rcsaerh , 2019
Künstlerhaus Bethanien, Berlin, Germany
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.
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.
...These nuances often become a vehicle through which the process of photography acts upon territory-ideology and history. While he was working on a series of photographs of a rare endemic wildflower – the Cyprus tulip - in the village of Mammari, UN soldiers appeared and asked him to leave, as he was in a part of the village that falls within the ‘dead zone’, a de-militarized zone lying between the south and north (Cyprus has been divided since 1974). He showed them the photographs in order to prove that he wasn’t doing anything illegal, and in the hope that they would let him continue, but it proved impossible. They responded that they were aware that he was photographing the flowers, but nonetheless he was not allowed to be there.