The Past of Things to Come is an interactive installation based on an alleged occupation of a building, developing into a critical and sarcastic narrative of a dystopic future by applying fictitious and real events. The visitors were invited to observe a hypothetical future archive, consisting of photos, texts and video footage from surveillance cameras.

The documentation material referred to a room that appeared to have served as a bunker in 2112 and which was apparently located in the same building and neighborhood that the current archive is displayed. A door in the exhibition led the visitors in this actual room. The surveillance cameras in that room projected their presence in the monitors outside, so the visitors of the bunker were watched by the other visitors of the archival room. The challenge was therefore to create a loss of coherence between past, present and future, between private and public, outside and inside, like being in a kind of loop, where linear time and space orientation does not make sense and which leaves no ground for fixed or secure positions.

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The catalogue of the exhibition The Past of Things to Come was published by Cube Art Editions with texts by Elina Axioti and James Bridle. Available for orders here.




Zoe Hatziyannaki, The Past of Things to Come
curated by Elina Axioti


Special thanks to:
Evangelia Argyrou
Dimitris Mitropoulos
Eleni Saroglou

With the support of NEON and the Architecture Syndicate.



Mare Crisium


We are not in the world, we become with the world; we become by contemplating it. Everything is vision, becoming. We become universes. Becoming animal, plant, molecular, becoming zero.

Deleuze G. and Guattari F.
What is Philosophy? London, Verso (1994, p.169)

The main idea of After the End builds on a sci-fi, possibly doomsday, scenario where a group of people find themselves on a deserted land among dispersed apparatuses. The work reflects on the relations between society, technology and nature and the dystopian scenarios that largely surround them today.
The series editing follows a continuation as the photographs succeed one another, in an attempt to suggest the notion of movement and transition and the importance of passage, as a means of reinventing ourselves and our futures within the world.



Electric Dreams (2019) by Zoe Hatziyannaki is a site and context responsive installation reflecting on a future scenario where technology has obscurely reached a more advanced stage. A screen, a printer and other peripherals take the shape of a curious apparatus functioning on a self-programming and self-operating system. Artificial intelligence and its engagement with the advancement of technology lies within the artist’s immediate interests. The integration of simulated intelligence with emotional intelligence could be a credible plot changing the way we see technology today and how we interact with it.

The machine presented by Hatziyannaki belongs to a framework of a future reality, perhaps not so far away. It is able to enact its very own logic and reasoning and concomitantly perform a task while wielding its own emotional artificial brainpower. We witness a device that is surprisingly charmed by the ancient past and is attempting to rediscover the site of Kerameikos by autonomously accessing satellite footage and creating a brand-new work of art inspired by its beauty.

Analysing the topographical coordinates and other constituents with algorithmic and computational procedures, it automatically generates an image that for itself this represents the ultimate exquisiteness of aesthetics for such scenery.

With perspicuous allusions to the role of technological means over contemporary art practices, Hatziyannaki examines the debate on what is art today and to what extent technology is acceptable to be entangled with the production of an artwork. She challenges the belief that technology can arise as an obstacle for artistic expression as opposed to the fact that it is widely used to produce an artwork. The prospect of a self-thinking and feeling appliance might still be far away yet the sense of a manmade machine sharing mutual feelings with us may seem paradoxically comforting, especially when it comes to postulating a state of future dystopia on our planet.

Text by Kostas Prapoglou

“Electric Dreams” was created on the occasion for the group exhibtion +9.


18-20 Iera Odos, Athens Greece
Duration: 20 June -  12 July 2019

Days & hours: Tues Wed Thurs Fri: 14.00 - 20.00
Sat Sun Mon: closed

Curator: Dr Kostas Prapoglou

Participating artists: 
Lydia Andrioti, Manolis Baboussis, Despina Charitonidi, Evangelos Chatzis, Lydia Dambassina, Diohandi, Kleio Gizeli, Zoe Hatziyannaki, Yannis Kondaratos, James Lane, Despina Meimaroglou,Eusevia Michailidou, Evi Savvaidi, Nikos Tranos, Adonis Volanakis, Eleni Zouni.




I have seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in rain. Time to die.

(Blade Runner, Ridley Scott dir., 1992)

C-Beams was part of the  Luminous Flux/Reflected Overlays on Locative Norms workshop organized by Campus Novel in Syros island.



My approach of Catholic and Orthodox churches in Tinos island is more social and spatial than historical or religious. It is a visual research into how the people of the island read and translated the coexistence of both creeds in their particular environment. A look into what extent different factors like tradition, society, location, ethics, individual beliefs intermingled and made their appearance in architectural forms.

The work obviously refers to the famous “Typologies” of Berndt and Hilla Becher and, as they proposed, it is a sort of an anatomy of the relations between constituent parts, where the objects of the structures need to be isolated from the context, without colour and as much as possible objectively portrayed. In this way the viewer can observe similarities and differencies and reflect on the multiple exchanges of specific geographical, social, historical and economical circumstances that construct them.

This work was made on the occasion of Bound for Tinos II exhibition in Tinos island.