Films

^{Decomposition, 2025
Video with audio, 11 minutes

Sound: Panagiotis Mina

The video reflects the reality of destruction without anchoring it to a specific place or moment. Instead, it unfolds within a spiralling space–time continuum, where catastrophe repeats, dissolves, and resurfaces like a returning tide. Kallinikou gathers online footage recorded by people witnessing ecological disasters, armed conflicts, and sudden moments of danger. From this material, he isolates a single recurring gesture: the instant the eyewitness begins to run, while the camera continues to capture their frantic escape. These fragments form a rapid relay of images suggesting a work that searches for an exit from within its own turbulence. In this suspended emergency, the piece raises urgent questions. Who is the victim? Who is the witness? Who is the viewer?}

^{Same water, 2024

HD video with audio, 14:09 min (excerpt)

sound: xypno

The film is inspired by ritual healing practices that are deeply connected with the earth and are in harmony with the elements of nature as opposed to colonial-extractivist practices that exploit our commons and exhaust the earth by leaving ruins behind. Plants are constantly in contact with the elements of nature unlike us who have built whole mechanisms to protect ourselves from the natural environment. A tree attends to the physical elements precisely because the elements are not objects and cannot be objectified.}

^{two minutes twenty two seconds thirty two milliseconds, 2024

HD video with audio, 02:22 min (excerpt)

The film follows a watchmaker reassembling a pocket watch. The subject of the film is time itself. The movie ends up being an autopsy of the mechanism that measures time and which technology has rendered obsolete.}

^{Bird watching, 2023
HD video with audio, 07:40 min (excerpt)

The film aspires to offer a reflection on the relationship between people, animals and the environment in the context of militaristic and property rights mindsets of ongoing processes of colonisation and extinction.}

^{Awkward stones, 2023

4k video with audio, 15.24 min (excerpt)

Stelios Kallinikou

in collaboration with
Haytham El-Wardany
Peter Eramian

The starting point for the project “awkward stones” is Haytham El-Wardany's poem ‘their names’, which was written on the occasion of the group exhibition Fabrica Hill (2021) at Thkio Ppalies artist-led project space. As interpreted by Stelios and Peter, the poem immerses the reader in notions of time, trauma, reconciliation, understanding, companionship and history by sensing the many faces of our contemporaries, in an attempt to speak the “laborious words”. In the video, we hear the poem in Cypriot dialect while landscapes near and far appear both in ruins and blooming, landscapes covered by the mist of our “criminal harmony”.}

^{Flamingo Theatre, 2019

Video with audio, 13 min (excerpt)

The video work “Flamingo Theatre” is a collage of research material from and about the Akrotiri Area. The British Sovereign Base Area of Akrotiri is a space suspended between different and complex narratives. In its landscape, British military facilities intersect a wetland with incredible biodiversity, vitally important for the wider eastern Mediterranean region. On the one hand, thousands of migratory birds use the area as a temporary home; on the other hand, the British military base serves to monitor the flow of political developments in the eastern Mediterranean and Middle East. The work is inspired by videos found online, showing adolescents participating in a summer school at the military base, creating and uploading the videos for fun. Kallinikou put forward an abstract, poetic film carried by a specially composed sound work by Panagiotis Mina, which is an attempt to encapsulate the complicated nuances and contradictions of the area.}

^{Howlings, and optical illusions 2020

Video with audio, 21 min (excerpt)

The video work Howlings and optical illusions is a collage made out of found online footage of Cypriots discovering Ufos. The work functions as a poetic musical play where the witnesses/protagonists of the film balance between the local and the extraterrestrial.}

Video works

^{Bird, 2022

Video with audio, loop

The video shows a bird flying repeatedly and pecking at its reflection in the side mirror of a car. The phenomenon of a bird defending its nest against intruders — in this case, its own reflection is known nowadays where human made reflective surfaces and structures cause confusion and disorientation.}

^{Sleep, 2022

Video with audio, loop

The video work entitled "sleep" is excavated from my family video archive. My young brother filmed by my father is trying to fall asleep while an adult is disrupting him in an effort to keep him awake. An instance situated in the threshold between dreamworld and reality. An act that insist to repeat itself in a circle between sleep and wakefulness.}

^{Sparrow, 2019
Video, loop}
^{On the screen we see a small sparrow lying on its back and breathing heavily in an infinite loop. The image and the act of breathing are maintained on the screen surface via the connection to electrical power. At the same time, the sparrow is constantly and endlessly in a state of emergency.}

^{Weeper Capuchin, 2022

Video, loop

In Why look at animals John Berger, sets forth that “captive animals and we ourselves, their human counterparts, view one another across a narrow abyss of incomprehension.” The work (Weeper Capuchin, 2020/21) negotiate this space between us and the animal, striving to offer a bridge that hovers over the void. The expressive eyes of the Capuchins, as if carrying a prehistoric melancholy, exchange glances with the viewer via a thick glass wall that is invisible in the photographs, much like the photographic lens. Often birds find tragic death on such reflective glass walls because they are not visible to them.}