Editorial

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Melita Couta, Objects of Desire, 2005. Synthetic hair, carpet.
struction is not subsumed beneath a pregiven law and whose outcome is not delivered by history. It is as if people have joined with the animals and given up attending to their health or fulfilment or perfection of their bodies, in favour of exploring possibilities of their soma possibilities not codified in advance or determined by genetic code but possibilities before the law. It is as if they ignore what is given by the code prescribing the development of their bodies and expressed by the repeatable finalities of beauty and symbol, and instead go back before that inscription to examine the contingent and the arbitrary characteristics of their soma possibilities not codified in advance or determined by genetic code but possibilities before the law. It is as if they ignore what is given by the code prescribing the development of their bodies and expressed by the repeatable finalities of beauty and symbol, and instead go back before that inscription to examine the contingent and the arbitrary characteristics of their soma. Couta’s collages are choreographies of possible linkages and manifold forces in which the figures are no less built or constructed than the structures they link. And this gives the buildings a live part in a dialogue between the two. (Jonathan L. Dronsfield) yiannos economou Born in 1959. After working as an accountant for some years in London, he re-entered and studied Fine Arts at the Kent Institute of Art & Design, graduating in 1993. He mainly uses video, but also film and photography, as his media of expression. His themes come from his personal milieu, investigating time and space as experienced in contemporary society, especially, in view of escalating technological advances in shifting ideological landscapes. He has shown his work in solo and group shows in Cyprus and abroad, and at international film festivals. His latest short film, The Machine Dream, won the best experimental film award at the Cyprus Short Film Festival (2005). He lives and works in Paphos. In Yiannos Economou’s video Cross Country Run it is a male figure that seems, at first sight, to be the agent mapping the landscape; as the runner meets with an endless parade of landscapes, it becomes apparent that not only is he not a surveying–colonising eye but, rather, more of a Sisyphusean body, performing an endless task or, more fittingly, a Ulyssesean ghost, never arriving – he was never bound for anywhere in the first place. As his volume-less blue profile struggles through the fragments of landscape - often being eclipsed by them - he comes to stand for an entire people’s unending wandering into a known territory, but towards an unknown destination. (Antonis Danos) In a dialogue with Dr Andreas Panayiotou (currently teaching Social Sciences, Communications and Cultural Studies at the Frederick Institute of Technology) Yiannos Economou specifies that Cross Country Run is not really a tracking shot, nor is it a film, for that matter. It contours a running man photographed in the 19th century by E.Muybridge, put in a loop to give the illusion of movement. But the eleven silhouettes remain static. What really move are the images of scattered objects photographed, videographed or scanned in Paphos over a period of three months. The man has been running for 77
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Editorial The majestic, awe-inspiri
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The Olive Tree and Olive Oil in the
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Different stages in the production
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Homer called it “golden liquid”
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Ancient old olive tree. (Photo: N.
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1984, 231 no. 771). The olives, whi
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The best Mediterranean diet: vegeta
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the Olives in Antiquity in Cyprus),
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Madonna Francesco da Rimini - Virgi
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Virgin Mary the Merciful (Eleousa),
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22 Subjects that can be seen in ree
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24 Saints John Prodromos and Theolo
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Page 28 and 29: 28 In a ceremony held on 24 Novembe
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Page 32 and 33: 32 relevant department, the setting
Page 34 and 35: 34 Kypr K Y P R I A K Y P R I A K Y
Page 36 and 37: 36 The Kypria International Festiva
Page 38 and 39: 38 The last programme also featured
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Page 42 and 43: 42 10 PIANOS AND ORCHESTRA The Stei
Page 44 and 45: 44 The annual Paphos Aphrodite Oper
Page 46 and 47: 46 Red polished figurines, clay, La
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Page 50 and 51: 50 Hala Sultan Tekke Restoration A
Page 52 and 53: 52 Cypriote Antiquities in the Muse
Page 54 and 55: 54 Limestone female statue, 6th cen
Page 56 and 57: 56 Anthropomorphic jug of White Pai
Page 58 and 59: 58 WAR and CULTURAL HER The consequ
Page 60 and 61: 60 Modern Greek Studies Yearbook (n
Page 62 and 63: 62 The Minister of Education and Cu
Page 64 and 65: 64 Minister of Education and Cultur
Page 66 and 67: 66 Erato Hadjisavva, Wave. Video in
Page 68 and 69: 68 Savella Michael, untitled. Ink,
Page 70 and 71: 70 Helene Black, Relative Distance,
Page 72 and 73: 72 The Curator’s concept Antonis
Page 74 and 75: 74 Four massive "walls" made of doz
Page 78 and 79: 78 130 years in the same pace, two-
Page 80 and 81: 80 Evgenia Vasiloude, Hymn to Demet
Page 82 and 83: 82 Terpandros Exhibition
Page 84 and 85: 84 Michalis Georgiou addressing the
Page 86 and 87: 86 The Terpandros Orchestra playing
Page 88 and 89: 88 Greek composer Mikis Theodorakis
Page 90 and 91: 90 Vicenza Numismatica of Vicenza,
Page 92 and 93: 92 until her family was forced to l
Page 94 and 95: 94 Vassos Lyssarides was born in th
Page 96 and 97: 96 Poems by Vassos Lyssarides Nosta
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Page 100 and 101: 100 The International Committee for
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Page 104 and 105: 104 Annita Santorineou in Sophocles
Page 106 and 107: 106 under the direction of Nicos Sh
Page 108 and 109: 108 The Theatre Organization of Cyp
Page 110 and 111: 110 The "Cyprus Film Days 2006" fes
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