rcsaerh , 2019Künstlerhaus Bethanien, Berlin, Germany

^{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

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}

Künstlerhaus Bethanien, Berlin, Germany, 2019

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

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

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

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

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

^{rcsaerh , 2019
Künstlerhaus Bethanien, Berlin, Germany

The Landscape is the Arena of Our Collective Actions*

For many years, through his photographic work, artist Stelios Kallinikou has investigated themulti-layered landscape of Cyprus, in search of life emerging from the ruins of a past thatmeets and mix, shaping the present. The landscape is an archive of stories that are narrated bythe lens of the artist’s camera. Like the story of a rare endemic species of wild tulip known asCyprus tulip which the artist has documented in a series of painterly portraits of wild-life inthe borderland. In How to look at a flower barefoot (2019), the artist focuses on a differenttype of interstitial space, the one opened by the physical encounter with a painting in amuseum and its digital re-encounter as fragment or an abstract color field, due to what isknown as ‘lazy loading’, a technique used in computer programming to delay the loading ofso called “non-critical” sources. Kallinikou questions the selective mechanisms of big-corporate like google which mine datas and establish what is considered “critical,” thus worthhighlighting, and what remains in darkness. In this series, Kallinikou approaches digitalimages as he does the Cypriot landscapes, opening for the viewer a space of materialresistance, but also of introspection and projection; making new time for listening amid the white noise produced by the fast-paced circulation of visual inputs and digital information.

Federica Bueti

*The title is borrowed from a sentence in a published conversation with Stelios Kallinikou and George Salameh.}

Radar station, 2018, archival pigment print, 40x28cm

^{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.

(documentation)}

^{...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.}