https://zoehatziyannaki.com Zoe Hatziyannaki Sun, 25 May 2025 09:27:59 +0000 https://zoehatziyannaki.com en https://zoehatziyannaki.com/Work Wed, 11 Oct 2017 08:51:34 +0000 Zoe Hatziyannaki https://zoehatziyannaki.com/Work https://zoehatziyannaki.com/The-Past-of-Things-to-Come Sat, 31 Mar 2018 15:04:01 +0000 Zoe Hatziyannaki https://zoehatziyannaki.com/The-Past-of-Things-to-Come THE PAST OF THINGS TO COME window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'UA-26468602-1'); 2018 <img width="2525" height="1537" width_o="2525" height_o="1537" data-src="https://freight.cargo.site/t/original/i/51cafd473ce0aeb5719cb0d6209c66610ef3e534452e260fad6c4e200d0d5209/IMG_30191.jpg" data-mid="59431988" border="0" data-scale="72" src="https://freight.cargo.site/w/1000/i/51cafd473ce0aeb5719cb0d6209c66610ef3e534452e260fad6c4e200d0d5209/IMG_30191.jpg" /> The Past of Things to Come is a site-specific interactive installation based on an alleged occupation of a building, developing into a critical and sarcastic narrative of a dystopic future by applying fictional and real events. The installation spans in two rooms: The room where the visitors first enter is a display/exhibition room, and the other one is a bunker, a safe room. The visitors entering the exhibition room have no idea of the existence of the bunker. The display resembles that of an archive, consisting of visual documentation, mainly photographs and footage from surveillance cameras, all dated in 2112. What it is depicted is an enclosed space, a building and its surroundings which is no other than that of the exhibition. Yet the images present a completely different situation: it looks like a disaster had struck and the interior space served as a shelter and eventually turned into a bunker. However the visitors soon discover that this room actually exists. A secret door in the exhibition space leads them to the future-past bunker. The surveillance cameras in that room transmit live in the monitors in the exhibition room, so the visitors in the bunker are now part of the display as they are watched by the newcomers who will soon take their place. The visitors’ role changes from spectators to participants suggesting not only a change of relations between them, but also of time and space. This incessant shifting between a virtual past, present and future, private and public, outside and inside, near and far, creates a loss of coherence where linear time and space orientation does not make sense, like being in a kind of loop, which leaves no ground for fixed or secure positions and points of view. Download pdf here for more. 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. Curated by Elina Axioti Special thanks to: Evangelia ArgyrouDimitris Mitropoulos Eleni Saroglou With the support of NEON, the Architecture Syndicate and A-DASH. &nbsp; &nbsp; Supporting &nbsp; &nbsp; Creativity &nbsp;<img width="85" height="57" width_o="85" height_o="57" data-src="https://freight.cargo.site/t/original/i/bbe5d445ab76e370ad390335f9bab253cf2cf3bf2b33a4cc710c628dba5129ee/neon.jpg" data-mid="14071892" border="0" data-scale="100" src="https://freight.cargo.site/w/85/i/bbe5d445ab76e370ad390335f9bab253cf2cf3bf2b33a4cc710c628dba5129ee/neon.jpg" /><img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/7602c4a36f52ddd7e696e86bd4ddf1fea25f5ac7635bb74f6ffdf50d0752e7f9/DSC_0009.jpg" data-mid="13989672" border="0" data-scale="95" src="https://freight.cargo.site/w/1000/i/7602c4a36f52ddd7e696e86bd4ddf1fea25f5ac7635bb74f6ffdf50d0752e7f9/DSC_0009.jpg" /><img width="2848" height="4288" width_o="2848" height_o="4288" data-src="https://freight.cargo.site/t/original/i/46a7453a1562012f77c30ce9fc874c7989d78ff09ab0e1bff42db8c309cb4cdf/DSC_0070-copy.jpg" data-mid="14014197" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/46a7453a1562012f77c30ce9fc874c7989d78ff09ab0e1bff42db8c309cb4cdf/DSC_0070-copy.jpg" /> &nbsp; &nbsp;<img width="2848" height="4288" width_o="2848" height_o="4288" data-src="https://freight.cargo.site/t/original/i/bb8444c15dcc8dafce7c45b87e7bec66e273ca659ccf5997ff26bfbfe9f1f78c/IMG_2293.jpg" data-mid="13989679" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/bb8444c15dcc8dafce7c45b87e7bec66e273ca659ccf5997ff26bfbfe9f1f78c/IMG_2293.jpg" /> <img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/9accb67c1dc16d4e201023360ae08866361e54fe96c2233150960b68aa9fce28/DSC_0011.jpg" data-mid="13989673" border="0" data-scale="94" src="https://freight.cargo.site/w/1000/i/9accb67c1dc16d4e201023360ae08866361e54fe96c2233150960b68aa9fce28/DSC_0011.jpg" /> &nbsp;<img width="2848" height="4288" width_o="2848" height_o="4288" data-src="https://freight.cargo.site/t/original/i/47e7ac1a1a9ff6026b5b475cf84bd3f719e7b5c83d48d30366afb3a391f78618/DSC_0005.jpg" data-mid="13989671" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/47e7ac1a1a9ff6026b5b475cf84bd3f719e7b5c83d48d30366afb3a391f78618/DSC_0005.jpg" />&nbsp; &nbsp;<img width="2848" height="4288" width_o="2848" height_o="4288" data-src="https://freight.cargo.site/t/original/i/d7a10b0e1ba89fafb326d54767b8ee4e3052ef8a3baefe1010fe11862e146a32/DSC_0017.jpg" data-mid="13989676" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/d7a10b0e1ba89fafb326d54767b8ee4e3052ef8a3baefe1010fe11862e146a32/DSC_0017.jpg" />&nbsp; &nbsp; &nbsp; <img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/70dd7a1f89b95bfd1d0aad5229858beb1d49eea2ec7b51efaca66f3e5bfe4fa4/IMG_3324.JPG" data-mid="59560692" border="0" data-scale="98" src="https://freight.cargo.site/w/1000/i/70dd7a1f89b95bfd1d0aad5229858beb1d49eea2ec7b51efaca66f3e5bfe4fa4/IMG_3324.JPG" /> <img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/b990b86a4d64f79b862f4f2c24bbf0dd5772cc4e8b8b361ae554b982e54b718b/IMG_2888.jpg" data-mid="59432113" border="0" data-scale="98" src="https://freight.cargo.site/w/1000/i/b990b86a4d64f79b862f4f2c24bbf0dd5772cc4e8b8b361ae554b982e54b718b/IMG_2888.jpg" />&nbsp; &nbsp; &nbsp;&nbsp; <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/8aa0f7071a22ad5af7b4301c0fd1235c3f0852a329c3323afe2706b20658115d/IMG_3035.JPG" data-mid="59560677" border="0" data-scale="81" src="https://freight.cargo.site/w/1000/i/8aa0f7071a22ad5af7b4301c0fd1235c3f0852a329c3323afe2706b20658115d/IMG_3035.JPG" /> <img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/97580ee73c9dfc658aa67254681a71f1b19dee2a82958c9b5f650dea5f75247f/IMG_2929.JPG" data-mid="59432056" border="0" data-scale="97" src="https://freight.cargo.site/w/1000/i/97580ee73c9dfc658aa67254681a71f1b19dee2a82958c9b5f650dea5f75247f/IMG_2929.JPG" /> <img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/78edb65ca8c16f0ff90c52612d5e6aa06622ea584c081cc55fdd7f0e7db40b12/IMG_3323.JPG" data-mid="59560678" border="0" data-scale="96" src="https://freight.cargo.site/w/1000/i/78edb65ca8c16f0ff90c52612d5e6aa06622ea584c081cc55fdd7f0e7db40b12/IMG_3323.JPG" /> <img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/8032e697563be350d48567e0ca78afc1cd53126f928728e5b3f840387110871f/IMG_2951.jpg" data-mid="59560676" border="0" data-scale="73" src="https://freight.cargo.site/w/1000/i/8032e697563be350d48567e0ca78afc1cd53126f928728e5b3f840387110871f/IMG_2951.jpg" /> <img width="6942" height="4309" width_o="6942" height_o="4309" data-src="https://freight.cargo.site/t/original/i/6166ca011e9a392a8fc4c38350d9f96fff23b243cef0e43488e69e37b1aa6256/size2.jpg" data-mid="13989157" border="0" data-scale="75" src="https://freight.cargo.site/w/1000/i/6166ca011e9a392a8fc4c38350d9f96fff23b243cef0e43488e69e37b1aa6256/size2.jpg" /> <img width="3000" height="1997" width_o="3000" height_o="1997" data-src="https://freight.cargo.site/t/original/i/3e786e46aae5681f9ab602e478e97ea1bc9e419c43cd348ba1bd65d0f7199713/PAST-OF-THINGS.jpg" data-mid="14014512" border="0" src="https://freight.cargo.site/w/1000/i/3e786e46aae5681f9ab602e478e97ea1bc9e419c43cd348ba1bd65d0f7199713/PAST-OF-THINGS.jpg" /> <img width="2780" height="1708" width_o="2780" height_o="1708" data-src="https://freight.cargo.site/t/original/i/a968f8b776f7e5aaf6d634b8e3e5199ff4890a97b1fcff1971800961505e5634/PAST-OF-THINGS4.jpg" data-mid="14014517" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/a968f8b776f7e5aaf6d634b8e3e5199ff4890a97b1fcff1971800961505e5634/PAST-OF-THINGS4.jpg" /> <img width="3000" height="1997" width_o="3000" height_o="1997" data-src="https://freight.cargo.site/t/original/i/66192532ed39a0fbf4b3cc137b3139cff33efdad1df70065e099d8293dd33fe3/PAST-OF-THINGS6.jpg" data-mid="14014522" border="0" src="https://freight.cargo.site/w/1000/i/66192532ed39a0fbf4b3cc137b3139cff33efdad1df70065e099d8293dd33fe3/PAST-OF-THINGS6.jpg" /> <img width="2783" height="1700" width_o="2783" height_o="1700" data-src="https://freight.cargo.site/t/original/i/ccf87a6a62935a6bce883f5e82df98ee55a2457a8560c963e50a28d39f4f5cc4/PAST-OF-THINGS2.jpg" data-mid="14014513" border="0" src="https://freight.cargo.site/w/1000/i/ccf87a6a62935a6bce883f5e82df98ee55a2457a8560c963e50a28d39f4f5cc4/PAST-OF-THINGS2.jpg" /> <img width="2779" height="1704" width_o="2779" height_o="1704" data-src="https://freight.cargo.site/t/original/i/dda63b179918b7718d361db3b421ab5dcba0cccc09d5470ef1823d3d424e814b/PAST-OF-THINGS3.jpg" data-mid="14014516" border="0" src="https://freight.cargo.site/w/1000/i/dda63b179918b7718d361db3b421ab5dcba0cccc09d5470ef1823d3d424e814b/PAST-OF-THINGS3.jpg" /> <img width="2779" height="1701" width_o="2779" height_o="1701" data-src="https://freight.cargo.site/t/original/i/76d47431c62676e4c0af8d23acf061ecd80abe026effcf03aac7f60c00a3c349/PAST-OF-THINGS5.jpg" data-mid="14014519" border="0" src="https://freight.cargo.site/w/1000/i/76d47431c62676e4c0af8d23acf061ecd80abe026effcf03aac7f60c00a3c349/PAST-OF-THINGS5.jpg" /> The Past of Things to Come was also presented and published as a paper in: Urban resilience, Changing Economy and Social Trends, 2019, eds. F.Othengrafen and K.Serraos, Leibniz University of Hanover and the National Technical University of Athens. http://resilient-cities.eu/wp-content/uploads/20190125_Hekris.pdf https://zoehatziyannaki.com/After-the-end Wed, 11 Oct 2017 08:51:35 +0000 Zoe Hatziyannaki https://zoehatziyannaki.com/After-the-end AFTER THE END 2016 <img width="1495" height="600" width_o="1495" height_o="600" data-src="https://freight.cargo.site/t/original/i/75ca28240ce15c6c6fafeb5f3a2f6b4f748a018f5923d94bc1f9c054c5ff65d9/1.jpg" data-mid="5044402" border="0" src="https://freight.cargo.site/w/1000/i/75ca28240ce15c6c6fafeb5f3a2f6b4f748a018f5923d94bc1f9c054c5ff65d9/1.jpg" /> <img width="1495" height="600" width_o="1495" height_o="600" data-src="https://freight.cargo.site/t/original/i/c872daa248e16d6f65f418cb6c93b3b6d2841a925caed5a80144aa0f59b13c0d/2.jpg" data-mid="5186893" border="0" src="https://freight.cargo.site/w/1000/i/c872daa248e16d6f65f418cb6c93b3b6d2841a925caed5a80144aa0f59b13c0d/2.jpg" /> <img width="1495" height="600" width_o="1495" height_o="600" data-src="https://freight.cargo.site/t/original/i/481023d0b55e685c0c0d7a449bcaeda755892ab6c51aea4233a0da8110020080/3.jpg" data-mid="5186960" border="0" src="https://freight.cargo.site/w/1000/i/481023d0b55e685c0c0d7a449bcaeda755892ab6c51aea4233a0da8110020080/3.jpg" /> <img width="1495" height="600" width_o="1495" height_o="600" data-src="https://freight.cargo.site/t/original/i/b2d2e19623c2ec2f4cf424af9bd7ced7fdbbe99e57b3667443b93d0ad777d0a0/4.jpg" data-mid="5186896" border="0" src="https://freight.cargo.site/w/1000/i/b2d2e19623c2ec2f4cf424af9bd7ced7fdbbe99e57b3667443b93d0ad777d0a0/4.jpg" /> <img width="1495" height="600" width_o="1495" height_o="600" data-src="https://freight.cargo.site/t/original/i/99bf61ab4e92002a7f19eb1fa4d497d31da9f7f0eb810cf91435e91be6f0c1bf/5.jpg" data-mid="5186897" border="0" src="https://freight.cargo.site/w/1000/i/99bf61ab4e92002a7f19eb1fa4d497d31da9f7f0eb810cf91435e91be6f0c1bf/5.jpg" /> <img width="1495" height="600" width_o="1495" height_o="600" data-src="https://freight.cargo.site/t/original/i/90168600d05b9bbe57f7a00d8a66d60551567586dd9876cbd7deb993cd442a59/6.jpg" data-mid="5186898" border="0" src="https://freight.cargo.site/w/1000/i/90168600d05b9bbe57f7a00d8a66d60551567586dd9876cbd7deb993cd442a59/6.jpg" /> <img width="1495" height="600" width_o="1495" height_o="600" data-src="https://freight.cargo.site/t/original/i/409649b45cc9f7b5075e6377300b25961d0790dd7a08d3c091bf534fa6fd0c30/7.jpg" data-mid="5186899" border="0" src="https://freight.cargo.site/w/1000/i/409649b45cc9f7b5075e6377300b25961d0790dd7a08d3c091bf534fa6fd0c30/7.jpg" /> <img width="1495" height="600" width_o="1495" height_o="600" data-src="https://freight.cargo.site/t/original/i/737667b6ba7fa033ead0bebc85ca093efd774a97a84da63aba1f3c94a4b8c0ca/8.jpg" data-mid="5187372" border="0" src="https://freight.cargo.site/w/1000/i/737667b6ba7fa033ead0bebc85ca093efd774a97a84da63aba1f3c94a4b8c0ca/8.jpg" /> <img width="1530" height="600" width_o="1530" height_o="600" data-src="https://freight.cargo.site/t/original/i/1a9c28a7327de33c91b715f2593405f2cb38fd355c5ef8adfad7f7544ee01948/9.jpg" data-mid="5187401" border="0" src="https://freight.cargo.site/w/1000/i/1a9c28a7327de33c91b715f2593405f2cb38fd355c5ef8adfad7f7544ee01948/9.jpg" /> <img width="1861" height="600" width_o="1861" height_o="600" data-src="https://freight.cargo.site/t/original/i/60b4a106572721a4489d72a6c97daca75516586e0684ed8c5de3a6c42e869f51/10.jpg" data-mid="5187378" border="0" src="https://freight.cargo.site/w/1000/i/60b4a106572721a4489d72a6c97daca75516586e0684ed8c5de3a6c42e869f51/10.jpg" /> 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. <img width="653" height="651" width_o="653" height_o="651" data-src="https://freight.cargo.site/t/original/i/56324435153cdadaed4524f0d68b73ffbce73e6d137894c928dad38dd9ee93d7/Screen-Shot-2019-07-22-at-6.20.52-.png" data-mid="67670836" border="0" src="https://freight.cargo.site/w/653/i/56324435153cdadaed4524f0d68b73ffbce73e6d137894c928dad38dd9ee93d7/Screen-Shot-2019-07-22-at-6.20.52-.png" /> Installation shot, (IM)Material Gestures, Talking PIIGS, Fondazione Sandretto Re Rebaudengo, Turin, 2016 https://zoehatziyannaki.com/Electric-Dreams Mon, 17 Jun 2019 16:29:46 +0000 Zoe Hatziyannaki https://zoehatziyannaki.com/Electric-Dreams ELECTRIC DREAMS window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'UA-26468602-1'); 2019 <img width="1080" height="693" width_o="1080" height_o="693" data-src="https://freight.cargo.site/t/original/i/5346bfe989ca6400181d1d6f4a69149ac9fa5434fc73714f6cce74d1e8905e7d/installtion_ED_1.gif" data-mid="232846191" border="0" data-scale="81" src="https://freight.cargo.site/w/1000/i/5346bfe989ca6400181d1d6f4a69149ac9fa5434fc73714f6cce74d1e8905e7d/installtion_ED_1.gif" /> Electric Dreams&nbsp;is a site-specific installation reflecting on how new technologies apprehend and transform the urban environment. In the near future, a computer, along with a printer and other peripherals, is found ‘alive’ in an abandoned, wrecked office space. The computer seems to have developed a kind of artificial intelligence in its effort to escape years of boredom and loneliness. With the use of Google street view, it sets off to explore its surroundings and to discover what lies outside its dark and cold room. As it navigates through parts of the city, it takes photographs i.e. screenshots, then copies and repositions elements as to final construct its very own masterpiece. &nbsp;A machine’s (urban) experience can seem indeed limited, or even nonexistent, to that of humans, yet its learning ability, when it comes to speed, storage and information access, is massive compared to ours, as it is its capacity of multiple simultaneous interconnections. Do we really know how a machine is capable of using the endless data that is receiving? The computer-flaneur seems to be limited to the information of Google Street View, but perhaps this is not the case. Perhaps in its effort to make sense of the multifaceted layers of the city, it reaches out to other facts and figures: It reads through texts and manuscripts, searches historical and philosophical writings, examines old photographs and sound recordings, various Youtube videos and movies. ‘Electric Dreams’ reflects on advanced technology as a means of understanding the world and the places we inhabit, wondering on the use of machine learning and the potential of AI. Narrating probably one of Sci-Fi’s favourite stories, that machines can and will eventually develop Emotional Intelligence, which will render them more human than we are. <img width="2544" height="1346" width_o="2544" height_o="1346" data-src="https://freight.cargo.site/t/original/i/09c13d7120b3f33c33111b3e982cc5ee0a7a17e38bd68782da580b386ae3dcc1/Screenshot-2019-06-17-at-21.32.07.png" data-mid="44933949" border="0" src="https://freight.cargo.site/w/1000/i/09c13d7120b3f33c33111b3e982cc5ee0a7a17e38bd68782da580b386ae3dcc1/Screenshot-2019-06-17-at-21.32.07.png" /> <img width="2530" height="1348" width_o="2530" height_o="1348" data-src="https://freight.cargo.site/t/original/i/5f9e4a9a6c05b93f7ae6bafb77bc0bd78bb747b0076f4f821e3e9cba11368c34/Screenshot-2019-06-17-at-21.31.39.png" data-mid="44933907" border="0" src="https://freight.cargo.site/w/1000/i/5f9e4a9a6c05b93f7ae6bafb77bc0bd78bb747b0076f4f821e3e9cba11368c34/Screenshot-2019-06-17-at-21.31.39.png" /> <img width="2532" height="1348" width_o="2532" height_o="1348" data-src="https://freight.cargo.site/t/original/i/0aa7ee1b07d8b4e82117ecf5b61026b59af76185abf73535d6a8b1a429bd037d/Screenshot-2019-06-17-at-21.33.08.png" data-mid="44934057" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/0aa7ee1b07d8b4e82117ecf5b61026b59af76185abf73535d6a8b1a429bd037d/Screenshot-2019-06-17-at-21.33.08.png" /> <img width="1080" height="810" width_o="1080" height_o="810" data-src="https://freight.cargo.site/t/original/i/f4447c103670cff41026a326ce6d186bc1658c130c9b18861bedfc9cdf622e8e/installtion_ED_2.jpg" data-mid="58306121" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/f4447c103670cff41026a326ce6d186bc1658c130c9b18861bedfc9cdf622e8e/installtion_ED_2.jpg" /> 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 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 in the catalogue of +9 exhibition. <img width="2310" height="1414" width_o="2310" height_o="1414" data-src="https://freight.cargo.site/t/original/i/7c5e80649ef3cd7504a92e49da0963f4308611a447f9f18f8fe9138405abcef2/installtion_ED_3.jpg" data-mid="68645987" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/7c5e80649ef3cd7504a92e49da0963f4308611a447f9f18f8fe9138405abcef2/installtion_ED_3.jpg" /> https://zoehatziyannaki.com/Gynaikes Sun, 28 Mar 2021 09:13:57 +0000 Zoe Hatziyannaki https://zoehatziyannaki.com/Gynaikes ΓΥΝΑΙΚΕΣ2020 <img width="1958" height="1378" width_o="1958" height_o="1378" data-src="https://freight.cargo.site/t/original/i/6c5c4d2f55db69a8bec83c6811a375ad1d49843632d532f73eb8c188cc2c4d0c/DSC_0138.jpg" data-mid="103493070" border="0" data-scale="69" src="https://freight.cargo.site/w/1000/i/6c5c4d2f55db69a8bec83c6811a375ad1d49843632d532f73eb8c188cc2c4d0c/DSC_0138.jpg" /> 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 &nbsp;in the archive, are placed in photo frames in order &nbsp;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. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <img width="1000" height="700" width_o="1000" height_o="700" data-src="https://freight.cargo.site/t/original/i/22ed4b6917d5a9f65315151959c60ecc4b30edd16661268ff75ab7cca99c19fb/dimosieumata-lupiou-ekthesi.jpeg" data-mid="103493532" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/22ed4b6917d5a9f65315151959c60ecc4b30edd16661268ff75ab7cca99c19fb/dimosieumata-lupiou-ekthesi.jpeg" />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <img width="1266" height="1998" width_o="1266" height_o="1998" data-src="https://freight.cargo.site/t/original/i/be9b4f6c16dce47639fa4b3bf6f509b01922620ce679db7460d815d8be116ac6/DSC_0126.jpg" data-mid="103493068" border="0" data-scale="26" src="https://freight.cargo.site/w/1000/i/be9b4f6c16dce47639fa4b3bf6f509b01922620ce679db7460d815d8be116ac6/DSC_0126.jpg" />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<img width="450" height="636" width_o="450" height_o="636" data-src="https://freight.cargo.site/t/original/i/76dd6c16244dbb68b6495ccbbb9aad9745ff1b94872dffafabdf87002dea974e/lupiou-ekthesi-a-dash-feministika--arxeia.jpeg" data-mid="103493533" border="0" data-scale="28" src="https://freight.cargo.site/w/450/i/76dd6c16244dbb68b6495ccbbb9aad9745ff1b94872dffafabdf87002dea974e/lupiou-ekthesi-a-dash-feministika--arxeia.jpeg" /> <img width="1000" height="727" width_o="1000" height_o="727" data-src="https://freight.cargo.site/t/original/i/a1eb2930d1ea5e7f7bc57872a26ae58ee4963cb1a33f850c74f7b32564b6e52d/gunaikes-lupiou-tupos.jpeg" data-mid="103493535" border="0" data-scale="41" src="https://freight.cargo.site/w/1000/i/a1eb2930d1ea5e7f7bc57872a26ae58ee4963cb1a33f850c74f7b32564b6e52d/gunaikes-lupiou-tupos.jpeg" /> Γυναίκες was part of Lipiu group exhibition, curated by Christina Petkopoulou, A-DASH space, Athens, October 2020.&nbsp; Read related&nbsp;Interview by Despina Zefkili, Athinorama (only in Greek). https://zoehatziyannaki.com/a-time-of-her-own Thu, 23 May 2024 08:37:47 +0000 Zoe Hatziyannaki https://zoehatziyannaki.com/a-time-of-her-own Α TIME OF HER OWN2021-24 <img width="1024" height="640" width_o="1024" height_o="640" data-src="https://freight.cargo.site/t/original/i/a863a3a29b67feb19fae662bdeebb6bcf796a02851777ba8f77368e6a7b8307a/atimeofherown.gif" data-mid="211500339" border="0" data-scale="94" src="https://freight.cargo.site/w/1000/i/a863a3a29b67feb19fae662bdeebb6bcf796a02851777ba8f77368e6a7b8307a/atimeofherown.gif" /> A Time of Her Own https://www.atimeofherown.gr&nbsp;is an online, partly interactive, platform that integrates fragments of archival material published in the Greek press during the1970s and 1980s with personal photographs from the same decades. The largest part of the archival content has been drawn from Evelyn Volika-Hatziyiannaki’s collection, consisting of magazines and newspaper articles of the time related to feminist issues. The personal photographs are courtesy of different individuals. Users are offered the possibility to study and browse freely the material and at the same time come up with different visual results through an interactive game of redistribution of public and private images of women. Political and personal shelves are intertwined, blurring the boundaries between them, and producing new, ephemeral and unexpected outcomes. The experience of this infinite combinations, in the form of diptychs, attempts to create relations and challenge notions of the public and the private and eventually allow different readings to emerge: When and how does the feminist political and social narratives go hand in hand with the personal experience? In what ways are public demands and struggles become visible in the everyday life? How is the female subject narrated collectively and how is it through individual memory? How was She in Her time? And finally, how does an open interactive online archive can help tracing and recording all the above? In A Time of Her Own, distinct realities meet, memories and stories are revisited, through ephemeral successive visual narratives in order to possibly allow the rewriting of another one. A Time of Her Own was launched at The Hellenic Center, London.&nbsp; &nbsp; With the support and under the auspices of Greek Ministry of Culture&nbsp;and A-DASH space. <img src="https://www.atimeofherown.gr/wp-content/uploads/2023/07/Screenshot-2023-07-01-at-2.34.02-PM-300x83.png" width="300" height="83" style="width: 257.351px; height: 71.2003px;" data-scale="28">&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<img src="https://www.atimeofherown.gr/wp-content/uploads/2023/07/Screenshot-2023-07-01-at-2.37.33-PM-1-300x73.png" width="177" height="43" style="width: 156.249px; height: 37.9587px;" data-scale="17"> Special thanks to Cornelia Zarkia and Agnes Papaioannou for their warm support to the project. And for their contribution with personal photos to: Myrto Arvaniti, Irini Efesiou, Eleftheria Kapokaki, Stavroula Kollida, Jenny Konsta, Hara Konstantinidis, Tonia Nousia, Margarita Skordou, Poly Savvinidou, Eugenia-Louisa Papadopoulou, Eleni Mamali, Natalia Bazaiou, Chrysa Papaioannou, Maria Papasimeon, Vasso Tychopoulou, Daphne Fessa, Eleni Fessa and to those who wished to remain anonymous. &nbsp;<img width="264" height="300" width_o="264" height_o="300" data-src="https://freight.cargo.site/t/original/i/daeb0b65a773b479cf168a97bfd7542d1507b28c7bd9f9007a560f349e97eac6/volika_3-264x300.jpeg" data-mid="211500502" border="0" data-scale="23" src="https://freight.cargo.site/w/264/i/daeb0b65a773b479cf168a97bfd7542d1507b28c7bd9f9007a560f349e97eac6/volika_3-264x300.jpeg" />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;A Time of Her Own is dedicated to the memory of Evelyn Volika- Hatziyannaki (1949-2005). &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; https://zoehatziyannaki.com/Plein-Soleil Sat, 18 Sep 2021 07:00:38 +0000 Zoe Hatziyannaki https://zoehatziyannaki.com/Plein-Soleil PLEIN SOLEIL2021 <img width="1378" height="1033" width_o="1378" height_o="1033" data-src="https://freight.cargo.site/t/original/i/47524708c45930daa22058b8f41d274ceea0efe96473d3e5bdd77fac48cf2240/95EE50C9-CB05-4A5D-A651-96E7B0EE001D.JPG" data-mid="119245196" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/47524708c45930daa22058b8f41d274ceea0efe96473d3e5bdd77fac48cf2240/95EE50C9-CB05-4A5D-A651-96E7B0EE001D.JPG" /> <img width="1506" height="1026" width_o="1506" height_o="1026" data-src="https://freight.cargo.site/t/original/i/8c6bc034128fe5e5be93d40867d106c0f1aea9cf9329296914b2c9c3a0c97299/curtain.jpg" data-mid="119245185" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/8c6bc034128fe5e5be93d40867d106c0f1aea9cf9329296914b2c9c3a0c97299/curtain.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Plein Soleil represents a 1966 photograph from Margaret Kenna's archive which she describes as "the last curtain-bed on the island". The representation aims at the interaction with the audience and the contemporary reality that the island faces. In one of her most recent texts, Kenna examines the categories of tourists in Anafi and their interaction through two dominant parameters, the natural environment and the locals. She observes that there is an intense search for identity and authenticity, which is formed through the acquaintanceship and consequently the safeguarding of the relationship with the island. The construction of this 'authentic identity' is reinforced through social media sharings and posts. The constant self-referentiality and self-reflection of each visitor, Kenna emphasizes, traps the island by subjecting it to constant control and questioning. The title of the work "Plein Soleil", references the actual title of the 1960’s movie, based on the well-known novel by Patricia Highsmith, The Talented Mr. Ripley. A widespread genre of detective fiction is the so-called 'exotic' or 'travel'. The genre has become popular, not only because of the plot that takes place in non-Western countries, but also because of the role it has played in alleviating the social concerns of the Western world about the exotic-other and the unknown and sometimes threatening aspects of it.The work includes, in addition to the elements that compose this photo, a (hidden) camera that shows in real time what is happening behind the curtain. The public view, the constant monitoring and the recording of the activity of the visitors in this ‘private’ space, raises questions in relation to their presence. Visitors become suspicious and possibly guilty of canceling authenticity the very moment they recognize it as such. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<img width="2304" height="2330" width_o="2304" height_o="2330" data-src="https://freight.cargo.site/t/original/i/be96ca38bde2503ea765418affc455348110081b88671cbc69463de9af751231/IMG_4057.jpeg" data-mid="119246035" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/be96ca38bde2503ea765418affc455348110081b88671cbc69463de9af751231/IMG_4057.jpeg" />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="2448" height="2448" width_o="2448" height_o="2448" data-src="https://freight.cargo.site/t/original/i/78d70516d4b208d2fc170c99fbc0ccc06b4be209bc51d4c1442556f2147b42ed/IMG_4101.JPG" data-mid="119246364" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/78d70516d4b208d2fc170c99fbc0ccc06b4be209bc51d4c1442556f2147b42ed/IMG_4101.JPG" /> <img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/a1c80524de2909025fbef874ccde6b7cfd9cedda2924a813b07086383c3b1430/053F767E-F60D-42E6-B585-72D29AC2CC25.JPG" data-mid="119245149" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/a1c80524de2909025fbef874ccde6b7cfd9cedda2924a813b07086383c3b1430/053F767E-F60D-42E6-B585-72D29AC2CC25.JPG" /> <img width="2448" height="2448" width_o="2448" height_o="2448" data-src="https://freight.cargo.site/t/original/i/91fa8dec8cac8639c63a4a425586407b69530aeee1cb505ae58013616f47168e/IMG_4093.JPG" data-mid="119245150" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/91fa8dec8cac8639c63a4a425586407b69530aeee1cb505ae58013616f47168e/IMG_4093.JPG" /> <img width="2448" height="2448" width_o="2448" height_o="2448" data-src="https://freight.cargo.site/t/original/i/372febc3682c27775f2629bb64917e55d92d28e11cd11c4489d763c50bfce254/IMG_4095.JPG" data-mid="119245151" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/372febc3682c27775f2629bb64917e55d92d28e11cd11c4489d763c50bfce254/IMG_4095.JPG" /> <img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/f8696cb432bb528a45b0f71cff6ebebe62e6e1250235cbcfe47bfa6b0d714dba/IMG_4247.JPG" data-mid="119247147" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/f8696cb432bb528a45b0f71cff6ebebe62e6e1250235cbcfe47bfa6b0d714dba/IMG_4247.JPG" /> Plein Soleil was&nbsp;part of Weaving Histories: Margaret Kenna and Anafi group exhibition, at State of Concept Athens, curated by Iliana Fokianaki and comissioned by Phenomenon Anafi, 27th June - 11th Sept 2021. https://zoehatziyannaki.com/The-woods-are-lovely Sun, 25 May 2025 09:27:59 +0000 Zoe Hatziyannaki https://zoehatziyannaki.com/The-woods-are-lovely THE WOODS ARE LOVELY, DARK AND DEEP*2025 <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/2027e37ee7fd682265a512e2b6577087568a649a85be1ff4dc4c9d3911fd9def/IMG_1471.jpeg" data-mid="233662090" border="0" data-scale="72" src="https://freight.cargo.site/w/1000/i/2027e37ee7fd682265a512e2b6577087568a649a85be1ff4dc4c9d3911fd9def/IMG_1471.jpeg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/6d0c4aa734b23ced2f707a3b8ce45ef1a33a197e3e421000e168dc05f4541dda/IMG_1464-2.jpeg" data-mid="233662096" border="0" data-scale="35" src="https://freight.cargo.site/w/1000/i/6d0c4aa734b23ced2f707a3b8ce45ef1a33a197e3e421000e168dc05f4541dda/IMG_1464-2.jpeg" />&nbsp; &nbsp;<img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/a9678cfa89e295c4fa2af5bf74f0fbb069b0818963e7354dec409bd4587e88b1/att.LflZBPa-8Hbw7Ka-788nBo_tMmgG46z9wykDdI3z_98.jpg" data-mid="233677533" border="0" data-scale="35" src="https://freight.cargo.site/w/1000/i/a9678cfa89e295c4fa2af5bf74f0fbb069b0818963e7354dec409bd4587e88b1/att.LflZBPa-8Hbw7Ka-788nBo_tMmgG46z9wykDdI3z_98.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Zoe Hatziyannaki’s work explores the interstitial space between reality and digitality, reflecting upon the rapid evolution of technology and its intersection with both natural and urban environments. As a professor, her approach to photography and digital media is deeply influenced by her lived experiences and extensive research. The installation interrogates the contemporary classroom, focusing on the growing prevalence of technology in higher education and its impact on both physical and virtual spaces. Hatziyannaki aims to reframe the classroom and the surrounding courtyard as both a physical and psychological space, one that has become increasingly alienating and distanced through the infiltration of technological norms. Her work directly confronts how these digital tools redefine the natural environment, as well as teaching and learning as inherently human skills. While juxtaposing the increasing virtualization of our lives with the tangible yet increasingly sterile natural environments we occupy, Hatziyannaki critiques the superficiality with which we interact with nature through technology. Her practice resonates with themes of alienation, isolation, and surveillance, drawing connections to the concept of the panopticon and self-hyperawareness in a world where each interaction feels mediated through a screen and the companies that sell them. In this unsettling, fragmented world, she questions whether we can still genuinely experience nature or if it has merely become a backdrop or stage for another performance for the lens, stripped of its authenticity by the technological constructs that surround us. Text by Amelia McRae * Robert Frost, “Stopping by Woods on a Snowy Evening”, 1923 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp; &nbsp; &nbsp;<img width="1168" height="1095" width_o="1168" height_o="1095" data-src="https://freight.cargo.site/t/original/i/fb9d1b16fd29ea9c31184aa40907b613ffc140d7cdb324e3a4950d72d93ac927/att.gKdr4cL86hFnNCGGYzDBUJBmaAWBILKBG1ttatfxbP4.jpg" data-mid="233677543" border="0" data-scale="46" src="https://freight.cargo.site/w/1000/i/fb9d1b16fd29ea9c31184aa40907b613ffc140d7cdb324e3a4950d72d93ac927/att.gKdr4cL86hFnNCGGYzDBUJBmaAWBILKBG1ttatfxbP4.jpg" />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/963b7b22a12af8ec1be7c3bac5dfd09baa53c3c657eb9bcf240fe67bc4796798/IMG_1562.jpeg" data-mid="233677551" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/963b7b22a12af8ec1be7c3bac5dfd09baa53c3c657eb9bcf240fe67bc4796798/IMG_1562.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/24bb95b3ae9f92cc0160ce1a291d58e1acc4613dcd9f2fb7ce60a99d16a337f2/IMG_1558.jpeg" data-mid="233677540" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/24bb95b3ae9f92cc0160ce1a291d58e1acc4613dcd9f2fb7ce60a99d16a337f2/IMG_1558.jpeg" /> The woods are lovely, dark and deep was&nbsp;part of : “A link and a break in time” group exhibition, at ACG Gallery, curated by&nbsp; Ioanna Papapavlou, Ana Gonzalez Rueda, Christos Asomatos, 24 May – 28 June, 2025. Organized by Frances Rich School of Fine and Performing Arts, Deree - The American College of Greece.&nbsp; https://zoehatziyannaki.com/The-Day-the-Earth-Caught-Data-E1 Mon, 13 Nov 2023 13:54:22 +0000 Zoe Hatziyannaki https://zoehatziyannaki.com/The-Day-the-Earth-Caught-Data-E1 THE DAY THE EARTH CAUGHT DATA&nbsp; (E1)2023 <img width="2713" height="3716" width_o="2713" height_o="3716" data-src="https://freight.cargo.site/t/original/i/05e9d0017497862143aef7ea4ae998bb607b1837a7c61dd2a118ff1b87a51e36/IMG_3800.jpeg" data-mid="218098395" border="0" data-scale="40" src="https://freight.cargo.site/w/1000/i/05e9d0017497862143aef7ea4ae998bb607b1837a7c61dd2a118ff1b87a51e36/IMG_3800.jpeg" />&nbsp; &nbsp; &nbsp;<img width="1440" height="1794" width_o="1440" height_o="1794" data-src="https://freight.cargo.site/t/original/i/e99dc1128223666fdb55ad02fd7efe3240def8dcdba01a35cf17a6de93bb337d/GLIV9949.jpeg" data-mid="196711235" border="0" data-scale="44" src="https://freight.cargo.site/w/1000/i/e99dc1128223666fdb55ad02fd7efe3240def8dcdba01a35cf17a6de93bb337d/GLIV9949.jpeg" /> The Day the Earth Caught Data unfolds in a series of several episodes that attempt to create fictional narratives using found online material from different locations. The episodes draw parallels between a widely shared, seemingly uncomplicated reality and a troublesome fiction where the image-makers become storytellers of their own unsettling future. Constant surveillance practices on Earth’s surface necessitate AI technologies to facilitate the frequent use of mapping apps and the incessant sharing of locations along with self-referential content. These procedures require huge amount of data which contributes significantly in the digital footprint. &nbsp; The title is a reference to post-apocalyptic film “The Day the Earth Caught Fire” (1961) and each episode suggests a dystopia, an aftermath of the intense human presence and the constant use of digital media that accompanies it, wondering if the end of the world will come from our own visual representations. Episode 1 of The Day the Earth&nbsp; Caught Data was a site-specific installation&nbsp; in the island of Tinos. It consisted of Google Earth&nbsp; satellite images of the area of Exobourgo in Tinos and a screenshot of shared users’ photos in Google Street View&nbsp; Photosphere. The work brings attention to the prominence of the specific location and the multiple references it carries through the traces of ancient ruins, religious symbols, satellite antennas, and other human interventions and signals. The installation simulates a sanctuary that has been created by the last remnants of humankind to appease nature or perhaps to declare their presence there inscribing a final imprint or even performing an ultimate attempt of communication. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/7b77a86ce11135ec00405c65d1357eb3507eb6f97817e377dca45ef7a4be1df0/IMG_3782.jpeg" data-mid="196710986" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/7b77a86ce11135ec00405c65d1357eb3507eb6f97817e377dca45ef7a4be1df0/IMG_3782.jpeg" /> <img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/323c62bad262b8839331d454679df247c8f5c9fd8a0984646225e1c3e8d645fa/IMG_3777.jpeg" data-mid="196711041" border="0" data-scale="79" src="https://freight.cargo.site/w/1000/i/323c62bad262b8839331d454679df247c8f5c9fd8a0984646225e1c3e8d645fa/IMG_3777.jpeg" /> The Day the Earth&nbsp; Caught Data (E1)&nbsp;was&nbsp;part of&nbsp; “The Nightmare of Persephone” group exhibition, in Tinos, Greece, 5-6 July 2023, organised by Kairos Politismou, curated by Christoforos Marinos and Christos Chryssopoulos. https://zoehatziyannaki.com/The-Day-the-Earth-Caught-Data-E2 Wed, 27 Mar 2024 14:23:25 +0000 Zoe Hatziyannaki https://zoehatziyannaki.com/The-Day-the-Earth-Caught-Data-E2 THE DAY THE EARTH CAUGHT DATA&nbsp; (E2)2024 <img width="3890" height="2865" width_o="3890" height_o="2865" data-src="https://freight.cargo.site/t/original/i/9230f53617c17ccd63800e45cb9907b58ae7f84482ed19e7820d1a7ed8a4d5ca/IMG_5736.jpeg" data-mid="207719972" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/9230f53617c17ccd63800e45cb9907b58ae7f84482ed19e7820d1a7ed8a4d5ca/IMG_5736.jpeg" />&nbsp;&nbsp; &nbsp;&nbsp;<img width="2775" height="2884" width_o="2775" height_o="2884" data-src="https://freight.cargo.site/t/original/i/de11a11825428d54c81d7332133467980afc42be7b20af18472755dea8295d28/IMG_5735.jpeg" data-mid="218090382" border="0" data-scale="39" src="https://freight.cargo.site/w/1000/i/de11a11825428d54c81d7332133467980afc42be7b20af18472755dea8295d28/IMG_5735.jpeg" /> <img width="4011" height="2570" width_o="4011" height_o="2570" data-src="https://freight.cargo.site/t/original/i/309f0c15a2a075fe747a1fae3581fdd268ed486acd438bbc8fdba80022c57fa2/IMG_5728.jpeg" data-mid="218090023" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/309f0c15a2a075fe747a1fae3581fdd268ed486acd438bbc8fdba80022c57fa2/IMG_5728.jpeg" />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; The Day the Earth Caught Data unfolds in a series of several episodes that attempt to create fictional narratives using found online material from different locations. The episodes draw parallels between a widely shared, seemingly uncomplicated reality and a troublesome fiction where the image-makers become storytellers of their own unsettling future. Constant surveillance practices on Earth’s surface necessitate AI technologies to facilitate the frequent use of mapping apps and the incessant sharing of locations along with self-referential content. These procedures require huge amount of data which contributes significantly in the digital footprint. &nbsp;The title is a reference to post-apocalyptic film “The Day the Earth Caught Fire” (1961) and each episode suggests a dystopia, an aftermath of the intense human presence and the constant use of digital media that accompanies it, wondering if the end of the world will come from our own visual representations. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/b338403faab622cf20cc6d91a22959bd3371ab212c442fcc060d329731a28745/IMG_5706.jpeg" data-mid="207717537" border="0" data-scale="33" src="https://freight.cargo.site/w/1000/i/b338403faab622cf20cc6d91a22959bd3371ab212c442fcc060d329731a28745/IMG_5706.jpeg" />&nbsp; &nbsp; &nbsp;<img width="2761" height="3458" width_o="2761" height_o="3458" data-src="https://freight.cargo.site/t/original/i/54c910383dac99f2ec5b4ecb6f3ae003e787fbb7c96fb8835792b2d4ed85760d/IMG_5759.jpeg" data-mid="207717564" border="0" data-scale="35" src="https://freight.cargo.site/w/1000/i/54c910383dac99f2ec5b4ecb6f3ae003e787fbb7c96fb8835792b2d4ed85760d/IMG_5759.jpeg" /> Episode 2 of The Day the Earth&nbsp; Caught Data was an interactive installation involving audience participation using primarily online material shared by different users through Google Street View Photosphere.&nbsp;The research is focused on Santorini, one of the most popular destinations in the world which has ended up facing serious environmental and sustainability problems. Its volcano, a separate piece of land surrounded by sea, receives a considerate portion of the island’s visitors on day tours. The use of the satellite images generated by Google Earth along with screenshots taken from the online photos shared by the visitors in Google Earth’ Photosphere, (view slide show below) construct a different, more dystopian narrative. The volcanic landscape resembles that of another planet, or that of a doomsday movie setting, where the individuals strolling around look lost, exhausted and disoriented amidst the barren, uninviting surroundings. The audience was encouraged to participate, when standing infront of the backdrop, by taking their own photos of the real-time projection and share them online. <img width="2275" height="2319" width_o="2275" height_o="2319" data-src="https://freight.cargo.site/t/original/i/41877e05b4fa99a13b949ad92c4cca32a391cd116e5f6d609b78b5f88bb43453/IMG_5770.jpeg" data-mid="207719980" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/41877e05b4fa99a13b949ad92c4cca32a391cd116e5f6d609b78b5f88bb43453/IMG_5770.jpeg" /> <img width="2782" height="3179" width_o="2782" height_o="3179" data-src="https://freight.cargo.site/t/original/i/9680ba65357809727d8c9bc2b577031b112e807bd3128b7ee97d30d4899b4be8/IMG_5766.jpeg" data-mid="207720421" border="0" data-scale="57" src="https://freight.cargo.site/w/1000/i/9680ba65357809727d8c9bc2b577031b112e807bd3128b7ee97d30d4899b4be8/IMG_5766.jpeg" /> <img width="2634" height="2923" width_o="2634" height_o="2923" data-src="https://freight.cargo.site/t/original/i/b7b055024b6af9f5e051dbb154b1071a323319acfdc796071efdb145fa6817ed/IMG_5807.jpeg" data-mid="207719991" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/b7b055024b6af9f5e051dbb154b1071a323319acfdc796071efdb145fa6817ed/IMG_5807.jpeg" /> <img width="2163" height="2787" width_o="2163" height_o="2787" data-src="https://freight.cargo.site/t/original/i/076065a4f5d94d88fd38d6ea45ae5a01e4301221e556ce66fc4a1907d6f966aa/IMG_5767.jpeg" data-mid="207724356" border="0" data-scale="51" src="https://freight.cargo.site/w/1000/i/076065a4f5d94d88fd38d6ea45ae5a01e4301221e556ce66fc4a1907d6f966aa/IMG_5767.jpeg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; The Day the Earth&nbsp; Caught Data (E2)&nbsp;was&nbsp;presented at Onassis AiR open day on March 1st, 2024.