Objectify
This present unit of artworks consists of a series of etchings. It regards a playback of prints that examine how objects/weapons are assorted/ led. The objects are rendered in such a manner so as to highlight discourse over illustration. The prints showcase serial and mutative compositions that have been centered within a spaceless, timeless, unre ned space that was achieved using the aquatint technique.
The idea is to create distinct families of objects or patterns, which are, in turn, subjecti ed, and whose existence relies on each object/pattern succeeding and supporting the next in line. Namely, we are handed a “motif of sequential experiences”. To a large extend, the goal was to produce a compact chain of di erent shapes and forms, such as is the spectator’s initial impression. The aim of this research was to have faith and commit to a project by repeating the same process in a disciplined, consistent manner, as well as to derive pleasure by creating a mold that ts within artistic discourse. The objects have been rendered employing a speci c typology that has been deprived of any sense of sentimentalism and expressiveness, bordering on a sense of automatic cynicism. We observe that their form and proportions seem formulaic, bearing a total frontal view and almost identical lighting conditions/self-illumination. The quality of the print and the size of the template (A4) are, likewise, unvarying. The objects have been placed at the center of a spaceless, time-
less, square area, bare of any commentary, of any surrounding language, whereby, through the use of the aquatint technique, the area gains a sense of depth as the objects appear to be oating within it.
We obtain an understanding of the scene, not based on what we see, but rather based on clues that have already been absorbed within our discourse by virtue of the structure. The objective is to construct a second language that derives from the rst one, indisputable and universal both (Foucault, The Order of Things, Classifying: IV Character). There is a tangible sense of irony regarding the given objects and their property. We refer to phallic/male objects that represent violence and authority. According to societal norms, “weapons” are seen as being archetypical of the male gender; already from childhood (e.g. as toys) they are used to further showcase and establish initiative, social standing and in uence. At rst sight, the fact that these objects were related by a woman seems like an oxymoron. However, the ambiguity with which these forms have been depicted points to their rendition through the “Female gaze”. In this manner, their initial identity is deconstructed, while new interpretations through the reexamination of their nature are also made possible.
Αrtist’s biography
Vasiliki Chatzimanoli was born in Thessaloniki on 29/12/1999. In 2017, she began studying at the Aristotle University of Thessaloniki, at the School of Fine Arts, Department of Visual and Applied Arts, in the engraving and visual printing workshop of Manolis Giannadakis and Ioannis Belimbasakis, with teaching staff of Ourania Fragoulidou and Christiana Iliopoulou. She graduated in 2024 with “Excellent” (9.16).
Βiennale: 2025
• 5/9 – 5/12, Jubilee Fifth International Print Biennale Yerevan, HayArt Centre, Yerevan, Armenia.
2024
• 11/10, 8th Graphic Art Biennial of Szeklerland, Centrul de Cultură al Judeţului, Covasna, Romania.
• 20/8, Bijenale Grafike Cacak, Caltural Centre of Cacak, Cacak, Serbia.
Solo exhibitions: 2024
• 5-25/4, «Objectify», esp+ gallery, Thessaloniki, Greece.
Group exhibitions: 2024
• 7-29/10, «Dresden Residents 2024», Alte Feuerwache Loschwitz, Dresden, Germany.
• 14 – 25/6, «Migrations», Kulturni Centar Osijek, Osijek, Croatia.
• 6-27/06, “Visualbility”, French Institute, Thessaloniki, Greece.
• 13/05 – 01/10/2024, “Open Y @,” Agali Hotel Paxos, Paxos, Greece.
• 5-11/3, «Migrations», Galleria za Szklem, The Eugeniusz Geppert Academy of Art and Design, Wroclaw, Poland. 2023
• 6/12 – 29/12, «50 artist at Helios Art», Art Centre «Helios», Thessaloniki, Greece.
• 10-31/3, «imprints route: The students honors their teacher», French Institute, Thessaloniki, Greece.
• 10-27/1, «Galaxy», Govedarou art gallery, Thessaloniki, Greece.
2022
• 7/9 – 9/10, «Climate change», Teloglion Arts Foundation, Aristotle University of Thessaloniki, Thessaloniki, Greece.
• 19/3 – 1/5, «A Mask Road», George Melikis Ethnographic Center Mask Research Center, Imathia, Greece. 2021
• 1/12 – 17/12, «Water», Bay Hamam, Thessaloniki, Greece.
• 12/10 – 16/10, «Novarte Project», Myro gallery, Thessaloniki, Greece. 2019
• 13 – 31/12, «The Journey», The Box, Athens, Greece.
Discriminations: 2024
• Prize Pal Nagy, 8 th Graphic Art Biennial of Szekerland, Transylvanian Art Center, Sfantu Gheorghe, Romania. 2021
• Award for the best internship of the department, from the Aristotle University of Thessaloniki, for the academic year 2020-2021.
Art Residencies Programs: 2024
• 30/9 – 2/11, «Dresden Residents 2024», Grefikwerkstatt, Dresden, Germany.
Work: 2023
• She began working at the Tellogleion Foundation of the Arts, Aristotle University of Thessaloniki, in the position of visual artist in the educational workshops (until today).
2021
• She started working at the Tellogleion Foundation of Arts, Aristotle University of Thessaloniki, in the position of exhibition space supervisor.
• Internship at the Tellogleion Foundation of Arts, Aristotle University of Thessaloniki. 2019
• Volunteer at Art Thessaloniki (International Art Fair).
