ðïõ ìå êÜíåé íá êáñöþíù ôá ìÜôéá óôçí áëÞèåéá ôçí îáðëùìÝíç ìåò óôïí áðüç÷ï ôçò óéùðÞò óïõ. Êáé åßóáé åêåßíï áêñéâþò ôï åßäïò ôçò ëýðçò ðïõ ÷áìïãåëÜ êáé ìõñßæåé üðùò ôá êñßíá, áöÞíïíôáò ôçí ðüëç íá áãáðéÝôáé åí áãíïßá ôçò.

Äåí ì´áñÝóåé ðïõ äéáñêåßò, îýðíçóáí üëïé. üëï ÷ùñÜò, ìåôñéÝóáé, áíÞêåéò...

LITERATURE / Kyriakos Margaritis The house was white and around it had settled a desolation that wept. Weeds grew in the paving stones of a grey pavement and the road was completely empty. Street of tranquillity. Street of terror and silence. A street studded with poplars and madness. A thriller film in the background of cypress trees and empty tombs waiting perpetually for their victims, and some black and white photographs adorning their nakedness. Dates of birth and death. Beginning and end and the rain was lashing asphalt that was melting from a heatwave and fear. A wooden door, painted white like a ghost. That door was a gateway which led to infinity, to the den of paranoia. Hollow sounds and their echo like tolling bells at a funeral. Oh, superlative scene of my childhood and adolescent phobias! How did you become like this?

I didn t go by there very often. I regretted the questions I hadn t dared to solve, the mysteries that remained secret. My mind a strange jackdaw that cawed in the night. The wolf inside me yelped, howling at an empty moon which was trying in vain to light the street of my years and days. Time, time wounded me in the loneliness of dreams. And I wanted to pass through the gates of that bottomless abyss. I was sure that behind the door-phone and the mortal bell you pressed to enter, the fathomless sea of my darkest fantasies was waiting, suspicious, for me. A self which all us conceal within us would push me in that direction. I knew it. Thus, I simply waited for ignorance or my suspicious nature to boo at me.

The castle of mad Magdalene. No one in the

neighbourhood had ever seen her. Remote neighbours heard shrieks at night and were sure that orgies were going on there. The orgies that the decent, law-abiding townspeople kept away by going round their bedrooms and yards with incense. From the half-open window lights flickered like imprisoned stars and occasionally brown butterflies ventured out to protest at all they had seen, all they had heard, all they had sensed with their antennae. Magdalene, a presence that accompanied the anxiety of my coming of age.

Magdalene, a fellow-traveller on the road of my adolescence and doubts. Oh, I should, I should have seen her, touched her, listened to her, spoken to her. I should have looked into her crazy eyes to discern the things mirrored within her, that scared her in her wild nights, that lulled her to sleep in her sightless, blind days.

She had no relatives and her friends remained a mystery. Cars with opaque windows stopped for a while at the entrance and romantic figures with strides crossed her threshold. Then they left, like the clients of brothels, always looking straight ahead to the door of the car which was waiting like a horse ready to ride off into the sunset. They went away, blowing away the dust from the eyes of the rest who were trying to penetrate their heads, the heads with the long hair and the earrings, to see all that was hidden in their sick, as they supposed, minds. Mad Magdalene, who upset our neighbourhood and fostered fairy tales, legends and modern-day myths in an era which dismisses witches. And fairies.

Excerpt from the short story Magdalene of the Angels

writing, then it can be said that here we His writing is asthmatic, reminiscent of that have a model short story, which for the ish, fever d, opate Sync its of Pierr e Loti. first time enraptures the reader not by impatient to get straight to the heart of the but by the expression of its narrative plot of t iscen remin ns icatio ramif narrative, with discourse. an esoteric, apocryphal contact with ourh All the stori es in the colle ction have unap proa chab le inner worl d whic something bizzarre about them, they are definitively shapes our relations with thes like those works of Picasso in which the alway sex, site oppo the environment and fourth dimension is the germ of a new in conjunction with our unconscious, which aesthetic, there: of draughtsmanship, colour, ious onsc sub-c the from ate is quite separ form. Here, in the short stories of Kyriacos that uncontrollably traces its own path and Margaritis: of language that excites, of sees r write the which in power course. The way tic language itself. The analysis, the do not and interprets things requires both realis es impressions which creat that ence. onfid daring and self-c necessarily express specific notions but [...] Assessed in this way, the seven short simply helps them unfold in the deepest by ction colle this up stories that make core of our being. ibed descr be easily can aritis, Kyriacos Marg Kyriacos Margaritis is lucid, inventive, ism erotic ful youth a of s as the short essay conte mpla tive; a visio nary of beau ty, ian Freud to on latch to which chooses paradox, suggestive and at the same time fic speci g ducin repro than conclusions rather imposing. His language could be described l carna uited unreq of ses impul es situations and as a kind of study, as in the "Demoisellr's flame the ching quen to view desire with a on" where the greater the viewe Avign D' ct conta into s come it as it, s and that overwhelms g sensitivity the more the painting grow with the opposite sex, capable of taminn. spreads out in order to capture the infinite. tatio exci ral natu y y and an abso lutel is Let us recall also Guernica, the tragedtexture The struc ture of the seve n stori es erous folly of war. Such is the murd inly certa and d, pecte unex cos comp letely to of the narrative discourse of Kyria surprises us, bringing us as it does face aritis.

Marg nal) irratio st (almo ted ceden face with unpre It might be said, and with good reason: are discoveries. we talking about short stories or not? And the by away t swep not is s?

The reade r if not, how can we talk about short storie the by say, to re ventu I narra tive or, why are we moved by the language yes, If by Only plot. the of flow or es of development of and not the development of the them the language, which is not the language es in his colle ction ? [...] stori the age langu a is It ive. narrat short an essay or a that invite s the reade r to thoug ht and Paraschos Parasos i Dodecanese contemplation, a language, in short, that Newspaper I Kathimerin ) story 2003 short of April age 11 and langu the (10 is moves. If this

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ËÏÃÏÔÅ×ÍÉÁ / ÊõñéÜêïò Ìáñãáñßôçò Ç ãñáöÞ ôïõ áóèìáôéêÞ, èõìßæåé åêåßíç ôïõ Ðéåñ Ëùôß. ÓõãêåêïììÝíç, áëáöéáóìÝíç, ôá äçìéïõñãÞìáôá ôïõ ÐéêÜóóï üðïõ ç ôÝôáñôç äéÜóôáóç áðïôåëåß ôï óðÝñìá áíõðüìïíç íá öôÜóåé ÷ùñßò ðåñéóôñïöÝ óôï ìåäï ýëé ôçò áöÞã çóçò , ìåò ìéáò íÝáò áéóèçôéêÞò, åêåß: ôïõ ó÷åäßïõ, ðñïåêôÜóåéò ðïõ èõìßæïõí ìéá åóùôåñéêÞ ôïõ ÷ñþìáôïò, ôçò ìïñöÞò. Åäþ, óôá äéçãÞìáôá ôïõ ÊõñéÜêïõ Ìáñãáñßôç: ôïõ áðïêñõöéóôéêÞ åðáöÞ ìå ôï áðñïóÝããéóôï åóþôåñü ìáò êüóìï ðïõí ëüãïõ ðïõ åñåèßæåé, ôïõ ëüãïõ êáèáõôïý. äéáìïñöþíåé êáèïñéóôéêÜ ôéò ó÷Ýóåéò ìáò Ç áíÜëõóç, ç äýíáìç ðïõ äçìéïõñãåß ìå ôï ðåñéâÜëëïí êáé ôï Üëëï öýëï, óå åíôõðþóåéò ðïõ ßóùò äåí åêöñÜæïõí óõíäõáóìü ðÜíôá ìå ôï áóõíåßäçôü ìáò óõãê åêñéì Ýíåò Ýííï éåò áëëÜ áðëÜ ðïõ åßíáé áñêå ôÜ äéÜö ïñï áðü ôï õðïâïçèïýí óôçí åêêüëáøÞ ôïõò óôï õðïóõíåßäçôï ðïõ áíåîÝëåãêôá ÷áñÜóóåé âáèýôåñï åßíáé ìáò. ôï äéêü ôïõ äñüìï êáé ôç äéêÞ ôïõ ðïñåßá. Ãëáö õñüò , ï Êõñé Üêïò Ìáñã áñßôç ò. Åõñçìáôéêüò, óôï÷áóôéêüò, ïñáìáôéóô Ï ôñüðïò ðïõ ï óõããñáöÝáò âëÝðåé êé ôïõ ùñáß ïõ, ôïõ ðáñÜ äïîï õ, Þò åñìçíåýåé ôá ðñÜãìáôá áðáéôåß ñåáëéóôéêÞ ôïõ ôüëìç üóï êé åìðéóôïóýíç óôïí åáõôü ôïõ. õðïâ ëçôéê ïý êé åðéâ ëçôéê ïý ìáæß. Ï ëüãïò ôïõ Ýíá åßäïò, èá Ýëåãá, óðïõäÞò [...] ¸ôóé áîéïë ïãïý ìåíá , ôá åöôÜ óõíïëéêÜ, äéçãÞìáôá ðïõ áðáñôßæïõí , üðùò óôéò «Äåóðïéíßäåò ôçò Áâéíéüí» ðïõ ôç üóï ðåñéóóüôåñç åõáéóèçóßá äéáèÝôåéò óõëë ïãÞ ôïõ Êõñé Üêïõ Ìáñ ãáñß ôç, ôüóï ï ðßíáêáò ìåãåèýíåôáé êé áðëþíåôáé ìðïñïýìå, ÷ùñßò ðåñéóôñïöÝò, íá ôá íá áé÷ìáëùôßóåé ôï Üðåéñï. Íá èõìçèïýìå, ÷áñáêôçñßóïõìå ùò ìéêñÜ äïêßìéá åíüò íåáí éêïý åñùô éóìï ý ðïõ ìÜëë ïí áêüìç, ôç ÃêïõÝñíéêá, ôçí ôñáãéêüôçôá êáé ôçí ôñÝëá ôç öïíéêÞ, áóöáëþò, ôïõ áãêéóôñþíåôáé óå öñïûäéêÜ óõìðåñÜóìáôá ðïëÝìïõ. ÔÝôïéá ç õöÞ ôïõ áöçãçìáôéêïý ðáñÜ áíáð áñéó ôÜ óõãê åêñé ìÝíå ò ëüãï õ ôïõ Êõñé Üêïõ Ìáñ ãáñß ôç. êáôáóôÜóåéò êáé ðáñïñìÞóåéò óáñêéêÞò Èá ìïõ ðåßôå êé ßóùò äåí èá Ý÷åôå Üäéêï áíéêáíïðïßçôçò ëá÷ôÜñáò íá êïñåóôåß : ç âñéóê üìáóôå, ôÜ÷á, Þ ü÷é ìðñïóôÜ óå öëüãá ðïõ ôç óõãêëïíßæåé, åñ÷üìåíç óå äéçãÞ ìáôá; åðáöÞ ìå ôï Ýôåñï öýëï, éêáíÞ íá äáìÜóåé ìéá áðüëõôç öõóéïëïãéêÞ õðåñäéÝãåñóç. Êé áí ü÷é, ôüôå ðþò ìðïñïýìå íá ìéëïýìå ãéá äéçãÞìáôá; Áí íáé, ôüôå ãéáôß ìáò Ç äïìÞ ôùí åöôÜ áõôþí äéçãçìÜôùí åßíáé ôåëåßùò áíáðÜíôå÷ç, ôÝôïéá ðïõ áóöáëþò óõãê éíåß ï ëüãï ò êáé ü÷é ç èåìá ôéêÞ áíÜð ôõîç ôùí äéçãçìÜôùí ôçò óõëëïãÞò ìáò îáöíéÜæåé ãéáôß ìáò öÝñíåé ìðñïóôÜ óå ðñùôüãíùñåò (ðáñÜëïãåò ó÷åäüí) ôïõ; [...] ÐáñÜó÷ïò Ðáñáóüò äéáðéóôþóåéò. ¼ëá ôá äéçãÞìáôá ôçò óõëëïãÞò áõôÞò Åö. Ç Êáèç ìåñé íÞ Äùä åêÜí çóïò (10 êáé 11 Áðñéëßïõ 2003) Ý÷ïõí êÜôé ôï áëëüêïôï, ìïéÜæïõí ì åêåßí á

Ôï óðßôé ëåõêü êáé ôñéãýñù ìéá åñçìéÜ êáèéóìÝíç ðïõ Ýêëáéãå. ¢ãñéá ÷üñôá íá öõôñþíïõí óôéò ðëÜêåò åíüò ãêñßæïõ ðåæïäñïìßïõ êé ï äñüìïò ïëüôåëá áäåéáíüò. Ïäüò ãáëÞíçò. Ïäüò ôñüìïõ êáé óéùðÞò. Ìéá ïäüò óðáñìÝíç ìå ëåýêåò êáé ôñÝëá. Ôáéíßá èñßëåñ óå öüíôï áðü êõðáñßóóéá êáé ôáöüðëáêåò Üäåéåò ðïõ êáñôåñïýóáí áÝíáá ôá èýìáôÜ ôïõò êáé êÜôé áóðñüìáõñåò öùôïãñáößåò íá êïóìÞóïõí ôç ãýìíéá ôïõò. Çìåñïìçíßåò ãÝííáò êáé èáíÜôïõ. Áñ÷Þ êáé ôÝëïò êáé ç âñï÷Þ ìáóôßãùíå ìéá Üóöáëôï ðïõ Ýëéùíå áðü êÜøá êáé öüâï. Îýëéíç ðüñôá, âáììÝíç Üóðñç óáí öÜíôáóìá. Ìéá ðýëç Þôáí åêåßíç ç ðüñôá ðïõ ïäçãïýóå óôï Üðåéñï, óôç öùëéÜ ôçò ðáñÜíïéáò. Õðüêùöïé Þ÷ïé êé ç ç÷þ ôïõò óáí êáìðÜíåò íåêñþóéìçò áêïëïõèßáò. Ù, õðÝñôáôï óêçíéêü ôùí ðáéäéêþí êé åöçâéêþí ìïõ öïâéþí. Ðþò Ýãéíåò Ýôóé; Äåí ðåñíïýóá êáé ðïëý óõ÷íÜ áðü åêåß. ÌåôÜíéùíá ãéá ôéò áðïñßåò ðïõ äåí ôïëìïýóá íá ëýóù, ãéá ôá ìõóôÞñéá ðïõ ðáñÝìåíáí êñõöÜ. Ï íïõò ìïõ ìéá ðåñßåñãç êÜñãéá ðïõ Ýêñùæå ôéò íý÷ôåò. Áëõ÷ôïýóå ï ìÝóá ëýêïò ìïõ ïõñëéÜæïíôáò ó Ýíá Üäåéï öåããÜñé ðïõ ìÜôáéá ðñïóðáèïýóå íá öùôßóåé ôç óôñÜôá ôùí ÷ñüíùí êáé ôùí çìåñþí ìïõ. Ï ÷ñüíïò, ï ÷ñüíïò, áõôüò ìå ðëÞãùíå óôç ìïíáîéÜ ôùí ïíåßñùí. Êé åãþ Þèåëá íá ðåñÜóù ôéò ðýëåò ôçò Üâõèçò åêåßíçò áâýóóïõ. ¹ìïõí óßãïõñïò ðùò ðßóù áð ôï èõñïôçëÝöùíï êáé ôï èíçôü êïõäïýíé ðïõ ÷ôõðïýóåò ãéá íá ìðåéò, ìå êáñôåñïýóå êá÷ýðïðôç ç áðýèìåíç èÜëáóóá ôùí ðéï óêïôåéíþí ìïõ öáíôáóéþóåùí. ¸íáò åáõôüò ðïõ üëïé ôïí êñýâïõìå ìÝóá ìáò èá ì Ýóðñù÷íå ðñïò ôá êåé. Ôï Þîåñá. ¸ôóé, áðëþò ðåñßìåíá íá ìå ðñïãêÞîåé ç Üãíïéá êé ç öéëýðïðôïò öýóçò ìïõ. Ôï êÜóôñï ôçò ôñåëÞò ÌáãäáëçíÞò. Óôç ãåéôïíéÜ äåí ôçí åß÷å äåé êáíåßò ðïôÝ ôïõ. ¢êïõãáí

óôñéãêëéÝò ôá âñÜäéá ïé áðïìáêñõóìÝíïé ãåßôïíåò êáé Þôáí óßãïõñïé üôé ìÝóá åêåß óõíÝâáéíáí ôá üñãéá. Ôá üñãéá ðïõ ãéá íá ô áðïìáêñýíïõí èõìéÜôéæáí ãýñù áð ôéò êñåâáôïêÜìáñÝò êáé ôéò áõëÝò ôïõò ïé êáèþò ðñÝðåé, ïé öéëÞóõ÷ïé áóôïß. Áëßìïíï. Áð ôï ìéóÜíïé÷ôï ðáñÜèõñï ôñåìüðáéæáí öþôá óáí öõëáêéóìÝíá áóôÝñéá êáé êÜðïõ-êÜðïõ êáöåôéÝò ðåôáëïýäåò îåìýôéæáí íá ìáñôõñÞóïõí ôá üóá áíôßêñéóáí, ôá üóá ïóöñÜíèçêáí, ôá üóá áéóèÜíèçêáí ìå ôéò êåñáßåò ôïõò. Ç ÌáãäáëçíÞ, ìéá ðáñïõóßá ðïõ óõíôñüöåõå ôçí áãùíßá ôçò åíçëéêßùóÞò ìïõ. Ç ÌáãäáëçíÞ, ìéá óõíôáîéäéþôéóóá óôï äñüìï ôçò åöçâåßáò êáé ôùí áìöéâïëéþí. Ù, Ýðñåðå, Ýðñåðå íá ôç äù, íá ôçí áããßîù, íá ôçí áêïýóù, íá ôçò ìéëÞóù. ¸ðñåðå íá êïéôÜîù ôçí áëëïðáñìÝíç ìáôéÜ ôçò ãéá íá äéáêñßíù áõôÜ ðïõ êáèñåöôßæïíôáí ìÝóá ôçò, áõôÜ ðïõ ôçí ôñüìáæáí óôá Üãñéá âñÜäéá ôçò, áõôÜ ðïõ ôçí íáíïýñéæáí óôéò áüììáôåò, ôéò ôõöëÝò ôçò çìÝñåò. Äåí åß÷å óõããåíåßò êé ïé ößëïé ðáñÝìåíáí áßíéãìá. Áõôïêßíçôá ìå ôæÜìéá áäéáöáíÞ óôáìáôïýóáí ãéá ëßãï óôçí åßóïäï êáé ìõèéóôïñçìáôéêÝò öéãïýñåò ìå ðëáôéÝò äñáóêåëéÝò ðåñíïýóáí ôï êáôþöëé ôçò. ¸ðåéôá Ýöåõãáí, óáí ðåëÜôåò ðïñíåßùí, êïéôþíôáò ðÜíôá åõèåßá ìðñïóôÜ ôïõò, ðñïò ôçí ðüñôá ôïõ ï÷Þìáôïò ðïõ ðåñßìåíå óáí Üëïãï Ýôïéìï íá îå÷õèåß ðñïò ôï çëéïâáóßëåìá. ¸öåõãáí äéþ÷íïíôáò ôç óêüíç áð ôá âëÝììáôá ôùí õðüëïéðùí ðïõ ðñïóðáèïýóáí íá äéáðåñÜóïõí ôá êåöÜëéá ôïõò, ôá êåöÜëéá ìå ôá ìáêñéÜ ìáëëéÜ êáé ôá óêïõëáñßêéá, ãéá íá äïõí üóá êñýâïíôáé óô áññùóôçìÝíá, êáèþò õðÝèåôáí, ìõáëÜ ôïõò. Ç ôñåëÞ ÌáãäáëçíÞ ðïõ áíáóôÜôùíå ôç óõíïéêßá ìáò êé Ýôñåöå ðáñáìýèéá, èñýëïõò êáé óýã÷ñïíïõò ìýèïõò óôçí åðï÷Þ ðïõ áðïññßðôåé ôéò ìÜãéóóåò. Êáé ôéò íåñÜéäåò.

Áðüóðáóìá áðü ôï äéÞãçìá «Ç ÌáãäáëçíÞ ôùí ÁããÝëùí»

LITERATURE / Kyriakos Margaritis The house was white and around it had settled a desolation that wept. Weeds grew in the paving stones of a grey pavement and the road was completely empty. Street of tranquillity. Street of terror and silence. A street studded with poplars and madness. A thriller film in the background of cypress trees and empty tombs waiting perpetually for their victims, and some black and white photographs adorning their nakedness. Dates of birth and death. Beginning and end and the rain was lashing asphalt that was melting from a heatwave and fear. A wooden door, painted white like a ghost. That door was a gateway which led to infinity, to the den of paranoia. Hollow sounds and their echo like tolling bells at a funeral. Oh, superlative scene of my childhood and adolescent phobias! How did you become like this?

I didn t go by there very often. I regretted the questions I hadn t dared to solve, the mysteries that remained secret. My mind a strange jackdaw that cawed in the night. The wolf inside me yelped, howling at an empty moon which was trying in vain to light the street of my years and days. Time, time wounded me in the loneliness of dreams. And I wanted to pass through the gates of that bottomless abyss. I was sure that behind the door-phone and the mortal bell you pressed to enter, the fathomless sea of my darkest fantasies was waiting, suspicious, for me. A self which all us conceal within us would push me in that direction. I knew it. Thus, I simply waited for ignorance or my suspicious nature to boo at me.

The castle of mad Magdalene. No one in the

neighbourhood had ever seen her. Remote neighbours heard shrieks at night and were sure that orgies were going on there. The orgies that the decent, law-abiding townspeople kept away by going round their bedrooms and yards with incense. From the half-open window lights flickered like imprisoned stars and occasionally brown butterflies ventured out to protest at all they had seen, all they had heard, all they had sensed with their antennae. Magdalene, a presence that accompanied the anxiety of my coming of age.

Magdalene, a fellow-traveller on the road of my adolescence and doubts. Oh, I should, I should have seen her, touched her, listened to her, spoken to her. I should have looked into her crazy eyes to discern the things mirrored within her, that scared her in her wild nights, that lulled her to sleep in her sightless, blind days.

She had no relatives and her friends remained a mystery. Cars with opaque windows stopped for a while at the entrance and romantic figures with strides crossed her threshold. Then they left, like the clients of brothels, always looking straight ahead to the door of the car which was waiting like a horse ready to ride off into the sunset. They went away, blowing away the dust from the eyes of the rest who were trying to penetrate their heads, the heads with the long hair and the earrings, to see all that was hidden in their sick, as they supposed, minds. Mad Magdalene, who upset our neighbourhood and fostered fairy tales, legends and modern-day myths in an era which dismisses witches. And fairies.

Excerpt from the short story Magdalene of the Angels

writing, then it can be said that here we His writing is asthmatic, reminiscent of that have a model short story, which for the ish, fever d, opate Sync its of Pierr e Loti. first time enraptures the reader not by impatient to get straight to the heart of the the expression of its narrative by but plot of t iscen remin ns icatio narrative, with ramif discourse. an esoteric, apocryphal contact with ourh All the stori es in the colle ction have unap proa chab le inner worl d whic something bizzarre about them, they are definitively shapes our relations with thes like those works of Picasso in which the alway sex, site oppo the environment and fourth dimension is the germ of a new in conjunction with our unconscious, which aesthetic, there: of draughtsmanship, colour, ious onsc sub-c the from is quite separate form. Here, in the short stories of Kyriacos that uncontrollably traces its own path and Margaritis: of language that excites, of sees r write the which in power course. The way tic language itself. The analysis, the do not and interprets things requires both realis es impressions which creat that ence. onfid daring and self-c necessarily express specific notions but [...] Assessed in this way, the seven short simply helps them unfold in the deepest by ction colle this up stories that make core of our being. ibed descr be easily can Kyriacos Margaritis, Kyriacos Margaritis is lucid, inventive, ism erotic ful youth a of s as the short essay conte mpla tive; a visio nary of beau ty, ian Freud to on latch to which chooses paradox, suggestive and at the same time fic speci g ducin repro than conclusions rather imposing. His language could be described l carna uited unreq of ses es situations and impul as a kind of study, as in the "Demoisellr's flame the ching quen to desire with a view on" where the greater the viewe Avign D' ct conta into s come it as it, s and that overwhelms g sensitivity the more the painting grow with the opposite sex, capable of taminn. spreads out in order to capture the infinite. tatio exci ral natu y y and an abso lutel is Let us recall also Guernica, the tragedtexture The struc ture of the seve n stori es folly of war. Such is the erous murd inly certa and d, pecte cos comp letely unex to of the narrative discourse of Kyria surprises us, bringing us as it does face aritis.

Marg nal) irratio st (almo ted ceden face with unpre It might be said, and with good reason: are discoveries. we talking about short stories or not? And the by away t swep not s?

The reade r is if not, how can we talk about short storie the by say, to re ventu I narra tive or, are we moved by the language why yes, If by Only plot. the of flow es of development or of and not the development of the them the language, which is not the language es in his colle ction ? [...] stori the age langu a is It ive. narrat an essay or a short that invite s the reade r to thoug ht and Paraschos Parasos i Dodecanese contemplation, a language, in short, that Newspaper I Kathimerin ) story 2003 short of April age 11 and langu the (10 moves. If this is

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ÃËÕÐÔÉÊÇ / Máñßá Ëéáíïý

Ôåñáôùäßá;

Ç ýðáñîç ÷Üíåé ôç öõóéêÞ ôçò ìïñöÞ, ìå óôï óþìá, áãùíéþíôáò ãéá ôçí áêåñáéüôçÝíáí ôñüðï ðïõ áíáãêÜæåé ôï ìÜôé íá ôñÝîåé ðÜíù Ðñüêåéôáé ãéá «÷Üñôåò - áíáôïìßåò» óùìÜôÜ ôïõ. åðéèõìßá ôïõ áíèñþðïõ ãéá ìáêñïâéüô ôùí (áíèñþðïõ, áìößâéïõ). ÌÝóá áðü ôçí Ýíôïíç çôá, ðñïóðÜèåéá ãéá ôçí áéþíéá æùÞ, åîÜñ ôï õðÝñ ôáôï óþìá , äçìé ïõñã ïýíô ôçóç ãéá Èá ìðïñïýóå íá åßíáé ôï áðïôÝëåó áé óôï óþìá óõíè Þêåò ðåéñ áìáô üæùï õ. ìá áðïô õ÷çì Ýíùí ðåéñáìáôéêþí ðñïóðáèåéùí. Ç áðïõóßá ïóôÝéíïõ óêåëåôïý êáé ìåñþ åîùôåñéêüò öëïéüò ðïõ èõìßæåé áìößâéï í ôïõ óþìáôïò, ç äõóìïñößá óôá ìÝëç êáé ï ðáñÜ Üíèñ ùðï, ìáò ðáñáðÝìðïõí óå Ýíá âÝâáéï âéïëïãéêü óõãêåñáóìü. Åßíáé Ýíáò ðñüëïãïò ãéá ôçí åðüìåíç (;) Þ Ýíáò ðïéçô éêüò åðßëïãïò ãéá ôçí ôåëåõôáßá (;) ãåíéÜ ôùí ðñáãìáôéêþí áíèñþðùí; ºóùò ç ôåñáôïìïñößá íá åßíáé ôï áðïô Ýëåó ìá ôïõ ðÜèïõò ãéá ôçí áíèñþðéíç åîÝëéîç. Ç óõíåßäçóç ôïõ åáõôïý õößóôáôáé ìéá âáèýôáôç áëëáãÞ êáèþò êáëùóïñßæ ìåôáìïñöùôéêÝò ðñïüäïõò ðïõ îåêéíïýí ïõìå ôéò áðü ôç âéïëïãßá êáé öôÜíïõí ìÝ÷ñé ôç ñïìð ïôéêÞ. Ìáñßá Ëéáíïý

n (body) Like a (blue) velvet glove cast in silico ùðï. ÁíôéèÝôùò, ðñïôéìÜ ôéò Ç Ìáñßá Ëéáíïý áðïóôñÝöåôáé ôï ðñüó ôïò, ôçí áèùüôçôá ðïõ êñýâïõí ñåõóôÝò ðôõ÷þóåéò ôïõ áêÝöáëïõ óþìáò. Ôá ãëõðôÜ, ïé åãêáôáóôÜóåéò, öýóç ò) þðéíç (áíèñ ôçò åéò ïé ðáñåêêëßó ôçò Ëéáíïý ü÷é ìüíïí áøçöïýí ïé video-åãêáôáóôÜóåéò êáé ïé öùôïãñáößåò Ýðïõí êáé ôçí äåóðüæïõóá áíáôñ áëëÜ õ, ùñáßï ôïõ åò Ýííïé ôéò êëáóéêÝò Ôüóï óôçí «Ôåñáôùäßá;» Þò. ìïñö õíôçò áìüë êáé õôçò éäÝá ìéáò áðüë ìüò»- üóï êáé óôïí åñáó óõãê ãéêüò âéïëï éïò âÝâá ò (2004) -«Ýíá ôçí ýðáñîç, ôçí ãéá õ ëüãï ìïíï á üðåñ -«ìéá 3) (200 «Ìïíüëïãï» ôçò áíèñþðéíçò óèáé öáßíå çìï áìößó óôï æåé åóôéÜ ý Ëéáíï ïíôüôçôá»- ç ìáôüæùï. ÊÜèå Ýñãï ðåéñá ùò é ßæåôá åôùð áíôéì óþìá ôï ýðáñîçò. Åäþ åóç: áðü ôç ìßá ç «Ôåñáôùäßá;» ðåñéóôñÝöåôáé ãýñù áðü ìéá âáóéêÞ áíôßè

-ðáéä ß, åíþ áðü ôçí Üëëç ï áíôá íáêë Ü ôç ó÷Ýó ç ìçôÝ ñá-v ersusôïò. Êáé ôá äýï Ýñãá âáóßæïíôáé èÜíá rsusóç-ve ãÝííç «Ìïíüëïãïò» ôç ý óþìáôïò ìåò óôïí êõñôü óå âéíôåïóêïðçìÝíá ðïñôñÝôá ôïõ ãõìíï æùíôáíåýåé ôï åßäùëï: ç ëï åßäù ôï , üìùò ßá, ðïñå êáèñÝöôç. Óôçí áëëü êïôå ò ìïñö Ýò ôçò óôéò ðíïÞ êáé á áíÜó êáëë éôÝ÷í éäá äßíåé íåéÜ ôïõò ôçí êéíïýìåíç åðéöÜ áôéêÞ äåñì óôçí ù ðñïâÜëëïíôáò åðÜí ôïõò. ý åéêüíá ôïõ åáõôï ôùí áíáðáñáóôÜóåùí êáé ôçí ÌÝóá ëïéðüí áð áõôüí ôïí ëáâýñéíèï èõìßæïõí ôá ÊáèñåöôïÝíôïìá ðïõ ¼íôá í ýðôïõ ðñïê þí åêôïðßá ôùí ìïñö m Burroughs. Ïé äõóôïðéêÝò Willia ôïõ umps Mugw ôá Þ ôïõ Lewis Carroll ìå ôï ìáêÜâñéï, ôï ï ãåëïß ôï í õÜæïõ óõíä ý öéãïýñåò ôçò Ëéáíï ôïðïèåôïýíôáé «ðñéí áðü ôçò üíôá Ôá . þäåò ôåñáô ôï ðáéäáñéþäåò ìå

ðñþôç öÜóç ôçò åîåëéêôéêÞò ôïí Üíèñùðï», ìéá êáé áíáöÝñïíôáé óôçí êáíåßò ðùò óôç âÜóç ôïõ Ýëåãå èá áõôü, Ãé . þðïõ äéáäéêáóßáò ôïõ áíèñ Fiction, åíüò Homo Homo åíüò çóçò åðéíü åéñá Ýñãïõ ôçò êåßôáé ç áðüð ôçí ðñüèåóç ôçò êáé ìá Ýëåó áðïô ôï áðü á Üñôçô Experimentum. Áíåî ; - ç áðüðåéñá ñãåéá ðåñéÝ êÞ êåõôé èñçó Þ êÞ çìïíé êáëëéôÝ÷íéäáò - åðéóô ôçí õðåñâïëÞ áõôÞí óå áñï áíôßâ Ùò ôá. ðáõó áêáôÜ áõôÞ åðáíáëáìâÜíåôáé êáé áìïñößá, ôï ôçôá ìéáñü áðü ìÝóá íç áóìÝ åêöñ , ôçò áíáðáñÜóôáóçò áèáíáóßá ôïõ. íüçìá óôá Ýñãá ôçò Ëéáíïý åðéèõìåß ôçí íïò Ìáñß Íéêçöüñïò Éóôïñéêüò TÝ÷íçò-ÅðéìåëçôÞò

SCULPTURE / Maria Lianou Monstrosity?

the body way that forces the eye to anxiously scan Substance loses its natural shape in a for evidence of its integrity. (human, amphibian).

These are «maps-anatomies» of the bodystruggle for eternal life, its fixation on the supreme The desire of the human for longevity, its of unres t and expe rime ntal (dis) figur emen t. body creat e in the body cond itionsfailed experiment.

This could have been the outcome of a ng and deformed body parts and the skin reminiscent The absence of a bone skeleton, the missi te biological blend. generation of an amphibian, create the belief of a defini t) (?) or a graceful epilogue to the last (?)

Is this a preamble to the next (subsequen evolu tion. . of the true human? ome of the pass ion for hum an Perh aps mon stros ity is the outc change as we welcome revolutionary techniques und Self-consciousness undergoes a profo robotics. that emanate from biology and extend to Maria Lianou

Like a (blue) velvet glove cast in silico Maria Lianou dislikes the face; on the contrn (body) of the headless body, the innocence hiddeary, she favors the fluid foldings n in the deviations of (human) nature. Lianou s sculptures, installations, video not only disregard the classic ideals of beaut -installations and photographs the dominant idea of an absolute and pure y but they also tend to subvert 2004, -«a certain biological mingling»- and form. In both «Monstrosity?», oper a for being , for entity »- Liano «Soliloquy», 2003, -«a soliloquy u focus es on the ambi valen t phenomenological aspects of human existe but a guinea-pig. Each work revolves arounnce. The body here is nothing d a fundamental opposition;

on the one hand, «Monstrosity?» reflects while, one the other, «Soliloquy» bringa mother versus child relationship effect. Both works are based on filmed s forward a birth versus death seen through a convex looking-glass. In portraits of the naked body as activates the double: the artist gives life the process though, the double on their skin surface the moving image to her weird forms by projecting of their self. Thus, through that labyrinth of representations and displaceme that recall Lewis Carroll s Looking-Glass nt of forms emerge creatures Mugwumps. Lianou s dystopian figures Insects or William Burroughs s macabre, the childish with the monstrouscombine the ridiculous with the . Her creatures are being placed

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«before man» in as much as they refer to the first phase of human evolution s process. And that is why practice lies the attempt to invent a Homoat the heart of Lianou s artistic Regardless of the outcome and the artist Fiction, a Homo Experimentum. a religious curiosity?- the attempt is endle s intention is it a scientific or ssly repeated. Counterbalancing this excess of representation, articulated throu the meaning in Lianou s artworks is seeki gh impurity and formlessness, ng for the immortal. Íikiforos Marinos Art Historian-Curator

ÂÉÍÔÅÏ ÁÑÔ / ×Üñéò Åðáìåéíþíäá Äéåñùôþìáé åÜí ï êüóìïò Ý÷åé ðåñÜóåé ôï ðïõ ïíïìÜæïõìå áíáðáñÜóôáóç. Èá ìðïñêáôþöëé íá öáíôáóôïýìå, åÜí áõôü óõìâáßíåé ïýóáìå äõíÜ ìåéò ôïõ óêüô ïõò êáé ôçò , üôé ïé óõóó ùñåý ïíôá é ðÝñá áðü ôïí ôñüðóéùð Þò áíôéëáìâáíüìáóôå ôçí Ðáñïõóßá. ¸íáò ï ðïõ áðü ôïõò ëüãïõò ãéáôß ôï èÝìá ôùí ìåôáìïñöþóåùí ãßíåé ôüóï êáôáíáãêáóôéêÞ åéêüíá ôçò óêÝø Ý÷åé áõôü ôï óõãêåêñéìÝíï óçìåßï ó÷åôßæåôáé çò óå äõíáôüôçôá ôçò áßóèçóçò ôçò óôñïöÞò óôçí ìå ôç ïñÜìáôá åíüò Üëëïõ áñ÷ßæïõí íá áíáäýïíôáéïðïßá áðü ôïí áíéáñü ñõèìü ôïõ ÷ñüíïõ ðïõ ïíïìÜ ðÝñá ðñáã ìáôéê üôçô á. Ïõóé áóôéê Ü ùò ìïñöæïõìå ìåôá ìüñö ùóç óõíä Ýåôá é ìå ìéá äéáäé Þ, ç èåþñçóçò ôçò ðñáãìáôéêüôçôáò ùò ðáñÜêáóßá áêüìç êáé îÝíç, åðåéäÞ õðü áõôÞ ôçí Ýííïé îåíç, óýëë çøçò ôï Ýñãï ôÝ÷íç ò èá ìðïñ á ôçò êáôáíïçèåß ùò Þäç âñéóêüìåíï ìÝóáïýóå íá óå ìéá êáôÜóôáóç åîïñßáò. Ôï Ýñãï ôçò Åðáìåéíþíäá åðéêåíôñþíåôáé óå ìïñöÞ âßíôåï åßôå óå ó÷Ýäéá ðåñß ôïõ åßôå ðïõ ôï óþìá êáé ï êüóìïò îåöïñôþí ôñüðïõ åáõôïýò ôïõò ìÝóá óôçí Üëëç êáôÜóôáóçïõí ôïõò ìå Ýíáí ôñüðï ôáõôü÷ñïíïõ îåäéðëþìáôïò üðùò ôáéñéáóôüò êüóìïò êáé Ýíá ôáéñéáóôü óþìá Ýíáò .

Ç áâåâáéüôçôá ðïõ ó÷åôßæåôáé ìå ôç äéá÷ù ãñáììÞ ìÝóù ôçò ïðïßáò ç äéáöïñÜ èá ñéóôéêÞ ìðïñïýóå íá êáôïíïìáóôåß, åìöáíßæåôáé åðåéäÞ ç ëïãéê åîáêñßâùóçò Ý÷åé åîáëåéöèåß. Ùóôüóï Þ ôçò áíáôñÝ÷ïõí ðßóù óå êÜðïéá ÷áìÝíç åöåä áíôß íá ñåßá ðïõ ðåñéÝ÷åôáé ìÝóá óå óïõñåáëéóôéêÝò ðñáê ôéêÝò, áíôßèåôá öáßíåôáé íá óôñÝöïíôáé ðñïò áíèñþðéíï êüóìï üðïõ ç ßäéá ç óýíôáîçÝíá ìåôáÝãéíå áðåëðéóìÝíá áðïóõíáñìïëïãçìÝôçò æùÞò íç, Ýôóé þóôå ôá ìïñö ïëïã éêÜ ÷áñá êôçñ éóôéê âéïëï ãéêÞò ïñãÜ íùóç ò èá ìðïñ ïýóáÜ ôçò í íá áíáêáôåõèïýí, íá ãßíïõí öáéíïìåíéêÜ áðßèáíåò äéáôÜ îåéò. Ç óõíÞ èåéá , ç åðáí Üëçø ç, ç áíáãíþñéóç êáé ç ìßìçóç äåí ìðïñïýí ðëÝïí íá ðÜñïõí ôç äýíáìç åíüò ïñãáóõíåðþò êåéìÝ íïõ ìÝóù ôïõ ïðïß ïõ ìéá ïñãáíùôéêïý íùôéê Þ âåâáéüôçôá ìðïñåß íá ðÜñåé äýíáìç. Ôï êÜèå åìöáíßæåôáé ùò íá ðåñéÝ÷åôáé åíôüò ôïõ Ýñãï åáõôïý ôïõ, ùò íá åß÷å Þäç áðïêáëõöèåß. Ùò ôÝôïé õðÜñ÷åé ëïãéêÞ ìéáò Üðïøçò áðü ôá Ýîù, ï äåí áõôü èá ìðïñïýóå íá ðñïûðïèÝôåé áíôéêå äéüôé ôïõíáíôßïí äéáöïñïðïéåßôáé áðü ôç äýíáì éìåíéóìü, ç ç ïðïßá äéáöïñïðïéåß ôçí áñ÷Þ ôçò ðñáãìáôéêüôçôá ìéá ìïñöÞ óþìáôïò åßíáé êïíôÜ ìáò, ò. Ùò óþìáôá åìöáíßæïíôáé ùò ðëÞñç óçìáßíïíôäéüôé ôá ùò áíáäõüìåíá áëëïý åßíáé ìáêñéÜ, äéüôé á, üìùò Ý÷áóáí ìéá Ýííïéá ôïõ óõíüñïõ.

Jonathan Miles

óôï Ëïíäßíï ÁíáêÜëõøá ôï âßíôåï ôçò Åðáìåéíþíäá ìå ìáæß ìå êáôÜ ôç äéÜñêåéá åíüò ôáîéäéïý ðïõ êÜíáìáôïðïßçóå ôïí Adrien Pasternak ãéá ôï âéâëßï ðïõ ðñáã ìå Üããëïõò êáé ãÜëëïõò öïéôçôÝò. ìïéï, ôüóï Ãïçôåýèçêá : äåí åß÷á îáíáäåß êÜôé ðáñü ðñïóùðéêü, ôüóï óðÜíéï. Ôüóï áíõðüôáêôï. óå Ýíá ôÝôïéï ÐñÝðåé íá ôï ïìïëïãÞóù. ÌðñïóôÜ ðñïóåããßóù; Ýñãï, áéóèÜíïìáé áäýíáìïò. Ðþò íá ôï ÷ïõí ìïñöÝò Ðþò íá ôï óõëëÜâù; Ðþò íá ôï èßîù; ÕðÜñ ýóóïíôáé. ðïõ ðïëëáðëáóéÜæïíôáé, îåäéðëþíïíôáé, áíáðô

×éëßùí êáé Ùò äéÜ ìáãåßáò. ¼ðùò Ýíá ðáñáìýèé ôùí ¼ðùò óå Ìéáò Íýêôáò. ¼ðùò óå Ýíá êáëåéäïóêüðéï. ìïñö Ýò, ôéò Ýíáí êáèñ Ýöôç ðïõ äéðëá óéÜæå é ôéò õðïäÝ÷åôáé êáé ôéò áíôéêáôïðôñßæåé. Åßíáé åêðëçêôéêü. ïìðñÝëáò êáé Ùñáßï, üðùò ìéá ôõ÷áßá óõíÜíôçóç ìéáò Ýæé áíáôïìßáò ìéáò ñáðôïìç÷áíÞò ðÜíù óå Ýíá ôñáð áëëÜ äåí åßíáé óïõñåáëéóôéêü. Åßíáé åäþ, áéíéãìáôéêü êáé áêôéíïâüëï.

Michel Nuridsany

VIDEO ART / Haris Epaminonda threshold I wonder if this world has passed over the ine if it is imag t migh We tion. senta repre call we silence the case that the forces of darkness and presence. of on hensi appre our d beyon ulate accum orphoses One of the reasons why the theme metamthought at of figure elling comp a such e becom has bility of the this present juncture relates to the possi elsewhere an of s vision which in g turnin of tion sensa m of time start to emerge beyond the dulling rhytha figur e, as ally tanti Subs y. realit call we of looking metamorphoses is connected to a processn because foreig even or ge stran if as reality upon art might from this point of apprehension the work ofa state of within ng residi y alread as stood under be exile. in either The work of Haris Epaminonda is centred body which in way the on ing draw of form video the other and world discharge themselves within ding as unfol us ltaneo simu of mode a in ition cond a becoming-world and becoming-body.

I discovered Haris EpaminondaÂ’s video a journey there with Adrien Pasternak forin London during prod uced with Engl ish and Frenthe book he has I was fascinated: I had never seen anyth ch stud ents . ing like that, so personal, so uncommon.

So impervious.

Should I confess it? In front of such a work, How can I approach it? How can I conc I feel deprived.

I evoke it? There are proliferating, unfoleive it? How can ding, developing

gh which Uncertainty relating to the boundary throu se the logic difference might be named occurs becaurather than of identification has been erased. Yet ined within reaching back to some lost reserve contaar to point surrealist practises, they instead appe h the very towards a post-human world in whic mbled syntax of life has become hopelessly disse biological so that the morphological features of ingly orga nisat ion migh t scram ble into seemition, impo ssibl e conf igura tions . Habi t, repet r able to recognition and mimesis are thus no longe through assume the force of an organising text e force. which an organising certainly can assum within Each of the works appear as if contained such there themselves, as if already disclosed. As e for the is no sense of a viewpoint from the outsid demark might imply objectification, rather they principle themselves from the force that demarks the to us of reality. As a form of body they are close emergent for bodies appear as total signifiers but as have lost elsewhere they are remote because they a sense of frontier.

Jonathan Miles

14/15 forms. As by magic. As for a Thousand tale. As in a kaleidoscope. As in a mirro and One Nights r that duplicates forms, receives and reflects them.

It is extremely surprising.

As beautiful as the chance encounter of an umbrella and a sewing machine on the dissection table , but it is not surrealistic.

It is there, enigmatic and beaming.

Michel Nuridsany

ÃÑÁÖÉÊÅÓ ÔÅ×ÍÅÓ / ¢ííá ÖùôéÜäïõ ïõò ÁóôéêÝò åéêüíåò áíèñùðüìïñöïõ ðÜè éï ïëüã çìåñ éêü ôáóô öáí Ýíá áðü ðáñìÝíåò ÁóôéêÜ ôïðßá. Ï öõóéêüò ÷þñïò ôïõ áíèñ þðéíïõ ðÜëçò. ¸íäï-áíèñþðéíç óþìáôïò, ç øõ÷Þ êáé ôá áéóèÞìáôá åíüò áíèñþðïõ. ðñïóôáóßá. ÅíÜíôéá óôïí ðÜëç. ×ùñßò üðëá êáé ÐñïèÝóåéò, êáèçìåñéíüôçôá êáé ç ðëçè åáõôü ìïõ, åíÜíôéá ó þñá ôïõ åóÝíá». ðÜèï õò. Äçìé ïõñã þíôá ò äéáö ïñÝò êáé Åâäï ìÜäá 3: «¸óð ñùîá ôïí åáõôü ìïõ ðéï ðÝñá äéáö ïñåô éêüôç ôåò, öéãï ýñåò êáé Ôï ðÜèïò åßíáé ìÝñïò ìéáò ðñÜîçò, ìéáòìïñö Ýò. óôï Üãíùóôï. Îýðíçóå ìéá áíåßðùôç ðåñéÝñãåéá ìïñö Þò óðñþ ÷íïí ôáò ìå ðéï ðÝñá . Óå ó÷Ýó åéò Óå Þ åíüò ôñüðïõ æùÞò ðïõ ôáõôü÷ñïíá áðïê êáé ðáñáðëáíÜ ôçí éäÝá ôçò óýãêëçóçò áëýðôåé äïõëåéÜ Óå åìðåéñßåò. ¼ëá ôá ðñÜãìáôá, üëïé /óýíä åóçò ïé åíèïõ óéáóì ïß, üëåò ïé áêñüôçôåò. ÁõôÜ ìå ôç óýãêñïõóç/ äéá÷þñéóç. ìðïñåßò íá öôÜóåéò, áëëÜ ôï èÝëåéò ãéáôßðïõ äåí ÅâäïìÜäá 1: «Ç ðüëç üðùò ôï üíåéñü èá óå ìïõ åßíáé êÜíï õí íá íéþó åéò æùíô áíÞ. Ðáèé Üóôç êá íá öôéáãìÝíç áðü ðüèïõò êáé öüâïõò. Ìå áðåéë ïýí îåöï ñôùè þ ôá ðÜèç ìïõ. ìå ôç óýãêñïõóç ôçò åðéêïéíùíßáò ôïõò. Ïé êáíüíåò êáé Þñåìç. ºóùò ç áðÜèåéáÌåßíå áêßíçôç, óéùðçñÞ ôïõò åßíáé ðáñÜ ëïãï é êáé õðåñ âïëéê íá åßíáé ôï êáéíïýñãéï ïß. ¼ëá ìïõ ðÜèï ò». ðåñéê ëåßïõ í êÜôé Üëëï . ÓâÞí ïõí ôçí ðüëç Þ Åâäï ìÜäá 4: «Áðü ôç óýëëçøç óôç äçìéïõñãßá. óâÞíïíôáé áðü áõôÞí. Áßóèçìá êáé ÷þñïò ôï óþìá ìïõ. ÊáèÝíá Ý÷åé ôç äéêÞ ôïõ ðåñéâÜëëåé ÐáèéÜóôçêá ìå ôïõò áíèñþðïõò êáé ôçí éêáíüôçôÜ äýíá ìç. Ôá ôïõò íá äçìéï õñãï ýí üìïñ öá ðñÜã ìáôá êáé åíþí ù. Äçìé ïõñã þ êáéíï ýñãéå ò äéáè Ç âéáéü ôçôá ôïõ èõìï ý ìïõ. Ç Ýóåé ò. êáôáóôÜóåéò. ¸íá åßäïò áãÜðçò. Äþóå êáé ðÜñå. Ýíôá óç. ¸íá åßäïò åíóôß êôïõ. Áßóèç Ôï ðéï äýóêïëï ðñÜãìá ãéá ìÝíá, Þôáí ðÜíôá ÅíÝñãåéá êáé ôñüðïò æùÞò. ìá êáé óõíáßóèçìá. êÜðïéïò Üëëïò, åóý. ¸ñãï ôçò öáíôá Öáßíåôáé ðþò üëá óßáò ìïõ Þ ðåñéó ôñÝö ïíôá é ãýñù áðü ôá ëÜèç, ðÜèç êáé ôçò ôý÷çò; Ïýôå ôï Ýíá ïýôå ôï Üëëï åßíáé áñêå ôÜ áõôï ó÷åä éáóìï ýò. Åêåßíï ðïõ ãéá íá êñáô Þóïõ í ôïõò ôïß÷ï õò ôïõò øçëÜ ». ðïõ ìáò ôáñáêïõíÜ. ÕðÜñ÷ïõí ìáò êáßåé, åêåßíï ÅâäïìÜäá 2: «ÅíÝäùóá óôï ðÜèïò ðñÜãìáôá ðïõ áîßæåé ìïõ ÷ùñß ò íá ðéóôÝ øåéò óå áõôÜ. Áõôïó÷åäéÜæù ìå ôï äåýôåñï ðñïåéäïðïßçóç êáé áíçóõ÷ßá. Ôï êïñìß êáé ôï ìõáëü ìïõ óþìá ». ìÜò åíéó÷ýïõí ãéá íá ðáëÝøïõìå ãéá êõñéá ðéï áñ÷Ýôõðç åéêüíá. Ç ðéï ðáëéÜ êáé áãíÞñ÷ßá. Ç ¢ííá ÖùôéÜäïõ ìïñöÞ ôá åíäýìáôá ôùí ëÝîåùí, ôüôå ÅÜí õðïèÝóïõìå üôé ïé ÷áñáêôÞñåò åßíáé ãñáììáôïóåéñÜò åîáñôÜôáé åñçò ëçëüô êáôáë ôçò ãÞò ç äéáäéêáóßá åðéëï ç êõñéïëåêôéêÞ ôçò óçìáóßáò, áðü ðïëý óçìáíôéêïýò ðáñÜãïíôåò, üðùòôñüðïò ó÷åäéáóìïý ôçò ê.ëð. ï , éåßôáé éìïðï ÷ñçó ôï óõãêåßìåíï ðïõ ìéá ãñáöéêÞ åñìçíåßá èá ðñÝðåé Åßíáé ãíùóôü ôïéò ðÜóé üôé ãéá íá ïñéóôåß ï ñüëïò ôïõ Ãñáößóôá åßíáé Ýíùò Åðïì éò. ëÝîå í íá ÷ñçóéìïðïéçèïý óçìáíôéêüò. ôõðïãñáößáò êáé ðñïêáëåß ôéò Ç ¢ííá ÖùôéÜäïõ êáôáíïåß ôéò áñ÷Ýò ôéò. Óôá Ýñãá ôçò äçìéïõñãåß ìéáí Üóåéò óõìâ Ýò ñáöéê ðáñáäïóéáêÝò ôõðïã åéãíýïíôáò ëÝîåéò êáé åéêüíåò áôìïóöáéñéêÞ «êåßìåíï-åéêüíá» óõìì

ãñáöéêÞ äéÜôáîç. Ôï êåßìåíï ðÜíù óå ìéá ðñïêáèïñéóìÝíç ôõðï ôï ïðïßï ìåôáôñÝðåôáé óå ìéá ìÝóï áêü éíùíé ðáñïõóéÜæåôáé ùò åðéêï ò åñìçíåßåò. Óå ïñéóìÝíåò äõíáìéêÞ åéêüíá ðïõ åðéäÝ÷åôáé ðïëëáðëÝ åðßóçò áðïêëåéóôéêÜ ùò õí éìåýï ÷ñçó ò êôÞñå ðåñéðôþóåéò, ïé ÷áñá õ äåí åßíáé ç äéÜäïóç ïðïßï ôïõ üò óêïð ò êýñéï ï ó÷åäéáóôéêü óôïé÷åßï, Þ íá äçìéïõñãÞóåé èåáôÞ ôïõ ï÷Þ ðñïó ôçí åé åëêýó ðëçñïöïñéþí áëëÜ íá åýåôáé ðñïóùðéêÜ åñìçí õò ÐÜèï ôïõ á Ýííïé Ç óç. ìéá åíäéáöÝñïõóá óýíèå ìå ëÝîåéò ðïõ ßìåíá óõãêå éêÜ ïíéóô áðåéê Ü ñåôéê ÷ñçóéìïðïéþíôáò äéáöï ìåôáâéâÜæåé ¢ííá Ç îç. äéÜôá õóá öÝñï åíäéá ìéá ìá Ý÷ïõí ùò áðïôÝëåó ò Ýíá ìç éþíôá éìïðï ÷ñçó ìá Ýëåó áðïô ôï ìÝãéó ðëçñïöïñßåò ìå ôï

ùí, éóïæõãßæïíôáò ôçí åéêüíá ðáñáäïóéáêü óõíäõáóìü ëÝîåùí êáé åéêüí Ýííïéá ôïõ ÐÜèïõò ìå ôïí ôçí Ü ïðôéê ôáò ìå ôï êåßìåíï êáé åñìçíåýïí ôñüðï. Ç ¢ííá ìÜëëïí ïëéêü óõìâ êáé ü ñáöéê äéêü ôçò ðñïóùðéêü, ðåñéã ôå üëïé áíáãíþóôåò åßìáó üôé es Barth ôïõ áóðÜæåôáé ôçí ðñüôáóç ðñïóðáèåß íá äþóåé Ýôóé êáé áöÝá óõããñ ôïõ ôï ãåííçìÝíïé êáôÜ ôï èÜíá åéêáóôéêÝò ôÝ÷íåò óôéò é áîßæå ôçò ðïõ óôçí ôõðïãñáößá ôç èÝóç èåáôÞ ðñÝðåé íá ôïõ óçò ãÝííç ôçò ò êüóôï ôï : êáôáññßðôïíôáò ôï ìýèï ßóôá. åßíáé ï èÜíáôïò ôïõ ãñáö Åõñéðßäçò Æáíôßäçò éíùíßáò Intercollege Åðßêïõñïò ÊáèçãçôÞò ÃñáöéóôéêÞò Åðéêï

GRAPHIC ARTS / Anna Photiadou Urban images of an anthropomorphic passion taken from an imaginary diary human figure, Urban fields. The physical space of the n. Intentions, perso a of gs feelin the and he the psyc ion. Creating everyday life and the diversity of pass . Passion forms and s figure ions, variat and differences life, which of way a or form a ty, activi an of is part sour ce of both reve als and dece ives a well as s a n o i t c e n n o c / n o i t a c i n u m com ion. parat conflict/se of desires Week 1: «The city like my dream is madeict of their confl the with d threa They . and fears excessive. communication. Their rules are absurd and erase the They else. thing some of sts consi thing Every surrounds city or are erased by it. Feeling and spaceI bring them r. powe own its has one Each . my body ess of my together. I create new purposes. The wildn cle for me obsta lt difficu most The ity. intens and anger work of mind has always been another you. Is this the gh to hold up enou ient suffic is er Neith ce? chan or of their walls». warning and Week 2: «I flew into passion without lves to fight ourse equip mind and s bodie Our rn. conce oldest and for reign. The most archetypal image: The

If typefaces are the clothes that words wear then the process of selecting the most appropriate font that 'suits' a word depends on very important factors, like its literal meaning, the conte designed e.t.c. It is common knowledge xt that it is used, the way it is interpretation the use of letter/s is requiredthat in order to define a graphic in the work; therefore, the role of the Graphic Designer is essential.

Anna Photiadou understands the principles traditional typographic conventions. In of typography and challenges image" is created by blending words her works, atmospheric "text as and illustration on a constant

predetermined typographic grid. The text medium that becomes a dynamic image appears as a communicative interpretations. In some cases typefacesthat offers many possibilities for also serve strictly as a design element whose main purpose is not comm attract the attention of the viewer or to creatunicating information but to concept of Passion is personally interp e an interesting texture. The contexts with words that result to interereted using different illustrative information with maximum effect using sting layouts. Anna conveys words and illustration, balancing image a non traditional combination of and text and visually interpreting

is unarmed purest form of this intra-human struggle and you» . com bat. Fight ing again st myse lf process of Week 3: «I pushed myself further into theyour curiosity the unknown. The unknown that wakes up furth er in and make s you go on, push ing you . All those relationships, in work and in experience mes that you things, those excitements, those extre l make you can t reach, but you want to because they l get rid of my fell alive. I am passionate about trying toMaybe being passions. Stand still, silent and calm. passionless is my new passion».

I became Week 4: «From conception to creation.y to create passionate about people and their abilitWe give to it beautiful things. That is a form of love. on feelings and it gives back to us. It is intuitive; based way of life. It and emotions. It is about energy and a d mistakes, seems that everything revolves aroun us hot and desires and improvisations. What gets believe in. I makes us tick. There are still things to improvise my second skin».

Anna Photiadou

16/17

the concept of Passion in her own perso nal figurative and symbolic way.

Anna seems to embrace what Barthes sugge sted that we are all readers born at the death of the author, and simila in the Visual Arts its future, by overthrowrly attempts to give typography viewer must be at the cost of the death ing the myth; the birth of the of the graphic designer.

Evripides Zantides Assistant Professor Graphic Communica tion, Intercollege

×ÏÑÏÓ / Solipsism ôÜóåéò åôáé óôéò áêñáßåò óõíáéóèçìáôéêÝò êáôáó ßíçóç, ôÞ óõãê To «Flush» åßíáé ìßá ðáñÜóôáóç ðïõ âáóßæ äõíá Ìéá . ðÜèç Ü ìåñéí êáèç ôïõò äéêÜ êáé ðñÜîåéò ôùí áôüìùí, ìÝóá áðü ôá áãÜðç, ÷áñÜ, áãùíßá, äõóôõ÷ßá, áäõíáìßá, åììïíÞ, Ýíá áêáôáíßêçôï óõíáßóèçìá üðùò ç óõíåêôéêü óôïé÷åßï ïëüêëçñïõ ôïõ Ýñãïõ. ÓêçíÝò èõìüò, åñùôéóìüò, åðéèõìßá, åßíáé ôï ôåëåéïðïéçèåßò, ãéá íá åëÝã÷åéò ôïí åáõôü óïõ êáé ðñáãìáôéêÜ âáóéóìÝíåò óôï ðÜèïò - ôï ðÜèïò ãéá íá óïõ, íá ðåéò óõãíþìç óå êÜðïéïí ðïõ ôïõò Üëëïõò, íá óõã÷ùñåßò ôá ëÜèç áãáðÜò. ¢ííá ×áñáëÜìðïõò, ×ïñïãñÜöïò áõôÞí ôçí ìÝóá óôïí åóùôåñéêü êüóìï, üðïõ óå ÐÜíôá ôï âñßóêù õðÝñï÷ï íá äéåéóäýùèÝóç. ÊáôÜ óõíÝðåéá, õðÞñîå ìéá ðñïóðÜèåéá þóôå ìéá ñá óôç óõíÝ÷åéá ðåñßðôùóç, ôï ðÜèïò Ý÷åé óßãïõ åóùôåñéêïý êáé åîùôåñéêïý êüóìïõ êáé íá êáôáíïÞóïõìå ôï äåóìü ìåôáîý ôïõ áëëÜ ðÜíôá Ý÷ïíôáò óôï ìõáëü ðùò «ïé ðüëåéò ôïõ ç íá áðïäþóïõìå óå êßíçóç ìéá óêÝø äåí åóùôåñéêïý êüóìïõ åßíáé áðÝñáíôåò êáé Winterson) õðÜñ÷ïõí óå êáíÝíá ÷Üñôç».(Jeanette ÂáíÝóóá ×Üóêá, ×ïñïãñÜöïò

ÏìÜäåò üðùò ç Solips ðïëéôéóôéêïý åíäéáö ism Ý÷ïõí ôïðïèåôÞóåé ôï óýã÷ñïíï ôñéþí ÷ñüíùí áëëÜ Ýñïíôïò, êõñßùò ôùí ÍÝùí. ÊáôÜêôçó ÷ïñü óôï êÝíôñï ôïõ Ìéá äõíáìéêÞ ïìÜäáêáé ìÝãá êÝñäïò ãéá ôïí ÷ïñü óôçí Êý ç ãéá ìéá ïìÜäá ìüëéò ðñï. ÷ïñïý ôçò Åõñþðçò, ðïõ äåí õóôåñåß óå ôßðïôá áðÝíáíôé óôé ìáò, ìå ìéá öñÝóêá ðïõ ÷ïñåýåé êáé ðñáãìáôåýåôáé ðñÜìáôáò óýã÷ñïíåò ïìÜäåò äéåñåõíçôéêÞ ìáôéÜ êáé Ýíá ðÜèïò ðïõ ðïõ áöïñïýí üëïõò Ãåùñãßá Doetzer ðáñáóýñåé. Êáëëéôå÷íéêÞ Äéåõè ýíôñéá - ÈåÜôñï ÑéÜ ëôï

«Flush» åßíáé æåóôáóéÜ, ìáíßá, áãÜðç, åðéèõìßá, Ýíôáóç, êßíäõíïò, èýåëëá, âÜóáíï, Ýêóôáóç, äõóôõ÷ßá, ðáñïîõóìüò, èõìüò, åñùôéóìüò, öùôéÜ, êßíçóç, åîÜñôçóç, áõôïêáôáóñïöÞ, óõíôñéâÞ, áäõíáìßá, åßäùëï, ÷áñÜ, åðéèõìßá, ãåí, åíèïõóéáóìüò, öáíôáóßá, óõíáßóèçìá, áöïóßùóç, ôñõöåñüôçôá, ëÜìøç, öéëßá, öüâïò, æÞëåéá, ðíåýìá, åëðßäá, åììïíÞ, ìïíáîéÜ, åíÝñãåéá, ó÷Ýóç, áíôáãùíéóìüò, âßá, öéëïäïîßá.

ÓÕÍÔÅËÅÓÔÅÓ ×ïñïãñáößá, Óêçíïèåóßá, Óêçíïãñáößá: ×áñáëÜìðïõò ¢ííá / ×Üóêá ÂáíÝóóá Óå óõíåñãáóßá ìå ôïõò ÷ïñåõôÝò: Ìáõñïìé÷Üëç Ìáñßá / ÐåñäéêÜêç Áëåîßá / ÐåñäéêÜêç ÖùôåéíÞ / ×áñáëÜìðïõò ¢ííá ÌïõóéêÞ: Pan Sonic / Angelo Badalamenti / Maria McKee Åðåîåñãáóßá ìïõóéêÞò / ìïíôÜæ: ×áñáëÜìðïõò ¢ííá / ×Üóêá ÂáíÝóóá Öùôéóìüò / ×åéñéóìüò êïíóüëáò: Êáñïëßíá Óðýñïõ Õðåýèõíïò ÓêçíÞò: ×ñéóôüöïñïò ×ñéóôïöüñïõ Õðåýèõíïò ÐáñáãùãÞò: ÃéÜãêïò ×áôæçãéÜííçò ÐáñáãùãÞ: Solipsism 2005 Åõ÷áñéóôßåò: Ìé÷Üëç Áñéóôåßäïõ / Ãåùñãßá Doetzer / ÁíôñÝá Ôñéáíôáöýëëïõ / ¸ëåíá ×ñéóôïäïõëßäïõ / ÉëÜñéá ËÜñêïõ / ÂáëÝñéá ÓïëÝá / Ìáñßá ÌÝóç / Êñßóôç ÃÝñï

DANCE / Solipsism «Flush» is a performance that combines up through everyone s passion. A powe extreme emotional conditions and actions growing eroticism, weakness, excitement, obse rful emotion such as love, joy, agony, anger, misery, scenes based on passion; the passion tossion, desire, is the link of the performance. Irrelative to excuse our mistakes, to say sorry to perfect ourselves, to control ourselves and the others, someone that we really love.

Anna Charalambous, Choreographer

«Flush» is heat, warmth, love, mania, lust, intensity, distress, storm, suffering, affection, ecstasy, misery, paroxysm, anger, fury, eroticism, fire, drive, obsession, amour, crush, weakness, idol, joy, desire, yen, excitement, fancy, mash, feeling, devotion, tenderness, shine, solicitude, friendship, hunger, spirit, hope, moxie, energy, desire, fear, jealousy, relationship, obsession, loneliness, antagonism, violence,

PERFORMANCE CREDITS Choreography, Direction, Scenography: Charalambous Anna / Chaska Vanessa Created with & performed by: Mavromichali Maria / Perdikaki Alexia / Perdikaki Fotini / Charalambous Anna Music: Pan Sonic / Angelo Badalamenti / Maria McKee Sound Design: Charalambous Anna / Chaska Vanessa Light Creation: Carolina Spyrou Stage Manager & Technical Coordination: Christoforos Cristoforou Production Manager: Yangos Hatziyannis Production: Solipsism 2005 Solipsism thanks: Michalis Aristidou, Georgia Doetzer / Andreas Triantafillou / Elena Christodoulidou / Ilaria Larkou / Valeria Solea / Maria Mesi / Kristis Geros

I always find it fascinating to look into a place in it. Thus, an effort was made sothe interior where, in our case, passion definitely has interior and exterior and eventually see howas to have some understanding of the bond between but always having in mind that «the cities a state of mind can be reflected through movement; of the interior are vast and do not lie on (Jeanette Winterson). any map».

Vanessa Chaska, Choreographer

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contemporary dance in the center of the Dance Groups like Solipsism established ones. This is an achievement of a group young ially espec st, intere s. people s cultural a considerable gain for dance in Cypru with only three years of existence and group in Europe; a group that dances and e danc any to peer a A dynamic group a fresh researching view and a passion touches issues that concern all of us, with . along that carries you Georgia Doetzer Artistic Director Rialto Theatre

20/21

ÂÉÏÃÑÁÖÉÊÁ ÓÇÌÅÉÙÌÁÔÁ

×ÑÉÓÔÉÁÍÁ ÁÂÑÁÁÌÉÄÏÕ

Ôïí ÌÜñôç ôïõ 1999 Ýêäùóå ôçí ðñþôç ðïéçôéêÞ óõëëïãÞ ìå ôßôëï «Ó÷ïéíéÜ êáé ÍáõÜãéá» êáé ôï 2002 ôç äåýôåñç óõëëïãÞ «¸íáò Ëüãïò ãéá íá ÁãáðÞóåéò ôç Íý÷ôá» ç ïðïßá ôéìÞèçêå ìå ôï Êñáôéêü Âñáâåßï ÍÝïõ ËïãïôÝ÷íç, óôçí Êýðñï ôï 2003. ÐïéÞìáôÜ ôçò Ý÷ïõí äçìïóéåõèåß óå åöçìåñßäåò êáé ëïãïôå÷íéêÜ ðåñéïäéêÜ, åíþ êáôÜ ôç äéÜñêåéá ôùí óðïõäþí ôçò, êÝñäéóå õðïôñïößá ãéá óõììåôï÷Þ óå óõíÝäñéï óôçí Éóðáíßá, üðïõ ðïéÞìáôá ôçò ìåôáöñÜóôçêáí óôá ÉóðáíéêÜ êáé äçìïóéåýôçêáí óå áíèïëïãßá. Ç óõììåôï÷Þ ôçò óå Üëëïõò äéáãùíéóìïýò åß÷å ùò áðïôÝëåóìá ðïéÞìáôÜ ôçò íá ìåôáöñáóôïýí óôçí éôáëéêÞ, áããëéêÞ êáé óÝñâéêç ãëþóóá. ÊñéôéêÝò ãéá ôçí äïõëåéÜ ôçò Ý÷ïõí äçìïóéåõèåß ôüóï óå åöçìåñßäåò üóï êáé óå ëïãïôå÷íéêÜ ðåñéïäéêÜ óå Êýðñïõ êáé ÅëëÜäá. Óôï ðáñüí óôÜäéï áíáìÝíåôáé ç Ýêäïóç äýï êáéíïýñãéùí ðïéçôéêþí óõëëïãþí óå óõíåñãáóßá ìå åêäïôéêïýò ïßêïõò ôçò ÁèÞíáò.

Ç ×ñéóôéÜíá Áâñááìßäïõ ãåííÞèçêå óôçí ÁèÞíá ôï 1978. Óðïýäáóå ÁããëéêÞ Ãëþóóá êáé Öéëïëïãßá óôï ÐáíåðéóôÞìéï Êýðñïõ êáé óõíÝ÷éóå ôéò óðïõäÝò ôçò óå ìåôáðôõ÷éáêü åðßðåäï óôï ÇíùìÝíï Âáóßëåéï óôïí êëÜäï ôçò ÁããëéêÞò Ëïãïôå÷íßáò êáé Øõ÷áíÜëõóçò.

Äéåýèõíóç: MåãÜëïõ ÁëåîÜíäñïõ 2, 2200 ÃÝñé, Ëåõêùóßá, Êýðñïò Ôçë.: 00357 99529432

CHRISTIANA AVRAAMIDOU

In 1999, she published her first poetry collection called Ropes and Shipwrecks and in 2002 her second collection named A Reason to Love the Night for which she received the national poetry award for young poets in 2003 in Cyprus.

Her poems have been published in several newspapers and literary magazines while during her postgraduate studies she won third prize at the Dereck Poetry Award in Britain and took part in a translation conference in Spain where her poems were translated and published in a Spanish Poetry and Prose collection.

After winning other writing competitions, poems of hers were also translated in Italian, English and Serbian.

22/23 Chistiana Avraamidou was born in 1978 in Athens. She studied English Language and Literature at the University of Cyprus and then got her MasterÂ’s degree in English Literature and Psychoanalysis from the University of Warwick.

Address: 2 Megalou Alexandrou, 2200 Geri, Nicosia, Cyprus Tel.: 00357 99529432

Reviews of her work have also been published in Greek literary magazines and a lot of her poems are part of anthologies of Greek poetry.

At the moment two new poetry collections of hers are expected to be published by publishing companies in Athens.

ÊÕÑÉÁÊÏÓ ÌÁÑÃÁÑÉÔÇÓ

O ÊõñéÜêïò Ìáñãáñßôçò ãåííÞèçêå óôçí ÐÜöï ôï 1982. ÔÝëåéùóå ôï Ëýêåéï ìå ¢ñéóôá êáé óÞìåñá öïéôÜ óôï ôìÞìá êëáóéêÞò öéëïëïãßáò (3ï Ýôïò) óôï Ðáíåðéóôçìßïõ Áèçíþí.

Äéåýèõíóç:ÅõÜíäñïõ 3, 157 72 ÆùãñÜöïõ, ÁèÞíá, ÅëëÜäá Ôçë.: 0030 210 7780524

Åñãïãñáößá: 2004: «Ï ÔåíåêåäÝíéïò Éððüôçò», Ðáéäéêü Ìõèéóôüñçìá, åêäüóåéò Øõ÷ïãéüò 2002: «Ìéêñïß Åñùôéêïß ÈñÞíïé», ÄéçãÞìáôá (Êñáôéêü Âñáâåßï ÍÝïõ ËïãïôÝ÷íç óôçí Êýðñï), åêäüóåéò Áéãáßïí 2000: «Ôï Xùñéü ôùí Óåíôïíéþí», Ðáéäéêü Ìõèéóôüñçìá (Á´ Âñáâåßï Êõðñéáêïý ÓõíäÝóìïõ Ðáéäéêïý Íåáíéêïý Âéâëßïõ), åêäüóåéò Øõ÷ïãéüò 1998: «Ï ÃéùñêÞò ï Êáñðáóßôçò», Éóôïñéêü Ìõèéóôüñçìá (¸ðáéíïò Ãõíáéêåßáò Ëïãïôå÷íéêÞò ÓõíôñïöéÜò), Ëåõêùóßá

KYRIAKOS MARGARITIS

24/25 Kyriakos Margaritis was born in Paphos in 1982. After graduating from the Lyceum he went on to study Classical Philosophy at the University of Athens. He is now in the third year of his studies.

Address: Evandrou 3, 157 72 Zographou, Athens, Greece Tel.: 0030 210 7780524

Ergography: 2004:«The Tin Knight», Children s Novel, ed. Psychogios 2002:«Small Love Dirges», Short Stories (State Prize for Youth Literature), ed. Aigaion 2000:«The Village of Bedsheets», Children s Novel (1st Prize of the Cyprus Association of Children s Novels), ed. Psychogios 1998:«Georkis from Karpasia», Historic Novel (Commended by Womens Literary Society), Nicosia

ÌÁÑÉÁ ËÉÁÍÏÕ

Õðïôñïößåò:

2003: «Áíïé÷ôïß Ïñßæïíôåò - Acik Ufuklar - Open Horizons», Ìåëßíá Ìåñêïýñç, Ëåõêùóßá, 2001-2003: Õðïôñïößá áðü ôï Ôáìåßï Õðïôñïöéþí Êýðñïò ôçò ÔñÜðåæáò Êýðñïõ 2002: «A-Station, Suburdia, ïé A÷áíåßò 2001-2003: Õðïôñïößá áðü ôï ßäñõìá Ðáõëßíá EêôÜóåéò ôùí Aèçíáúêþí Ðñïáóôßùí», Ðáõëßäç åðéìÝëåéá Íßêïò ÊáæÝñïò - Ðáýëïò ËÝöáò, 1994-1999: Õðïôñïößá áðü ôï ßäñõìá Êñáôéêþí ÁèÞíá, ÅëëÜäá Õðïôñïöéþí ôçò ÁèÞíáò 2002: ¸êèåóç ÍÝùí Êáëëéôå÷íþí, Ôå÷íüðïëéò ÁèÞíá, ÅëëÜäá Âñáâåßá: 2002: «Áíáæçôþíôáò ôçí ÏëõìðéáêÞ ÉäÝá», 1998: Á´ Âñáâåßï ôïõ Ïëõìðéáêïý Äéáãùíéóìïý ÐéíáêïèÞêç ÄÞìïõ Áèçíáßùí, ÁèÞíá, ÅëëÜäá ÔÝ÷íçò ðïõ äéïñãÜíùóå ç ÊõðñéáêÞ 2002: Ðýëç Áììï÷þóôïõ, éäéùôéêÞ óõëëïãÞ ÏëõìðéáêÞ ÅðéôñïðÞ õðü ôçí áéãßäá ôçò Ìé÷áëÜêç ÆáìðÝëá, Ëåõêùóßá, Êýðñïò ÄÏÅ. Ôï Ýñãï åêðñïóþðçóå ôçí Êýðñï óôï 2000: Ïëõìðéáêü Ìïõóåßï ËïæÜíç, Åëâåôßá ÄéåèíÝò Ïëõìðéáêü Äéáãùíéóìü ÔÝ÷íçò óôç 2000: «Medi@terra», ÅñãïóôÜóéï Á.Ó.Ê.Ô., ËïæÜíç, ôï 2000 ÖåóôéâÜë ÔÝ÷íçò êáé Ôå÷íïëïãßáò, ÁèÞíá, 1994: ´ Âñáâåßï óôï äéáãùíéóìü ÍÝùí ÅëëÜäá Êáëëéôå÷íþí Êýðñïõ 1999: Ïëõìðéáêü Ìïõóåßï, Ëåõêùóßá, Êýðñïò 1998: Îåíïäï÷åßï Candia Maris, ÊñÞôç, ÅëëÜäá ÁôïìéêÝò åêèÝóåéò: 1994: Peter s Gallery, Ëåìåóüò, Êýðñïò 2000: ÁíùôÜôç Ó÷ïëÞ Êáëþí Ôå÷íþí Áèçíþí, ÅðéëïãÞ Béâëéïãñáößáò (åðéëåêôéêÜ): «ÄéðëùìáôéêÞ», ÁèÞíá, ÅëëÜäá 2004: ÂáñâÜñá Ðáðáäïðïýëïõ, ET IN IRAQ EGO ÏìáäéêÝò ÅêèÝóåéò (åðéëåêôéêÜ): Þ Ï Ðüëåìïò Óõíå÷ßæåôáé, óåë. 180-195 2005: 12ç Biennale ÍÝùí Äçìéïõñãþí Åõñþðçò 2003: Íßêïò ÊáæÝñïò - Ðáýëïò ËÝöáò, ×ùñßò ¼ñéá, ïé Á÷áíåßò ÅêôÜóåéò ôùí Áèçíáúêþí êáé Ìåóïãåßïõ, ÍÜðïëç, Éôáëßá ÃåííÞèçêå óôçí Êýðñï ôï 1976. Åßíáé áñéóôïý÷ïò áðüöïéôïò ôçò Ðñïáóôßùí, óåë. 205-210 2004: «Å.ÊÁ.ÔÅ. 1964-2004», Áßèïõóá Ìåëßíá ÁíùôÜôçò Ó÷ïëÞò Êáëþí Ôå÷íþí Áèçíþí, óôïí ôïìÝá ôçò æùãñáöéêÞò Ìåñêïýñç, Ðáãêýðñéá ¸êèåóç Åéêáóôéêþí 2003: Áíôßóùìá, ÅêöÜíóåéò ôïõ Óþìáôïò óôç Óýã÷ñïíç ÔÝ÷íç, ÊáôÜëïãïò Ýêèåóçò, Ôå÷íþí Êýðñïõ, Ëåõêùóßá, Êýðñïò (1994-2000). ÓõíÝ÷éóå ôéò óðïõäÝò ôçò óôçí ÁíùôÜôç Ó÷ïëÞ Êáëþí Artower Agora 2004: «ET IN IRAQ EGO Þ ï Ðüëåìïò Óõíå÷ßæåôáé», Ôå÷íþí Áèçíþí, (´ ðôõ÷ßï) óôïí ôïìÝá ôçò ãëõðôéêÞò ìå êáèçãçôÞ A-Station, åðéìÝëåéá ÂáñâÜñá Ðáðáäïðïýëïõ, 2002: ÐéíáêïèÞêç ÄÞìïõ Áèçíáßùí, 2004 ôïí Ã. ËÜððá, êáé ôçò öùôïãñáößáò ìå êáèçãçôÞ ôïí Ì. Áíáæçôþíôáò ôçí ÏëõìðéáêÞ ÉäÝá, ÁèÞíá, ÅëëÜäá ÊáôÜëïãïò Ýêèåóçò, óåë. 36-37 Ìðáìðïýóç(2001). ÓÞìåñá æåé êáé åñãÜæåôáé ìåôáîý ÁèÞíáò êáé 2003: «ÁÍÔÉÓÙÌÁ», Artower Agora, åéóçãÞôñéá 2002: Ôå÷íüðïëéò, ÍÝùí Êáëëéôå÷íþí, Ìáñßíá Öùêßäç, ÁèÞíá, ÅëëÜäá Ëåìåóïý. ÊáôÜëïãïò Ýêèåóçò 2003: «Lookout, e-öùò», ÖåóôéâÜë ÊéíçìáôïãñÜöïõ & ÍÝùí ÌÝóùí, (áéóèçôéêÞ ðáñÝìâáóç óå êôßñéá ôçò ÁèÞíáò), ÁèÞíá, ÅëëÜäá Äéåýèõíóç: ÁíÜöçò 10, 11256 ÊõøÝëç, ÁèÞíá, ÅëëÜäá / ÉùÜííç ÐïëÝìç 2, 4006 Ëåìåóüò, Êýðñïò Ôçë.: 0030 697 2954922 / 00357 25583512, 00357 99884558 Email: lianou_m@yahoo.gr

×ÁÑÉÓ ÅÐÁÌÅÉÍÙÍÄÁ

ÅêèÝóåéò (åðéëåêôéêÜ): 2004-2005: «Paradisiaco», Domobaal gallery, Ëïíäßíï, ÇíùìÝíï Âáóßëåéï 2004: «Artissima 11», Ôïñßíï, Éôáëßá 2004: «The year of France in China» (Fraicheur de Vivre, BizArt, Art Center) ÓáãêÜç, Êßíá 2004: «Hi-Lite 5», Archimede Staffolini Gallery, Ëåõêùóßá, Êýðñïò 2004: Artenim Contemporary Art Fair, Néì, Ãáëëßá 2004: «The Tindell Effect II», Space Place Gallery, Ëïíäßíï, Ç.Â.

2004: «Out of Time», St Augustines Tower, Ëïíäßíï, Ç.Â.

2004: «WWVF 2004», Post CS, ¢ìóôåñíôáì, Ïëëáíäßá 2004: «Summertime in the City», Archimede Staffolini Gallery, Ëåõêùóßá, Êýðñïò 2004: «Paris-London», Gallerie Gauche & Ecole Nationale Superieure des Beaux-Arts, Ðáñßóé, Ãáëëßá 2004: «Art Athina 2004», ÁèÞíá, ÅëëÜäá 2003: «Premiere Vue II», Passage de Retz, Ðáñßóé, Ãáëëßá 2003: «Portobello Film Festival», Westbourne Studios, Ëïíäßíï, Ç.Â.

2003: «Timeshare», Bargehouse, Oxo Tower Wharf, Ëïíäßíï, Ç.Â.

2003: «Blueprint», The Study Gallery, Ðïõë, Ç.Â.

Residencies: 2005: Can Serrat, Âáñêåëþíç, Éóðáíßá 2002: Cite Internationale des Arts, Ðáñßóé, Ãáëëßá 2000: Ðñüãñáììá áíôáëëáãÞò êáëëéôå÷íþí ãéá äéÜóôçìá 2 ìçíþí, ÐáíåðéóôÞìéï Hongik, Óåïýë, ÊïñÝá

ÃåííÞèçêå óôç Ëåõêùóßá ôï 1980. Öïßôçóå óôï Chelsea College of Art & Design üðïõ áðÝêôçóå äßðëùìá Foundation Diploma in Art & Design (1997-1998). ÓõíÝ÷éóå ìå ôçí áðüêôçóç ôïõ ðôõ÷ßïõ BA (Hons) óôçí åéêïíïãñÜöçóç, óôï ÐáíåðéóôÞìéï ôïõ Kingston (19982001). Áêïëïýèùò, öïßôçóå óôï Royal College of Art ôïõ Ëïíäßíïõ, óôïí êëÜäï ôùí Êáëþí Ôå÷íþí êáé áðÝêôçóå ôï Ìåôáðôõ÷éáêü Äßðëùìá MA in Fine Arts (2001-2003). ÓÞìåñá æåé êáé åñãÜæåôáé óôçí Êýðñï êáé ôï Ëïíäßíï.

Éóôïóåëßäá: www.harisepaminonda.com Åmail: info@harisepaminonda.com

Âñáâåßá/ Äéáêñßóåéò: 2003: 2003: 2003: 2002: 2002:

The William Latham Digital Prize (1ï Âñáâåßï) ÄéðëùìáôéêÞ ìå ôßôëï «99», âñáâåýôçêå ìå âáèìü äéÜêñéóçò, RCA ÐñïóêåêëçìÝíç ùò ëÝêôïñáò óôï ÐáíåðéóôÞìéï ôïõ Manchester The Linklaters Printmaking Award (1ï Âñáâåßï) ÐñïóêåêëçìÝíç ùò ïìéëÞôñéá óôï ÐáíåðéóôÞìéï ôïõ Brighton êáé ãéá íá ðáñïõóéÜóåé ôï Ýñãï ôçò

HARIS EPAMINONDA

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Exhibitions (selected): 2004-2005: «Paradisiaco», Domobaal gallery, London, United Kingdom 2004: «Artissima 11», Turin, Italy 2004: «The Õear of France in China» (Fraicheur de Vivre, BizArt, Art Center), Shangai,China 2004: «Hi-Lite 5», Archimede Staffolini Gallery, Nicosia, Cyprus 2004: Artenim Contemporary Art Fair,Nimes, France 2004: «The Tindell Effect II», Space Place Gallery, London, U.K. 2004: «Out of Time», St Augustines Tower, London, U.K. 2004: «WWVF 2004», Post CS, Amsterdam, Holland 2004: «Summertime in the City», Archimede Staffolini Gallery, Nicosia, Cyprus 2004: «Paris-London», Gallerie Gauche & Ecole Nationale Superieure des Beaux-Arts, Paris, France 2004: «Art Athina 2004», Athens, Greece 2003: «Premiere Vue II», Passage de Retz, Paris, France 2003: «Portobello Film Festival», Westbourne Studios, London, U.K. 2003: «Timeshare», Bargehouse, Oxo Tower Wharf, London, U.K. 2003: «Blueprint», The Study Gallery, Poole, U.K. Residencies: 2005: Can Serrat, Barcelona, Spain 2002: Cite Internationale des Arts, Paris, France 2000: Two month exchange programme, Hongik University, Soul, Korea Awards/Dinstinctions:

Born in Nicosia in 1980. Studied at Chelsea College of Art&Design where she obtained a Foundation Diploma in Art&Design (19971998). She then went on to obtain a BA (Hons) in Illustration at Kingston University (1998-2001) and continued her studies at the Royal College of Art in London obtaining an MA in Fine Arts (20012003). Today she lives and works in Cyprus and London.

Website: www.harisepaminonda.com Email: info@harisepaminonda.com

2003: 2003: 2003: 2002: 2002:

The William Latham Digital Prize (1st Prize) Thesis, «99», awarded with a Distinction, RCA Visiting lecturer at the University of Manchester The Linklaters Printmaking Award (1st Prize) Visiting artist at the University of Brighton

ÁÍÍÁ ÖÙÔÉÁÄÏÕ

ÃåííÞèçêå óôç Ëåõêùóßá ôï 1976. Óðïýäáóå óôï Intercollege óôç Ëåõêùóßá óôïí êëÜäï Ãñáöéêïý Ó÷åäéáóìïý (Bachelor of Art). Ðáñáêïëïýèçóå ìáèÞìáôá áãéïãñáößáò, æùãñáöéêÞò êáé ÷áñáêôéêÞò óôçí Êýðñï, Éôáëßá êáé Áããëßá áíôßóôïé÷á. ÐÞñå ôï ìåôáðôõ÷éáêü ôçò (Master of Arts) óôïí êëÜäï Óêçíïãñáößáò áðü ôï London Institute, Ëïíäßíï, Ç.Â., ìå ðñáêôéêÞ ôåóóÜñùí ìçíþí óôï ôìÞìá èåÜôñïõ ôçò Ó÷ïëÞò Ôå÷íþí ôçò ÏõôñÝ÷ôçò óôçí Ïëëáíäßá. Äéåýèõíóç: Êéíýñá 9, 2043 Óôñüâïëïò, Ëåõêùóßá, Êýðñïò Tçë.: 00357 996845497, 0035722 323112 Email: aphotiadou@yahoo.com

ÅêèÝóåéò/ÐáñïõóéÜóåéò: 2005: «Skin» (ôïé÷ïãñáößá), ÖåóôéâÜë ÊéíçìáôïãñÜöïõ, Åéêüíåò êáé ¼øåéò ôïõ Åíáëëáêôéêïý ÊéíçìáôïãñÜöïõ, ÈÝáôñï ¸íá, Ëåõêùóßá, Êýðñïò 2005: «Return» (ðáñáãùãÞ âßíôåï), ðáñÜóôáóç ÷ïñïý ÁèçíÜò ÐéêÞ & Echo Arts (ÁñéÜííáò Ïéêïíüìïõ), 5ç Ðëáôöüñìá ×ïñïý, ÈÝáôñï Ñéáëôï, Ëåìåóüò, Êýðñïò 2004: «Comments in Favour of Beckett» (ðñïâïëÞ âßíôåï), Åéêüíåò êáé ¼øåéò ôïõ Åíáëëáêôéêïý ÊéíçìáôïãñÜöïõ - ÍÝïé Êýðñéïé ÐåéñáìáôéóôÝò, ÈÝáôñï ¸íá, Ëåõêùóßá, Êýðñïò 2004: «Comfortable Corner» (âßíôåï-÷ïñåõôéêÞ ðáñÜóôáóç), Ãêáëåñß ÐÜíèåïí, Ëåõêùóßá, Êýðñïò 2004: «Frequency» (åãêáôÜóôáóç âßíôåï), Ãêáëåñß ÐÜíèåïí, Ëåõêùóßá, Êýðñïò 2004: «Experimental Film Festival 2004», ÏìáäéêÞ ¸êèåóç, Ãêáëåñß ÐÜíèåïí, Ëåõêùóßá, Êýðñïò 2004: «NïìáäéöÝóôá 2004» ÏìáäéêÞ ¸êèåóç, Êáóôåëëéþôéóóá, Ëåõêùóßá, Êýðñïò 2004: «Fragmented Variations» (ðñïâïëÞ âßíôåï) óå óõíåñãáóßá ìå ôïí éóðáíéêü ïñãáíéóìü Punto F, Ãêáëåñß La Nave de los Locos, Ìáäñßôç, Éóðáíßá 2003: «Comments in Favour of Beckett» (ðñïâïëÞ âßíôåï), Ãêáëåñß Whitechapel, Ëïíäßíï, Ç.Â.

2003: «Stories of an Illegal Migration» (åãêáôÜóôáóç âßíôåï), London Institute (Scenoworks 2003, ÔåëéêÞ ¸êèåóç Áðïöïßôùí), Ëïíäßíï, Ç.Â.

2003: «Fragmented Variations» (ðñïâïëÞ âßíôåï) óå óõíåñãáóßá ìå ôïí éóðáíéêü ïñãáíéóìü Punto F, 6ï ÄéåèíÝò ÖåóôéâÜë Ôáéíéþí Ìéêñïý ÌÞêïõò, Óáí ÌéãêÝë íôå ÁëëÝíôå & Ãêïõáíá÷ïõÜôï, Ìåîéêü 1998: «Indians» (Ýêèåóç æùãñáöéêÞò), Êáöåíåßï Ìðñßêé, Ëåõêùóßá, Êýðñïò

ANNA PHOTIADOU

30/31 Born in Nicosia in 1976. Studied at Intercollege, Nicosia, where she obtained the Bachelor of Arts in Graphic Design. She attended courses in iconography, painting and etching in Cyprus, Italy and England respectively. She obtained a MA (Master of Arts) Degree in Scenography at the London Institute in London, U.K., with a four month placement at the Faculty of Theatre in Utrecht School of the Arts, Holland.

Address: 9 Kinira street, 2043 Storvolos, Cyprus Tel: 00357 99684549, 00357 22323112 Email: aphotiadou@yahoo.com

Exhibitions/Presentations: 2005: «Skin» (mural painting), Film Festival, Images and Views of the Alternative Cinema, Theatre Ena, Nicosia, Cyprus 2005: «Return» (video production), dance performance by Athena Piki & Echo Arts (Arianna Economou), 5th Dance Platform, Theatre Rialto, Lemesos, Cyprus 2004: «Comments in Favour of Beckett» (video presentation), Images and Views of the Alternative Cinema - New Cypriot Experimental Artists, Theatre Ena, Nicosia, Cyprus 2004: «Comfortable Corner» (video-dance performance), Pantheon Gallery, Nicosia, Cyprus 2004: «Frequency» (video installation), Pantheon Gallery, Nicosia, Cyprus 2004: «Experimental Film Festival 2004», Group Exhibition, Pantheon Gallery, Nicosia, Cyprus 2004: «Nomadifesta 2004», Group Exhibition, Kasteliotissa, Nicosia, Cyprus 2004: «Fragmented Variations» (video presentation) in collaboration with the spanish association Punto F, La Nave de los Locos Gallery, Madrid, Spain 2003: «Comments in Favour of Beckett» (video presentation), Whitechapel Gallery, London, U.K. 2003: «Stories of an Illegal Migration» (video installation), London Institute (Scenoworks 2003, Final Degree Show), London, U.K. 2003: «Fragmented Variations» (video presentation) in collaboration with the spanish association Punto F, 6th International short film festival, San Miguel de Allende & Guanajuato, Mexico 1998: «Indians» (painting exhibition), Briki coffee shop, Nicosia, Cyprus

SOLIPSISM

¢ííá ×áñáëÜìðïõò ÃåííÞèçêå ôï 1980. Óðïýäáóå óôçí ÊñáôéêÞ Ó÷ïëÞ Ïñ÷çóôéêÞò ÔÝ÷íçò óôçí ÁèÞíá (ÊÓÏÔ) Ôï 2002 éäñýåé ôçí ïìÜäá óýã÷ñïíïõ ÷ïñïý Solipsism ×ïñïãñáößá: 2002: «Ó÷åóïõáëéêüôçôá», ÏìÜäá ×ïñïý ÔÜäå, ÌÞíåò ×ïñïý, ÁèÞíá, 2000 2003: «Lucid Dream», Solipsism, Êõëéíñüìõëïé Óáñáíôüðïõëïõ, ÁèÞíá 2004: «Politeness to Save Face», Solipsism, 1ï Âñáâåßï 4çò Ðëáôöüñìáò ×ïñïýÊýðñïò. Óõììåôï÷Þ óôï 7ï Åõñùðáúêü ÖåóôéâÜë ×ïñïý êáé óôï Ðáãêüóìéï ÓõíÝäñéï ×ïñïý 2004 (CID)

Äéåýèõíóç: P.O. Box: 56592, 3308 Ëåìåóüò, Êýðñïò Tçë.: 00357 994 45511 / Öáî: 0357 25 377929 Email: solipsismdance@hotmail.com

ÂáíÝóá ×Üóêá ÃåííÞèçêå ôï 1979. Óðïýäáóå óôçí ÊñáôéêÞ Ó÷ïëÞ Ïñ÷çóôéêÞò ÔÝ÷íçò óôçí ÁèÞíá (ÊÓÏÔ) êáé óôï London Contemporary Dance School, The Place (MA in choreography - õðïôñïößá éäñýìáôïò ÙíÜóç) ×ïñïãñáößá: «Ó÷åóïõáëéêüôçôá», ÏìÜäá ×ïñïý ÔÜäå, ÌÞíåò ×ïñïý, ÁèÞíá, 2000 «Balance in Inverted Commas», óüëï êáé «Some Might not Hold out», ïìáäéêü, óôï Place Theatre in London «Absolutely 24», óüëï «Somewhere in my Stomach», ïìáäéêü ×ïñïãñáößá êáé óêçíïèåóßá ôçò ôáéíßáò ÷ïñïý «Quartet», êéíçìáôïãñáöçìÝíï áðü ôç Lucy Baldwyn ×ïñïãñáößá êáé óêçíïèåóßá ôçò ôáéíßáò ÷ïñïý «In Åxhale», êéíçìáôïãñáöçìÝíï áðü ôç Sonia Rodriguez «Dedicated to », ÷ïñïèåáôñéêü ïìáäéêü êïììÜôé ×ïñïãñÜöçóå ãéá ôçí Devon Youth Dance Company. ÐñïóÜñìïóå - áíáäçìéïýñãçóå ôç ÷ïñïãñáößá «Somewhere in my Stomach» ãéá ôo Postgraduate Performance Group EDGE ôïõ LCDS

Ìáñßá Ìáõñïìé÷Üëç ÃåííÞèçêå ôï 1980. Óðïýäáóå óôçí ÅðáããåëìáôéêÞ Ó÷ïëÞ ×ïñïý ôçò Ñáëëïýò ÌÜíïõ óôçí ÁèÞíá. ¸÷åé óõíåñãáóôåß ìå ôï ×ïñïèÝáôñï ÏìÜäá ÐÝíôå, ÏìÜäá ÐÝëìá, ×ïñïèÝáôñï Ñáëëïýò ÌÜíïõ êáé Solipsism (1ï Âñáâåßï 4çò Ðëáôöüñìáò ×ïñïý Êýðñïò) Áëåîßá ÐåñäéêÜêç ÃåííÞèçêå ôï 1978. Óðïýäáóå óôçí ÊñáôéêÞ Ó÷ïëÞ Ïñ÷çóôéêÞò ÔÝ÷íçò óôçí ÁèÞíá (ÊÓÏÔ). ÓõíåñãÜóôçêå ìå ôçí ÏìÜäá Áßñåóéò, ×ïñïèÝáôñï ÏìÜäá ÐÝíôå êáé ×ïñïèÝáôñï Ñáëëïýò ÌÜíïõ ÖùôåéíÞ ÐåñäéêÜêç ÃåííÞèçêå ôï 1980. Óðïýäáóå óôçí ÅðáããåëìáôéêÞ Ó÷ïëÞ ×ïñïý ôçò Ñáëëïýò ÌÜíïõ óôçí ÁèÞíá. ¸÷åé óõíåñãáóôåß ìå ôï ×ïñïèÝáôñï ÏìÜäá ÐÝíôå êáé ×ïñïèÝáôñï Ñáëëïýò ÌÜíïõ

SOLIPSISM

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Anna Charalambous Born in 1980. She studied at the State School of Dance (SSD) in Athens In 2002 she founded the dance group Solipsism Choreographies: 2000: «Sxesoualikotita», by Tade dance group, Dance Months, Athens, 2000 2003: «Lucid Dream», by Solipsism, Kylindromyloi Sarantopoulou, Athens 2004: «Politeness to Save Face», by Solipsism, 1st Reward of 4th Dance Platform in Cyprus Participation at the 7th European Festival and at the Conference of the Council International of the Dance (CID) Vanessa Chaska Born in 1979. She studied at the State School of Dance in Athens and at the London Contemporary Dance School, The Place (MA in choreography - scholarship from Onasis Foundation).

Choreographies: «Schesoualikotita», by Tade dance group, Dance Months in Athens, 2000 «Balance in Inverted Commas», a solo piece and «Some Might not Hold Out» a group piece, both performed at the Place Theatre in London «Absolutely 24», solo work «Somewhere in my Stomach»,group piece Choreographed and directed the dance film «Quartet», filmed by Lucy Baldwyn Choreographed the dance film «In Exhale», directed by Sonia Rodriguez «Dedicated to..» a dance theatre group piece Choreographed for the Devon Youth Dance Company. Reconstructed the choreogrphy «Somewhere in my Stomach» for the Postgraduate Performance Group EDGE of LCDS Maria Mavromichali Born in 1980. She studied at the Professional Dance School of Rallou Manou in Athens. She has worked with Chorotheatro Omada Pente, Omada Pelma, Chorotheatro Rallou Manou and Solipsism (1st Prize of 4th Dance Platform - Cyprus) Alexia Perdikaki Born in 1978. She studied at the State School of Dance (SSD) in Athens. She has worked with Omada Airesis, Chorotheatro Omada Pente and Chorotheatro Rallou Manou Fotini Perdikaki Born in 1980. She studied at the Professional Dance School of Rallou Manou in Athens. She has worked with Chorotheatro Omada Pente and Chorotheatro Rallou Manou

Address: P.O. Box: 56592, 3308 Lemesos, Cyprus Tel.: 00357 99 445511 / Fax: 0357 25 377929 Email: solipsismdance@hotmail.com

ÊÑÉÔÉÊÅÓ ÅÐÉÔÑÏÐÅÓ

ÊÁËÅÓ ÔÅ×ÍÅÓ

ÅëÝíç ÍéêÞôá / Äéåõèýíôñéá Ðïëéôéóôéêþí Õðçñåóéþí Õðïõñãåßïõ Ðáéäåßáò êáé Ðïëéôéóìïý ÁããÝëù Öéëþôá / Éóôïñéêüò ÔÝ÷íçò Êñéôéêüò ÔÝ÷íçò ÁíôñÝ ÆéâáíÜñç / Éóôïñéêüò ÔÝ÷íçò Êñéôéêüò ÔÝ÷íçò Ìáñßíá Ó÷ßæá / Éóôïñéêüò ÔÝ÷íçò Êñéôéêüò ÔÝ÷íçò ÊõñéÜêïò ÊáëëÞò / ÊáëëéôÝ÷íçò ¸ëåíá ×ñéóôïäïõëßäïõ / Éóôïñéêüò ÔÝ÷íçò - ÅðéìåëÞôñéá ¸êèåóçò

ÅÖÁÑÌÏÓÌÅÍÅÓ ÔÅ×ÍÅÓ

ÅëÝíç ÍéêÞôá / Äéåõèýíôñéá Ðïëéôéóôéêþí Õðçñåóéþí Õðïõñãåßïõ Ðáéäåßáò êáé Ðïëéôéóìïý Óïýëçò ÌáëÝêïò / Ãñáößóôáò ÓÜêçò Âáóéëåßïõ / Ãñáößóôáò Ðáýëïò Ëõóéþôçò / Ãñáößóôáò ÅëÝíç ÉëéÜäïõ / Ãñáößóôáò Ãéþñãïò ÔóáãêÜñçò / Ãñáößóôáò ¸ëåíá ×ñéóôïäïõëßäïõ / Éóôïñéêüò ÔÝ÷íçò - ÅðéìåëÞôñéá ¸êèåóçò

ÐÁÑÁÓÔÁÔÉÊÅÓ ÔÅ×ÍÅÓ

ÅëÝíç ÍéêÞôá / Äéåõèýíôñéá Ðïëéôéóôéêþí Õðçñåóéþí Õðïõñãåßïõ Ðáéäåßáò êáé Ðïëéôéóìïý Ìáñãáñßôá ÁíäñÝïõ / ×ïñïãñÜöïò Áííßôá ×áôæçåõôõ÷ßïõ / ×ïñïãñÜöïò Åýçò Ãáâñéçëßäçò / ÓêçíïèÝôçò ÈåÜôñïõ ÂáñíÜâáò ÊõñéáæÞò / ÓêçíïèÝôçò ÈåÜôñïõ ËÜñêïò ËÜñêïõ / Ìïõóéêüò ÓÜââáò ÓÜââá / Ìïõóéêüò ¸ëåíá ×ñéóôïäïõëßäïõ / Éóôïñéêüò ÔÝ÷íçò - ÅðéìåëÞôñéá ¸êèåóçò

ËÏÃÏÔÅ×ÍÉÁ

Óôïí ÔïìÝá Áõôü ç Êýðñïò Åêðñïóùðåßôáé áðü ôïõò ÍÝïõò ËïãïôÝ÷íåò ðïõ ÔéìÞèçêáí ìå ôï Êñáôéêü Âñáâåßï Ëïãïôå÷íßáò

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SELECTING JURIES VISUAL ARTS

Eleni Nikita / Director of the Cultural Services of the Ministry of Education and Culture Aggelo Filota / Art Historian - Art Critic Andre Zivanari / Art Historian - Art Critic Marina Schiza / Art Historian -Art Critic Kyriakos Kallis / Artist Elena Christodoulidou / Art Historian- Biennial Commissioner

APPLIED ARTS

Eleni Nikita / Director of the Cultural Services of the Ministry of Education and Culture Soulis Malekos / Graphic Designer Sakis Vasiliou / Graphic Designer Pavlos Lyssiotis / Graphic Designer Eleni Iladou / Graphic Designer Yiorgros Tsangaris / Graphic Designer Elena Christodoulidou / Art Historian, Biennial Commissioner

PERFORMING ARTS

Eleni Nikita / Director of the Cultural Services of the Ministry of Education and Culture Margarita Andreou / Choreographer Annita Chatzieftihiou / Choreographer Evis Gavriilidis / Theatre Director Varnavas Kyriazis / Theatre Director Larkos Larkou / Musician Savvas Savva / Musician Elena Christodoulidou / Art Historian - Biennial Commissioner

LITERATURE

State Prize for Young Writers

ÅÐÉÌÅËÅÉA

36/END

ÅðéìÝëåéá ÊåéìÝíùí & Êáôáëüãïõ>¸ëåíá ×ñéóôïäïõëßäïõ Editing>Elena Christodoulidou

Ó÷åäéáóìüò Êáôáëüãïõ & ÅéêïíïãñáöÞóåùí>¢ííá ÖùôéÜäïõ Layout Design & Illustrations>Anna Photiadou

Óõíôïíéóìüò ÊõðñéáêÞò Óõììåôï÷Þò, Êáôáëüãïõ & Óôïé÷åéïèåóßá>Ìáñßá Êùíóôáíôßíïõ Coordination of the Cypriot Participation & Type-setting>Maria Constantinou

Åêôýðùóç>Ôõðïãñáöåßá Óôáõñéíßäç Ëôä / ÅðéìÝëåéá Åêôýðùóçò>Êþóôáò Óôáõñéíßäçò Printing>Stavrinides Press Ltd / Printing Supervision> Costas Stavrinides

ÃåíéêÞ ÅðéìÝëåéá êáé ÄéïñãÜíùóç ÊõðñéáêÞò Óõììåôï÷Þò>Elena Christodoulidou General Supervision and Organisation of the Cypriot Participation>¸ëåíá ×ñéóôïäïõëßäïõ