'kato' exhibition catalogue_EN

ka
to

Fast filly is an independent artistic and curatorial group,
founded in 2021 at Thessaloniki, GR by Maria Andrikopoulou -
artist, Fenia Rizou - architect/ designer and Nelly Palaiogianni
- architect/ art theorist.
Through curatorial practices, artistic projects and fanzines,
its aim is to subserve the art community and to support new
artists.
Fast filly seeks to examine art through the lens of everyday
life.

Kato was the first exhibition to be held at “to pikap kato”, the
basement of 57 Olympou St., Thessaloniki, GR.
The group exhibition opened on the 9th of September
2021and lasted till the 2nd of November 2021.

curatorial text: Maria Andrikopoulou, Nelly Palaiogianni
translation in english: Ria Vasilopoulou

As we are descending to a basement, we transition into
a space where we usually keep locked away historical
documents, objects no longer in use, and items full of
memories. There is a more introspective viewpoint in the
allegorical message, which consists of encounters with
the paradoxes, the fears, and the undesirable scenarios.
The ‘Kato’ exhibition is attempting a modular narrative of
these associations by transitioning from literal interpretations
to metaphorical references.
The basement is considered a place of accumulating and
safekeeping. The lifeless masses of tangible or digital
information, which are standing there either on piles, one
next to the other, or squeezed, are shaping an intact archive of
human life. In other cases, they coexist with living entities,
which are both waiting to be activated. Suspicions of light
entering the room and non-existent escape routes set
the boundaries for an observatory, where witnesses that
go unnoticed are hosted, watching moments go by. This
indiscreet act and the simultaneous acknowledgment of
the burden that paradoxes carry with them is exactly what
signals the passage to the psychological basement. The
inner noise is characterized by an explosive stillness that
resembles ‘sleep paralysis’, capable of saving us from
traumatic falls or leading us to a permanent inaction. The
feeling of anxiety that comes along with the confinement
takes on a greater extent of collective confusion, which
in turn forces them towards dystopias. Οn the verge of
anticipation and fear, all this inaction becomes a habit.
This connotation is neither unique nor linear. Multiple
sequences of narratives can be created when dealing with
the files, left downstairs in the basement.

page. 6

archive_

curatorial text: Maria Andrikopoulou, Nelly Palaiogianni
The accumulation of memory, through evidence of the past,
constitutes smaller or larger archives of childhood, everyday -
life and history, constantly open to interpretation. Basements,
the most common places of piling such evidence, turn into databases
storing countless versions of how events took place.

Operation Mincemeat Asides serves as a friendly reminder
of the fact that the neat juxtaposition of historical events does
not guarantee objectivity. Every new research and interpretation
of historical files can produce a new version of the events.
William Martin, Pam, Patricia Trehearne and Tom, come to life
and die each time someone tells their story. In the meantime,
they unravel blurry aspects of History.
In personal archive, elements of everyday life recompose
and create enigmatic, quasi - cinematic, sequences, not
specifically tied to time and space. Documents stand still, in
piles, transformed into flip books that autonomously trigger
diverse synapses in those who come across them.
Among them, one may notice the wounded teasing creatures
that try to draw us towards a long-forgotten childhood. We
stand before them, sometimes nostalgically, as if staring at a
toy store window, and sometimes as if staring at disfigured,
monstrous objects after their prolonged isolation in the basement.
Next to them, items that were once ‘out of order’ are repurposed
and constructed into sculptures of matter and
decay, carrying the burden of an emotional journal. Wobbly
days routines, with dangerous inclinations suggesting a
fall off the ‘shelf,’ challenge not only personal but also ontological
conventions.
Conjuring an archive is similar to an argument from authority,
as each of us builds our solid version of events based on
personal history. It intertwines with a controversial narrative,
creating blurry transitions to truth and lie. The unintentional
misleads, in the passage from childhood to adulthood and historicity,
shape the lens through which we observe.

page. 10

Dimitris Ameladiotis
A simple declension of
the cases

A simple declension of the cases
2019 - 2021 |module - installation of projects|mixed
media |variable dimensions
text: Dimitris Ameladiotis
phtographs: Michele Troiani (right), Vasilis Charizanis (back)
The declension of the cases refers to a category of nouns
in grammar that reflects different relationships related
to the function, properties, and position of a word within
a sentence structure 1 . These relationships are formed
through the word’s ending, which indicates its declension.
Drawing on the mechanisms of language, the concept of
“case” is understood as the regular or irregular transition
of inflectional forms from one form to another, while “declension”
implies the deviation of a word from its original,
basic, and nominal form.
Within the framework of these linguistic regulations,
dissimilar objects are placed and piled upon one another,
each carrying their own declensions and deviations. They
exist in crumbling positions and relations, accepting their
state of decline as a given.
These arrangements and transpositions of objects create
chaotic ensembles that resist categorization and release
the burden of time that keeps them confined to drawers,
storage rooms, and attics.
1 it refers to the Greek syntax

page. 16

Christos Venetis
Operation Mincemeat Asides

Operation Mincemeat Asides
2015 - 2019 |installation |pencil on paper |
variable dimensions
text: Christos Venetis
photograph: artist’s archive (right)
Operation Mincemeat was the name of a successful operation
set up by the British Secret Service to misinform the
Nazis during the 2nd World War. The purpose was to place
documents on a corpse to be washed up on a Spanish
shore concerning supposed allied landings in Greece as
a decoy for the real landings on Sicily. A suitable corpse
having been found, it was provided with a fictitious identity,
‘Major William Martin of the Royal Marines’.
To make the story more convincing, a fiancée by the name of
Pam was invented for the major, together with photographs
and love letters for the ‘dead’. Also accompanying the major
were a bunch of keys, a theatre ticket stub for a recently
staged show, bills for a stay at a London club, matches and
other assorted objects. Pam’s love letters were penned by
Patricia Trehearne, an MI5 officer. The only letter to be sent
by Martin was written by Lieutenant Commander Montagu,
head of the operation. Ever meticulous, Montagu had written
other versions of the letter, which today are to be found
in the British National Archives in the file Operation Mincemeat.

photographs: Vasilis Charizanis (right, back)
Hushed up from this story however was the existence of
one Major Tom, to whom was originally assigned the task of
writing the letter to Pam. Tom never managed to write the
letter or indeed refused to write it. He regarded the story
of Martin and Pam as the love of a ‘twice-dead’ man and a
‘non-existent’ woman assigned to bear the burden of history
on their shoulders. And in any case he knew little about
love and neither, perhaps, its ways nor its violence. He did
however sense its existence. He took early retirement and
died on 5.3.1967 in a cheap boarding house in East London,
most likely following years of morphine abuse in the
form of tablets. The only thing of interest found among his
personal belongings was a diary containing a list. The list
itself suggests an attempt at naming the objects and their
sentimental ownership. We read on the first page thus:
The self-existence of a childhood painting, the tenderness of
the yard of an afternoon, the loss of aired sheets, the catharsis
of freshly-ironed whites, the unwillingness of dirty crockery, the
youth of black horses, the senescence of the abandoned shore,
the gnashing of teeth...

page. 24

Giorgos Gerontides
Teasing Creatures

Teasing Creatures
2020 |installation |ceramic, plaster, stone, glass |
variable dimensions
photographs: Michele Troiani (right), Vasilis Charizanis (back)

page. 30

Maria Tsiroukidou
Sequences

Sequences
2018 - in progress |installation |mixed media |
variable dimensions
text: Maria Tsiroukidou
photographs: Vasilis Charizanis (right), schreenshot of the video - artist’s
archive (back)
This essay-type application of montage can be seen
as a form of “critical historiography.” It implies that
fragments of history can be rescued by removing
them from their original context and connecting them
through a series of juxtapositions. In that way, they are
not merely to represent an idea or capture a reality but
to actively engage with reality and construct new ideas.

page. 36

observatory_

curatorial text: Maria Andrikopoulou, Nelly Palaiogianni

The act of observation can be distorted by personal experiences,
leading to a projection of inner expectations
onto what is being observed. Unnoticed observers find
themselves gazing at people passing by, while the latter
overlook them. The unnoticed observers are free to listen
and watch discreetly, capturing glimpses of faces they will
never encounter while waiting in line for an elevator.
In the basement, time loses its flow. Human presence
fades into shadow, and perception collapses, blurring the
boundaries of reality. In an attempt to confine sunlight illusory
openings are created in space, heightening a sense
of futility and paradox. Only the idea of windows remains,
facing desolate views. Street peels lie in heaps, abandoned
before imaginary clerestories, turning them into dark voids.
The absence of light and air transforms survival into a revival
of still nature, meticulously documented. The study
of the decay’s chronicle is, in a sense, a study of life itself.
Reflections serve as indications of emergency exits, offering
potential escape routes both upward and downward. A trapdoor
or an illusion of height creates a spatial distortion. A
suspending corner on a precarious edge that was once a
place of refuge. Any notion of security is disrupted by the
intrusive presence of passersby. Moments of privacy, of
sleep, are put on display. A faint rhythm of breath captures
our attention, but we quickly avert our gaze with a cynical
detachment.
This is how the place becomes an experience and allegory at
the same time. Despite the pursuit of lightful chinks sinking
into the psychological basement is inevitable.

page. 40

Maria Andrikopoulou
Confined sunlight

Confined sunlight
2021| video projection |
duration: 20’ 07’’ on repeat
text: Maria Andrikopoulou
photographs: Vasilis Charizanis (right), schreenshot of the video - artist’s archive
(back)
The fragmented scenes of recorded natural light entering
through the window compose a contemporary Platonic
cave where human presence is transcribed into shadow.
The installation blurs the perception of reality, as it is not
immediately discernible whether it is artificial or natural
light. The vital sunlight is replaced by the projector’s lamp,
marking a time in space beyond chronological time(1). The
presented images form a fragmented diary of domestic
routine without any climax. The “protagonists” of the image
silently experience their everyday life without direction.
(1) reference to Crary, Jonathan. 24/7: Late Capitalism and the Ends of Sleep.

page. 46

Katerina Dania
untitled

untitled
2018 |analog photography | digital printing
text: Katerina Dania
photographies: from the artist’s archive (right, back)
The series of flower portraits was created using an easily
shaped model, with the aim of observing different shapes
and lighting. A simple background, without any additional
elements, was utilized to prevent viewer’s distraction from
the main subject.

page. 52

Rafael Jilavian
Reflections

Reflections
2019 |mirror, light source|
variable dimensions
text: Rafael Jilavian
photographs: Vasilis Charizanis
According to Plato, time is a reflection of eternity, and
everything that occurs in our world is perceived through
illusory images created by our senses. All events have
a cause. The material world is trapped in vanity, with
no prospect of redemption. In my installations, I aim
to dissolve the visual boundaries of objects. By placing
mirrors and lights in unconventional locations, I create
distorted reflections that challenge our perspective.

page. 56

Georgia Pilali
untitled

untitles
2021 |installation |video projection, sheet metal , acrylic
paint | 191x 97 cm
text: Georgia Pilali
photographs: Georgia Pilali (right), Vasilis Charizanis (back)
You fell asleep. The surroundings intruded your sleep
again. You had the same dream again. For a while you
couldn’t open your eyes. You couldn’t grasp what’s real, you
were trapped in your subconsciousness.
You managed to wake up, you are under the ground. You
are thinking about everything you have to do, lots of stress.
The underground is a good place to hide, to avoid stress.
You don’t want to get up, you don’t want to face reality. If
you stay under the covers no one will notice you, it will be
as if you don’t exist.
Try to fall back to sleep.
It’s noon, there is a lot of traffic outside, a lot of distress.
The curtains were open. Did anyone see you sleep? Did
anyone see the sheets covering your naked back? Did
anyone hear you talking in your sleep?
Close the curtains and try to fall back to sleep.

page. 62

Ioanna Tsigara
peeling /
window -
metal sheet

peeling / window - metal sheet
2019 |installation |graphite, paper, wood glue |
17x10 cm / 187x94 cm
text: Ioanna Tsigara
photographs: artist’ s archive (right), Vasilis Charizanis (back)
The concept of peeling involves removing a layer of paper that
was previously placed on an object, leaving behind imprints
on its surface. This process resembles the act of peeling off
a layer of skin from an architectural surface. By placing paper
on the object’s surface and rubbing graphite against it, the
drawing takes on a sculptural quality. The graphite fills in every
pore of the paper, resulting in a smooth surface that captures
the shape, texture, and traces of decay of the original object.
Through this method, even the tiniest details are captured
and amplified, pushing plain paper to its limits.

page. 68
ps

ychological basement_

curatorial text: Maria Andrikopoulou, Nelly Palaiogianni

Fear and repression foreshadow isolation. The impermeable
shell, whose original intention was protection, sometimes fails
in its purpose because danger is predominantly internal. The
back-and-forth suspension movement of the womb carries
the potential for overturning. A peel of perforated skin serves
as both the boundary and the pore. A fallen barrier strikes
as a filter for the settled dust.
Edges contract and suppress both the body and the mind.
Gradually, experience wears off, and the distance between
existence and non-existence is no longer equal. A vague
disturbance, a solitary effort of activation, cannot upset the
burden of collective rigidity.
Human existence increasingly transforms into a dystopian
scenario.

page. 72

Kyriakos Katzourakis
Babis Venetopoulos
A while ago

A while ago
2010 |part of installation |video projection on repeat

*The artwork belongs to the collection of the National Gallery
video schreenshot

page. 76

Chara Kerasta
SIMPLE AS ABC

SIMPLE AS ABC
2019 |installation |wire mesh , charcoal powder, can,
metal rods |
300 x 200 x 100 cm
text: Chara Kerasta
photographs: Chara Kerasta (right), Vasilis Charizanis (back)
In the artwork Simple as ABC (Wandering), wire netting is
used to define and separate the space and its components.
Due to the perforated nature of the material, the other side
is also recognizable and familiar. I fill the gaps with charcoal
powder, transforming the surface into something opaque
and unfamiliar, creating a new perception. I then put it on
the floor, reversing the intended purpose of the barrier.
Within the uncanny lies the essence of the old and long-familiar.
Charcoal, typically used for writing, becomes a surface,
turns into space. It becomes a sign, a surface, a space
where I write by erasing. I employ the negative form of the
letters to evoke the sounds of a previously known reading
experience.

page. 82

Eirini Fotiadi Efstathiou
Unnerving sanctuaries.1

Unnerving sanctuaries
2021 |installation |video projection |
duration 8’ 15’’ on repeat
text: Franz Kafka. The Burrow.
photographs: Eirini Fotiadi Efstathiou (right), video schreenshot - artist’s archive
(back)
I do not know whether it is a habit that still persists from former
days, or whether the perils even of this house of mine are great
enough to awaken me; but invariably every now and then I
start up out of profound sleep and listen, listen into the stillness
which reigns here unchanged day and night, smile contentedly,
and then sink with loosened limbs into still profounder sleep.

page. 88

dystopias_

curatorial text: Maria Andrikopoulou, Nelly Palaiogianni

The sense of confusion and disorientation transforms into
a rhythmic, obedient march. The previously irregular steps
yield to the metronome. Control is enforced invisibly, as
imperceptibly as the sound that dictates the rhythm. The
reminder of our freedom remains almost unchallenged,
shining on a sign. Who takes action and who suggests it?
Notes and thoughts from the near present arrive in postcards.
Occasionally, the air hole is sealed, and suffocation
spreads in the “basement tank.” The highly improbable and
the inevitable, science fiction and reality coexist, blurring
the boundary between fear and desire.
The unfulfilled climax gives rise to anxiety and stillness.
Feeble attempts persist, both individually and collectively.
Any reaction is feeble, if it exists at all.

page. 92

Vasilis Galanis
The Last Post-Card

The Last Post-Card
2021 |installation |printed post - cards, stamps, mixed
media |variale dimensions
text: Vasilis Galanis
photograps: from the artist’s archive (right, back)
Are we having fun yet?*
2020 came along with a virus and the dystopias that were
once imagined by 80’s and 90’s science-fiction films seemed
to come to life. It just is that there weren’t any flying cars,
Blade Runner style, and the internet was filled with minor
celebrities singing Imagine and it had nothing to do with
the dark virtual environment of Johnny Mnemonic. These
postcards were sent from the dark future that mass culture
envisioned, in the present that actually arrived. They didn’t
find a recipient because none of them had an address written
on. Anyway, who sends a postcard when there’s internet?
*fun= replicants, totalitarianism, climate collapse, malicious
simulations, scarcity of food, water and oil, fall-out, earth as
a wasteland

page. 98

Thanassis Sampaziotis
You are free to proceed
the way I say

You are free to proceed the way I say
2021 |lightning installation with sound |
duration 7’| variable dimensions
text: Thanassis Sampaziotis
photographs: Vasilis Charizanis (right, back)
The constant presence of the imperative “freedom of
choice” in contemporary societies enforces a single value:
the efficiency of subjects in the relentless pursuit of social
progress. This concrete mechanism, a byproduct of various
surveillance tactics and regulations, is conveyed and
disseminated through the spectrum of commodified freedom.
It can be fully represented, reproduced, and deemed
useful in the name of simplicity, practicality, satisfaction,
and happiness.
[The sound of the installation consists of directed footsteps
recorded at the School of Political Sciences, AUTh, in April
2021. Participants: Panagiotis Anastasiadis, Konstantinos Iosifidis,
Angelos Papadimitriou, Giannis Rematas, Aleksandros
Topalis, Myrto Topali, Eirini Fotiadi Efstathiou, and Thanassis
Sampaziotis. The lighting aspect of the installation translates
the sound volume into luminous intensity using the Digital
Multiplex Protocol (DMX).]

ka
to

appendix_

Dimitris Ameladiotis
(page. 11)
studied at the School of Fine Arts in Thessaloniki, the
Koninkje Akademie in Ghent, Belgium (Erasmus Program),
and the Chelsea College of Arts in London (PgDip & MA).
His works have been exhibited in museums and festivals,
including the Thessaloniki Biennale of Contemporary Art,
MOMus - Contemporary Art, Benaki Museum, DESTE &
New Museum of NY, Thessaloniki Film Festival, Museum
Casino Luxembourg, art fairs, art residencies, and more.
He has presented numerous solo shows and performances
in galleries and project spaces, and has participated in group
shows in Greece, Cyprus, Germany, UK, USA, Italy, Belgium,
Lebanon, and other countries. Additionally, he has curated
workshops for children and adults at the Stavros Niarchos
Foundation, Benaki Museum, Diavata Prison, MOMus -
Contemporary Art of Thessaloniki, and the UN High Commissioner
for Refugees. His works are included in collections
such as MOMus - Contemporary Art of Thessaloniki.

Christos Venetis
(page. 17)
was born in Ioannina, Greece in 1967.
He is a visual artist and has graduated from the Department
of Visual and Applied Arts of the Aristotle University of Thessaloniki,
where he teaches as Assistant Professor.
He has exhibited his work in both solo and group exhibitions,
as well as international art fairs held in various cities including
Amsterdam, Rotterdam, Berlin, Cologne, Zurich, Basel, Paris,
Nice, Marseille, Luxembourg, Madrid, Vienna and Tokyo.
He has also exhibited at notable institutions such as WAP
Foundation in Seoul in 2018, the State Museum of Contemporary
Art in Thessaloniki in 2016 and the National Bank of
Greece Cultural Foundation in Thessaloniki in 2015. In 2011,
he co-curated the exhibition “Reference/Representation” at
the Jewish Museum in Thessaloniki. He collaborates with the
Martin Kudlek gallery in Cologne and the Patrick Heide Gallery
in London.
He lives in Thessaloniki.

Giorgos Gerontides
(page. 25)
was born in Athens in 1987.
In 2012, he completed his undergraduate studies at the
Faculty of Visual and Applied Arts of the School of Fine Arts,
AUTh. While he is currently enrolled in the postgraduate interdisciplinary
program “Art and Public Sphere” at the same
faculty and the Faculty of Economic and Political Sciences
of the School of Political Sciences, AUTh.
In his work, he explores the influence of museums, including
their predecessors such as Wunderkabinetts in the
19th century, on our perception of history, knowledge accumulation,
and understanding of the physical world. By
appropriating archaeological and other scientific methods
of collecting, archiving, and exhibiting items, he creates
artworks that challenge the boundary between objective,
factual assumptions about the world and subjective - more
irrational - interpretations based on imaginary narratives.
Through his art, he raises questions about the role of scientific
knowledge in contemporary society.
He has participated in five solo exhibitions and numerous
group exhibitions in Greece and internationally.
He lives and works in Thessaloniki.

Maria Tsiroukidou
(page. 31)
was born in Kozani, Greece.
She studied painting at the Faculty of Visual and Applied
Arts of the School of Fine Art, AUTh and completed the
postgraduate program “Audiovisual Arts in the Digital Age”
at the Department of Audio and Visual Arts of the Ionian
University.
She has exhibited her artwork both in Greece and abroad.
She has participated in various art events and festivals, including
the Athens Digital Arts Festival (2015-2017), Medi-
ArtExpose in Moscow (2017), Video Formes - International
Digital Arts Festival in Clermont-Ferrand, France (2018), Audiovisual
Arts Festival held by the Ionian University (2018-
2019), and RGB Balkan Arts Festival in Iasi, Romania (2019).

Maria Andrikopoulou
(page. 41)
was born in Kalavryta, Achaea in 1990.
She studied at the Faculty of Visual and Applied Arts of the
School of Fine Art at AUTh and graduated in 2015. In 2022,
she obtained her Master’s degree from the postgraduate
interdisciplinary program ‘Art and Public Sphere’ by the
Faculty of Visual and Applied Arts at the School of Fine Art
and the Faculty of Economic and Political Sciences at the
School of Political Sciences at AUTh.
Her artistic practice revolves around installations of various
media. Through her work, she researches, narrates and
“collects” the concepts of time, decay, wandering, memory,
and the relationship between the part and the whole. Currently,
she is focused on studying the interplay between
digital and physical spaces in everyday life.
She has participated in three solo exhibitions and numerous
group exhibitions in Greece and internationally.
She lives and works in Thessaloniki.

Katerina Dania
(page. 47)
was born in Athens in 1994 and raised in Patras.
She studied Visual and Applied Arts at the School of Fine
Arts in Thessaloniki and she graduated in 2020.
Over the past few years, she has primarily worked on creating
installations using various materials. Her research revolves
around the exploration of the concepts of familiarity
and identity.
Currently, she lives and works in Athens.

Rafael Jilavian
(page. 53)
was born in Armenia in 1987 and grew up in Xanthi.
He studied Visual and Applied Arts at the Faculty of Fine
Arts inThessaloniki and also holds a degree as a Multimedia
Application Technician.
His artistic practice primarily revolves around installations
incorporating mixed media, focusing on themes of history,
memory, and time. He has participated in numerous group
exhibitions.
He lives and works in Thessaloniki.

Georgia Pilali
(page. 57)
was born in Athens in 1996.
She completed her studies at the Faculty of Visual and
Applied Arts of the School of Fine Art, AUTh, graduating
in 2021. Currently, she is enrolled in the postgraduate
interdisciplinary program “Art and Public Sphere” at the
Faculty of Visual and Applied Arts of the School of Fine Art
and the Faculty of Economic and Political Sciences of the
School of Political Sciences, AUTh.
Her artistic practice mainly consists of wall-mounted
installations. She utilizes standard industrial materials,
for their inbuilt qualities and conceptual interpretations.
Her research focuses on the exploration of dreams as
a means to recognize the subconscious, which is influenced
by personal experiences in urban environments.
She has participated in both group exhibitions and one
solo exhibition. In 2019, she received distinction for her
participation in the 9th Biennale of Greece’s Schools of
Fine Arts. One of her works is part of the main collection
of Hellenic Open University and is displayed at the
department of Thessaloniki.

Ioanna Tsigara
(page. 63)
was born in Kozani in 1996.
She studied at the Department of Fine Arts and Sciences
of Art at the University of Ioannina. She graduated in 2020
and is currently pursuing her postgraduate studies in the
same department, specialising in “Visual Arts” for the academic
year 2020-2021.
She has held a solo exhibition and has participated in several
group shows. In 2019, she participated in the IX Student
Biennale of Greece’s Schools of Fine Arts and was
awarded for her work.
She lives and works in Ioannina.

Babis Venetopoulos
(page. 73)
was born in Thessaloniki in 1973.
He is a graduate of the School of Fine Arts AUTh and has a
MA degree in “Digital Forms of Art” from the Athens School
of Fine Arts. He is currently an Assistant Professor in the
School of Fine Arts, AUTh.
His research and artistic interests include digital video,
three-dimensional digital design, interactive installations,
3D printing, virtual and augmented reality.
He has participated in numerous exhibitions and festivals
in Greece and abroad, including the Beijing Biennale of
Contemporary Art, the Thessaloniki Biennale of Contemporary
Art, DI-EGY 0.1, the Istanbul Biennial, the “No Borders
- Just N.E.W.S.” exhibition, the “InteractivA ‘03” New Media
Biennial in Mexico, the Hiroshima International Animation
Festival, ANIMAMUNDI, and more. His works can be found
in public and private collections.
He has created videos for theatrical performances such
as “Golfo version 2.3 beta” and “Goλfω Director’s Cut” directed
by S. Kakala, “Goodnight Margarita” directed by F.
Makri, “Noah’s Family” directed by S. Michailidou, among
others. He has worked as a production manager, director,
and artistic supervisor for award-winning animation films
and various other audiovisual productions.

Kyriakos Katzourakis
(page. 73)
was born in Athens in 1944.
He studied painting at the Athens School of Fine Arts
with Yannis Moralis and set design with Vasilis Vassiliadis
(1963-1968). In 1969, he won the Parthenis Award for
his painting. From 1972 to 1986, he lived in London and
pursued postgraduate studies in printmaking (1973-
1975: St. Martins School of Art and Croydon College of
Art).
Since 2000, he had been involved in filmmaking, creating
short and feature-length films. His film “O dromos pros ti
Dysi” (2003) was honored with the 1st National Award for
Best Documentary and the FIPRESCI Award. His film “Sweet
Memory” (2005) also received awards.
He has designed costumes for the film “Days of ‘36” by
Theodoros Angelopoulos (1971) as well as costumes and
set designs for “Anna’s Engagement” by Pantelis Voulgaris
(1972). He has also designed sets for numerous theatrical
productions.
He was a member of the group “New Greek Realists“ (1969-
1973, with Valavanidis, Digkas, Botsoglou and Psychopaidis).
In 1990, he founded the “Art Group” and was a founding
member of the Artists’ Union “Europa 24” (1991-1998). In
2005, he was elected Professor at the Faculty of Fine and
Applied Arts at the Aristotle University of Thessaloniki, where
he taught until 2012.

He had presented his work in numerous solo and group
exhibitions in Greece and abroad. He participated in the
São Paulo Biennale (1980), the 11th Biennale de Paris
(1980), Europalia ‘82 (Antwerp), the exhibition “Greek
Painting 1968-1988” (Brussels 1988), and others. In 2013,
a retrospective exhibition of his work was organized at the
Benaki Museum. Works of his belong to public and private
collections in Greece and abroad.

Chara Kerasta
(page. 77)
was born in 1994 and raised in Livadia, Boeotia.
She obtained her degree from the Department of Fine
Arts and Sciences of Art at the University of Ioannina
(2012-2017) and then pursued a postgraduate program
in Master of Fine Arts at the Athens School of Fine Arts. In
2019, she presented her thesis project titled T-HERE.
In 2016, she interned at the company “Paragogi Ergon Texnis,”
working alongside photographer and artist Ignatiadis
Konstantinos. Since 2015, she has participated in various
exhibitions and workshops held in Thessaloniki, Ioannina,
Andros, Livadia, and Athens.
She currently lives and works in Athens.

Eirini Fotiadi Efstathiou
(page. 83)
was born in Thessaloniki in 1994.
She obtained her degree from the Department of Fine Arts
and Sciences of Art at the University of Ioannina. In March
2018, she completed an internship at Intermediae Matadero
in Madrid. In 2022, she obtained her Master’s degree from
the postgraduate interdisciplinary program ‘Art and Public
Sphere’ by the Faculty of Visual and Applied Arts at the
School of Fine Art and the Faculty of Economic and Political
Sciences at the School of Political Sciences at AUTh.
Her artistic practice primarily involves creating installations
using building materials such as concrete, plaster, and
wood, as well as working with new media.
She currently lives and works in Thessaloniki.

Vasilis Galanis
(page. 93)
was born in Athens in 1994, where he currently lives and
works.
He studied at the Faculty of Fine Arts and Applied Arts of
the School of Fine Arts at AUTh. from 2012 to 2017. As part
of the Erasmus+ program, he attended classes at the Instituto
Politecnico de Lisboa in 2016-2017.
He has exhibited his work in group exhibitions in Athens,
Thessaloniki, and Patras, and had a solo show in Athens in
2019 titled “pre- or post- (who cares?)”. His work has been
featured in press publications and on the internet. He also
works as an illustrator and storyboard artist, collaborating
with publishing houses and other entities.
In 2021, he obtained his Master’s degree of Fine Arts at the
Athens School of Fine Arts.

Thanassis Sampaziotis
(page. 99)
was born in Kalamata in 1992 and grew up in Kyparissia,
Trifilias.
In 2012, he enrolled in the 5th laboratory of painting at the
Faculty of Visual and Applied Arts of the School of Fine Art,
AUTh, and successfully graduated in 2017. In 2022, he obtained
his Master’s degree from the postgraduate interdisciplinary
program ‘Art and Public Sphere’ by the Faculty of
Visual and Applied Arts at the School of Fine Art and the
Faculty of Economic and Political Sciences at the School of
Political Sciences at AUTh.
Additionally, he is a musician. Apart from being a band
member, he works on solo projects as well, taking part in
various aspects of music production, from composition
and orchestration to recording.
He has participated in several group exhibitions and projects.
As a founding member of the spam collective, a group
consisting of theorists and artists who connected during
the “Art and Public Sphere” postgraduate program, he explores
innovative artistic approaches.
He lives in Thessaloniki and supports himself financially by
working as a waiter.

artists
exhibition curated by
catalogue design by
artistic director To Pikap Kato
exhibition photographer
text translation page. 5 by
text translations by
special thanks to

Dimitris Ameladiotis
Maria Andikopoulou
Katerina Dania
Eirini Fotiadi Efstathiou
Vasilis Galanis
Giorgos Gerontides
Rafael Jilavian
Kyriakos Katzourakis
Chara Kerasta
Georgia Pilali
Thanassis Sampaziotis
Ioanna Tsigara
Maria Tsiroukidou
Christos Venetis
Babis Venetopoulos
fast filly
fast filly
Dimitris Aggelis
Vasilis Charizanis
Ria Vasilopoulou
fast filly
Frankie
Kostas Kosmidis
Myrto

© 2022, fast filly
© the artists for their artworks
© the authors for their texts