Awkward stones
Seeing Through Melancholia
House of Hadjigeorkakis Kornesios, Nicosia, 2023

IN THE SEA OF THE SETTING SUN
The State Gallery of Contemporary Art - SPEL, Nicosia, Cyprus, 2023
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
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 Geology
Foam Museum, Amsterdam, Netherlands, 2018

Over The Horizon, Drone Vision: Surveillance, Warfare, Protest
Nimac, Nicosia Municipal Arts Centre, 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


Over The Horizon, 2018
Nimac, Nicosia Municipal Arts Centre

In the framework of: Drone Vision: Surveillance, Warfare, Protest. A collaboration between Nimac in Nicosia, Hasselblad Centre in Gothenburg and the Zahoor Ul Akhlaq Gallery of the National College of Arts in Lahore, 2018.


Stelios Kallinikou’s project revolves around one of the fundamental axis of our times: surveillance. The project develops the photographer’s interest in exploring issues that touch upon the country’s history whilst thinking about the nature of the photographic medium. The colonial past of the island is once again the starting point. Kallinikou climbs to the top of the castles of Pentadaktylos, which were built by the Byzantines in the 11thcentury BC, used by the Franks and destroyed by the Venetians. The ascend of the photographer to the top of the mountain through physical effort carries special importance. The position of power is conquered by and with the body and the camera remains attached to the photographer, acting as an extension of the hand. Kallinikou therefore climbs to the top of the castles and activates his gaze upon the plains, the mountain tops and the seas, as a guard in the Middle ages would do. The difference is that he is not armed with a spear and a bow but with a camera. This is contrasted to one of the crucial elements that characterize drone technology, which holds vast implications –namely, that they assume their position without having the limitations of the human body. At the same time, he focuses on the surveillance equipment HAARP (High Frequency Active Auroral Research Project) found at the British sovereign bases in the areas of Akrotiri and Troodos. Like a colonial heritage prevalent in the Cypriot landscape, this equipment creates aerial webs for gathering information. These complicated mechanisms, whilst being geographically located in Cyprus, expand their operations to unknown lengths and breadths, determining new spectral borders.

For more read exhibition essay by Dr. Yiannis Toumazis