rcsaerh, 2019, archival pigment print, framed, 123x84 cm



eht_etnionivn_fo_teh_gntipina, 2019, archival pigment print, framed, 73x54 cm


nlcafo_ttiaangck_a_ineopg, 2019, archival pigment print, framed, 73x78 cm



onmwa_ihtngab_ni_karp_fo_irnet, 2019, archival pigment print, framed 103x76 cm


rfsheifklo, 2019, archival pigment print, framed, 83x110 cm


hte_edglo_lise, 2019, archival pigment print, framed, 83x103 cm



Künstlerhaus Bethanien, Berlin, Germany, 2019


Künstlerhaus Bethanien, Berlin, Germany, 2019


Künstlerhaus Bethanien, Berlin, Germany, 2019


Künstlerhaus Bethanien, Berlin, Germany, 2019


Künstlerhaus Bethanien, Berlin, Germany, 2019

Künstlerhaus Bethanien, Berlin, Germany, 2019

rcsaerh , 2019
Künstlerhaus Bethanien

For the series “rcsaerh” he further develops his interest in the pictorial representation of landscape. He photographed paintings from the Alte National Gallery of Berlin that negotiate, in one way or another, the relationship of man with the natural world. Later on, he researched these paintings online and screenshot the search-engine generated matrices of results at the point in time before the actual images appear. The resulting images show blocks of varied monochromatic rectangular shapes. He is referencing and utilizing ‘lazy loading’, a technique used in computer programming that defers the loading of non-critical resources at page load time. Instead, these non-critical resources are loaded at the moment when they are required. Where images are concerned, "non-critical" is often synonymous with “off-screen”.

Kallinikou brings these two images together into a digital collage, underlining issues around the politics of representation and challenging the ways in which such mechanisms have been manifest in museum displays and digital monitors showing information. Kallinikou negotiates the surface and meta surface to create neo-painterly images that reside in the intersection between tradition, painting, photography and the meta data era. In this way, he is interrupting and at the same time making visible the process of a painting becoming an image, and by extension data and information. The resulting images merge layers of the real and the virtual and embody different spatial and temporal dimensions in an effort to deepen the notion of the still image by suggesting a fragmented narrative with the potential for restaging by the viewer.