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                                      \/
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..._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


...

SECRETS & CRISES
2012-14




Installation shots, Ileana Tounta Contemporary Art Center, 2013.

What did you see in that park?
Nothing.

                                                                                                                    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.