[un]known destinations chapter III: reconnection ----a second chance

a plaster Airbnb wall on the back side of his work but with the use of sugar, Papadopoulos channels predicaments of fragmentation, fracture and eradication. The appearance of a music box alluding to the function of the original object, becomes a surreal tool for viewing and experiencing while synchronously blurring the boundaries between the different levels of realism and truth.

Vivi Perysinaki’s Transition (2019) surveys the spatial relationship that is developed amongst parts of the inner structure of the building and their eventual connection with the outdoors. Her site-specific intervention, which takes the shape of two uncanny climbing plants, embarks from the ground floor and travels all the way up to the terrace with their stems intertwining around each other’s body. Solely constructed with jute fibre, its telluric looking colour is evocative of an interminable umbilical cord seeking to connect two domains while, at the same time, the viewer is invited to follow its route and discover its terminus, which similar to a birth, brings them as new-borns to the outside world.

Invasion (2019) by Rania Schoretsaniti is a conglomeration of numerous pieces of wood in different sizes and shapes, all dressed with stretched cloth inescapably giving the illusion of different materiality and texture.

Expanding aggressively on one of the venue’s walls, the sculpture is an abstract proposition of the aesthetic and political formulas with their diverse multi-layered facets that frequently collapse into each other and inevitably fail. Despite its apparent congruous appearance, Invasion could also be suggestive of the unsettling disorder within the sphere of urbanisation and the occurring architectural cacophony.

Earth and water, holy offerings for Kypseli (2019) is the installation by Yannis Theodoropoulos populating a vanity table set found in the Zarifi residence with 61 homeopathy bottles filled with water from Jordan river (Israel) and Nyphi spring (Skyros, Greece), sand from Naxos island (Greece) as well as earth from Skyros island (Greece) and the artist’s home garden in Athens. Bringing offerings from locations of specific importance to the artist, traces a personal trajectory towards a