Selected Installation Views
Duo show with Polys Peslikas
PARTY Contemporary | Artist-run gallery
The title of the show is an acronym for Stelios Kallinikou Polys Peslikas, suggesting the comin g together of two artists and the mediums they respectively use, photography and painting. Stelios and Polys are invited to respond to the space and converse in a way which reflects the intertwined history of painting and photography. Stelios, who tirelessly observes and documents the landscape of Cyprus, presents a group of photographs that verge on the painterly. Polys, who paints with an emphasis on the layering of colours and textures, utilises specific features of the space and found photography
Where are you going young man handsome like a legend
Point Centre for Contemporary Art
In this new series of images Kallinikou continues his research on the politics of the landscape. This time he creates photographs of enigmatic landscapes of Cypru’s nature. At most of these landscapes one can notice caves that introduce the human element in these images. A primitive form of architecture or gates to another dimension?
What we actually witness is Kallinikou’s peripatetic journey and effort to find and photograph the hideouts constructed and used by the ΕΟΚΑ guerrilla group during the national liberation struggle of 1955 – 1959 against British rule.
The forest as a holy place becomes the space where Kallinikou, moving through primal paths, wonders about the true nature of things.
MO17 Young Artists from Cyprus
Displacement As a State of Mind
Koraï, Nikosia, Cyprus
Curated by Charis Kanellopoulou
Benaki Museum, Pireos St
CURATED BY:Gary Carrion-Murayari and Helga Christoffersen with Massimiliano Gioni
Organized by the DESTE Foundation and the New Museum, New York in collaboration with the Benaki Museum
The body of work Local Studies, a series of photographs by Stelios Kallinikou, investigates the topography and by extension the complexities that permeate Cypriot identity. Disregarding the Green Line*, a viewing of the space as a whole is attempted. The work concerns an unobstructed walkthrough; an unhurried survey whereby Kallinikou's familiarity of the south meets and overlaps with the less familiar north. In doing so, notions of familiarity and 'sides' are altogether suspended. Emphasis is directed at the urban, partly urban and natural environment, exposing landscapes of the everyday. Mountains, buildings, trees, statues, and other instances of the vernacular constitute what could be understood as a 'local poetics' and raise questions around issues of identity, memory and history. The landscape as the result of our collective actions is revealing of who we are and how we shape and transform the space in which we live in. The rhythm of the images develops in freeform, in which beauty and intensity, distance and memory, everydayness and history, truth and fantasy, coexist mutually. Yet, every instance is also very personal to Kallinikou. By adopting the strategies of documentary photography via an introspective meditative pace, the world he constructs serves as a speculative scenario through which he can better envisage his relationship to territorial and ideological notions such as birthplace, motherland and national identity.
*Since 1974 Cyprus has been divided between the Turkish-Cypriot North and the Greek-Cypriot South. The 'Green Line' buffer zone was established by the UNFICYP between the two territories. After a nearly 30 year ban on crossings, the Turkish-Cypriot administration significantly eased travel restrictions across the dividing line in April 2003.
Thkio Ppalies Artist-led project space
Text: Peter Eramian
Stelios Kallinikou's Flamingo Theatre is situated across and beyond a 7km stretch of undeveloped flat land on the East coast of the Akrotiri peninsula in Limassol, Cyprus, titled Lady's Mile. The beach is located within the British Western Sovereign Base Area, one of two territories (the other being Dhekelia) controversially retained by the British under the 1960 treaty of independence. A playful nod to the past, it received its name after the first British governor's horse 'Lady', which he would exercise along the coastal stretch.
For many local Cypriot families Lady's Mile remains a beloved beach. Neither a place nor a non-place, neither Cypriot nor non-Cypriot, it is more akin to a mutated dream set. South of the beach are the guarded RAF bases where fighter aircrafts can often be seen and heard training or taking off on missions to the Middle East (recently Britain's parliament voted for military operations in Syria from Akrotiri); gigantic British radio-listening communication antennas loom over the landscape, their presence an ongoing concern for locals worried about electromagnetic radiation emissions; sand dunes are exploited by motocross enthusiasts and the open space by model airplane aficionados; vessels up to 250m long can be seen plodding in the north of the beach, where lies Cyprus' largest and busiest seaport, also an evacuation point for refugees fleeing conflicts in the Middle East; and lastly, the large marshy Akrotiri salt lake is only a few hundred meters away, considered one of the Eastern Mediterranean's most important wetlands, attracting thousands of wading birds and the much celebrated Greater Flamingos, stopping over during migration between Africa and Europe.
Over the course of two years Kallinikou has been crafting an allegory out of these coexisting dimensions, a temporal zone that bridges politics and poetry, where scales, values and narratives are shed of attached meanings, flirting with abstraction. Flamingos are animated in RAF symbols and model airplanes mimic military operations; the local and global overlap, identities break down and ecology meets history. A stage is set framing current events as performance, offering a counter proposal to today's hyper-dazed rhythms. The audience attending Flamingo Theatre is asked to sit back, meditate and bear witness to the unfolding of history from the unlikeliest of positions, a small family beach in Cyprus.