Waterfall
Xarkis festival, Agros, Cyprus, 2022
Glass Cage Dream
Eins Gallery, Limassol, Cyprus, 2022
Weeper Capuchin
6th Ural Industrial Biennial of Contemporary Art, 2021
Flamingo Theater
State and Nature, Staatliche Kunsthalle Baden-Baden, 2021
Xarkis festival, Agros, Cyprus, 2022
Glass Cage Dream
Eins Gallery, Limassol, Cyprus, 2022
Weeper Capuchin
6th Ural Industrial Biennial of Contemporary Art, 2021
Flamingo Theater
State and Nature, Staatliche Kunsthalle Baden-Baden, 2021
acrobat above the dome
Goethe-Institut Zypern, 2021
Fabrica hill
Thkio Ppalies, Nicosia, Cyprus, 2021
Nebokeru
Grey Noise, Dubai, 2021
Howlings and optical illusions
Saigon, Athens, Greece, 2020
hypersurfacing
NiMAC, Nicosia, Cyprus , 2019-2020
Nymphaeaceae
Point Centre for Contemporary Art , Nicosia, Cyprus, 2019
Phenomenon 3
Anafi Island, Greece, 2019
rcsaerh
Künstlerhaus Bethanien, Berlin, Germany, 2019
Studies in Geology
APhF19, Benaki Museum, Athens, Greece, 2019
Studies in GeologyGoethe-Institut Zypern, 2021
Fabrica hill
Thkio Ppalies, Nicosia, Cyprus, 2021
Nebokeru
Grey Noise, Dubai, 2021
Howlings and optical illusions
Saigon, Athens, Greece, 2020
hypersurfacing
NiMAC, Nicosia, Cyprus , 2019-2020
Nymphaeaceae
Point Centre for Contemporary Art , Nicosia, Cyprus, 2019
Phenomenon 3
Anafi Island, Greece, 2019
rcsaerh
Künstlerhaus Bethanien, Berlin, Germany, 2019
Studies in Geology
APhF19, Benaki Museum, Athens, Greece, 2019
Foam Museum, Amsterdam, Netherlands, 2018
Over The Horizon, Drone Vision: Surveillance, Warfare, Protest
Nimac, Nicosia Municipal Arts Centre, 2018
SKPP
PARTY Contemporary | Artist-run gallery, Nicosia, Cyprus, 2018
Where are you going young man, handsome like a legend
Point Centre for Contemporary Art, Nicosia, Cyprus, 2017
The Equilibrists
organized by the Deste Foundation and the New Museum, New York in collaboration with the Benaki Museum, 2016
Glass Cage Dream
Eins Gallery
Limassol, Cy
2022
The following words, are taken from Haris Pellapaisiotis’ exhibition text, “The Disappearance of Things”:
“The printed still-image, long thought-off as the outcome of an encounter between the person behind the camera and something that materially exists in the world, is now overtaken by the production of images that are configured through a range of new reproductive digital and technological practices. This technological shift does not simply indicate the obsolescence of an older technology by another more expedient way of making photographs, but also signals the disappearance of a way of thinking about photography. Photography has long been thought of as a form of prosthesis of vision connected to the mind that had sought to maintain a continuity between natural perception and technology.
Photography is a spatial, performative, and relational practice whereby to photograph is to position oneself within an ecology of connecting elements that co-exist in actual space and time. Photography can performatively function as a tool that connects the human body to a practice that utilises imagery and visualisation at the point of contact with the physical, spatial, natural, and socio-political environment. To photograph is to reconnect with the object in front of the camera in a way that rethinks that relationship. The task of the photographer is to find ways to translate the encounter with the object in some way that reveals meaning without erring towards rhetorical definitions.
Looking at the range of prints with exotic animals, which at first glance indicate the theme of Kallinikou’s work, it occurs to me that hidden beneath their striking presence lurks a larger concern that expresses the fragility of the photographic image, but also the negation of the photographic experience. In the age of digitalisation, what is fast disappearing is the space generated between photographer and object and subsequently the space for thinking that is created between image and viewer. No longer having the need to be physically situated in relation to the object, the photographer becomes dislocated in space and time as the photographer’s own sense of somatic awareness, in relation to the object, disappears from experience. Kallinikou’s deliberate venture to make each image less legible through a process of printing and reprinting, sometimes from digitally corrupted files till they create the effect he seeks, seems to reference a wider metaphor that takes us back to the photographic outcome as an encounter with the object.
Kallinikou continues to seek the element of surprise, of wonder, and revelation, however not in the depiction of extraordinary new encounters with his outside environment, but in the digital production of images. For this body of work, he is thinking about his relation to photography as it makes the transition from one technology to another and in that process, he is inviting the viewer to step back, to find the space to hold dialogue with the work and to rethink with him the possible disappearance of things.”
Read Haris Pellapaisiotis’ essay, “The Disappearance of Things”
Still life, 2022, sound installation, seashell, mirror, microphone, amplifier, cables, video documentation
Glass Cage Dream, 2022, video, infinite loop, video documentation
In the framework of Glass Cage Dream exhibition by Stelios Kallinikou at Eins Gallery
“echoes, brain waves, room resonances” Sound performance by Panagiotis Mina