Zoe Hatziyannaki   
    
    the day the earth caught data
    (E1) (E2) ...
    a time of her own
    the lonely machine
    plein soleil  
    gynaikes                                   
    panopto
 
    electric dreams 
    the past of things                            \/
    to come
 
    after the end    
    ode to a grecian urn                        \/
    local variations
    c-beams 
    secrets and crises                           \/
    fleeting island 
    regeneration stories                       \/

      
    publications                                      \/
    about 

    



      




   
     

     




..._Data Dreams & Ethical Realities, Panel Discussion, Onassis AiR, 18 Sept, 2024
_The Day the Earth Caught Data at Kastelana, Pyrgos, Santorini 23 Aug-23 Sept 2024
_A Time of Her Own,  Hellenic Centre, London, 15th May 2024
_Onassis AiR, Athens, February - March 2024 _The Nightmare of Persephone, Kairos Politismou, Tinos, 5-6 July 2023
_Arcaeological Dialogues, Syros, 27-29th May 2023 _Athens by Collage: The Representation of the Metropolis between Realism, Intervention and Autonomy, by Fabiano Micocci, Anteferma Editions.
_Curation of the exhibition Expressions of Light in Selene restaurant, Santorini,Sept -Oct. 2022
_Levels of Life: Photography Imaging and the Vertical Perspective - Conference and Exhibition,The Photographers Gallery & London College of Communication, 30th June-2nd July 2022
_Lipiu exhibition catalogue


...

ΓΥΝΑΙΚΕΣ
2020



Γυναίκες (meaning women in Greek) is a site-specific installation. The work developed from the recently discovered material of my mother’s archive. The archive includes publications, mostly between 1973-75, of the Greek press (newspaper and magazine clippings), zines and magazines by feminist organizations and groups in Greece, and some from Italy and France, as well as notes and sketches.

The archive, although it has a purely political and social orientation, was read in emotional terms which were mainly determined by the close relationship with my mother. The photos of the public figures found  in the archive, are placed in photo frames in order  to decorate the living room of a house. They abandon their public character and become close relatives and friends. This change of roles is not directly understood as their relocation from the public to the private sphere, is very personal. Regardless of the different roles and references that shape them, the subjects depicted, contain, right from the start, another meaning for me. One which, perhaps, can only be described in the sense of punctum that Barthes attributes to photography in general, and especially to the “Winter garden photograph”. (R.Barthes, Camera Lucida, 1993, Vintage).

My reading of the archive deprives the subjects of their original political, historical and sociological implications, by seeking a more intimate approach. It completely discharges them from any mission, no matter how important that is, and looks at them through the sensitive prism of the closeness to my mother. It could be suggested that this imposes an atemporal and apolitical dimension to the subjects, causing amnesia and detachment, yet it could also mean release, even redemption, whether they deserve it or not, from the established public image reinforced by the media and the social norms.

                             
         
                         


Γυναίκες was part of Lipiu group exhibition, curated by Christina Petkopoulou, A-DASH space, Athens, October 2020. 


Read related Interview by Despina Zefkili, Athinorama (only in Greek).