In the central area of the city we came across some digital material which might give more clues to the current research. Our presumptions until now are that the city, after facing serious decline was gradually deserted. The material includes video and image files, originating mainly from surveillance cameras, all dated the year 2112. The fact that the room was most likely used as a refuge, as well as, the constant monitoring of the interior and the exterior spaces, leads to the conclusion that its residents were under serious threat. However we still do not know what had happened or what was that they feared so much. The research is in an early stage so we can only make assumptions.

The Past of Things to Come is an interactive installation based on the study of elements that belong to unofficial urban legacies of everyday city narratives. Zoe Hatziyannaki constructs an installation around an alleged occupation of a building and uses photography to create a critical and sarcastic narrative on a dystopic future by applying fictitious and real events. 
The space is approached through a potential future archaeology. The visitors are invited to observe archive material consisting of photos, texts and video footage from surveillance cameras. The material concerns a room which appears to have served as a shelter in 2112 and its exterior surroundings. The work poses questions and redefines incessantly the relations of the private and the public, the outside and the inside, the local and the global, the past, the present and the future without leaving room for fixed or secure positions.




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.



The book 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.

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.


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

I am a lighthouse.

I look like I am stuck here, as time has stopped.

Isolated and halted, as nothing changes on me.

But I have a secret.

This is only how I look during day.
At night I slowly transform into something else.

I leave the ground and loose all material weight,

I become a ghost, a body without organs,
I become a light that travels and meets others,

I become with the night.

I am never stable, never the same, I move constantly along time and space.

This is my secret.

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)


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



What did you see in that park?

(Blow Up, M. Antonioni dir. 1966)

...What can though one really see in the photographs of these buildings? The impenetrable details of the public buildings do not just remain in the obvious comment of a hopeless demand for transparency but invite us to think more deeply of our own personal need to look behind the facades of the institutions.

Just like Antonioni uses the ‘shadow chasing’ park photograph to comment, among others, on the superficiality of the swinging London in the 60’s, so does the escaping detail in Hatziyannaki’s series: through the failure to illuminate the ‘dark side’ of the buildings comments on the general psychology of crisis in Athens today, as well as, on the weakness to comprehend the globalised language of the recession which was enforced rapidly by the media in order to justify the degradation of everyday life with confusing financial terms.

Referring to conceptual photo-essays which form new narratives by focusing on details of existing images, as much as in paparazzi photos in the tabloids and the close-ups of detective movies, these details question the notorious relation between photography and truth by drawing our attention to the continuous reconceptualization of the image within each changing socio-political framework.

Despina Zefkili
(Secrets and Crises, Cube Art Editions, 2013)

Secrets and Crises's catalogue was published by Cube Art Editions. The book is available for orders here.