Stelios Kallinikou

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	<title>Stelios Kallinikou </title>
	<link>https://stelioskallinikou.com</link>
	<description>Stelios Kallinikou </description>
	<pubDate>Thu, 13 Jun 2024 08:24:12 +0000</pubDate>
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	<item>
		<title>Selected exhibitions</title>
				
		<link>https://stelioskallinikou.com/Selected-exhibitions</link>

		<pubDate>Tue, 13 Feb 2024 13:31:27 +0000</pubDate>

		<dc:creator>Stelios Kallinikou </dc:creator>

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	Fluid PersistenceNicosia Municipal Arts Centre 2026curated by Dr. Elena Stylianou
Topos, 2024

Seven archival pigment prints, 40 x 60 cm each, framed 


Topos examines the making and meaning of island ecologies. How are their landscapes formed? When does terrain become territory? In what ways is a landscape revealed or submerged into darkness? What forces act upon their hard stone surfaces? This photographic series reflects the artist’s exploration of the island as a site of landing, arrival, or settlement, and considers how such interventions intersect with its geological and historical transformations. The landscape may be marked by extractive activity or bear the remnants of a lost civilization. These questions remain open, inviting the viewer to contemplate and challenge them. Questions of identity also emerge: what gives a place its sense of self? How does the sea, through erosion and change, shape the fate of the landscape? Is space ever truly fixed, or is it constantly shifting under the influence of natural and human forces? Topos investigates how landscapes carry the imprints of both nature and human presence, and how we perceive and inhabit these dynamic terrains.
Decomposition, 2025Video with audio, 11 minutes. Sound: Panagiotis Mina


The video reflects the reality of destruction without anchoring it to a specific place or moment. Instead, it unfolds within a spiralling space–time continuum, where catastrophe repeats, dissolves, and resurfaces like a returning tide. Kallinikou gathers online footage recorded by people witnessing ecological disasters, armed conflicts, and sudden moments of danger. From this material, he isolates a single recurring gesture: the instant the eyewitness begins to run, while the camera continues to capture their frantic escape. These fragments form a rapid relay of images suggesting a work that searches for an exit from within its own turbulence. In this suspended emergency, the piece raises urgent questions. Who is the victim? Who is the witness? Who is the viewer?Installation view, video documentation


&#60;img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/3b554b9b989816080f83a7439cde70b84908f65232a56437f924956cf3c4f6d1/DSCF5965_1-copy.jpg" data-mid="244862483" border="0" alt="Installation view, Nicosia Municipal Arts Centre, 2025" data-caption="Installation view, Nicosia Municipal Arts Centre, 2025" src="https://freight.cargo.site/w/1000/i/3b554b9b989816080f83a7439cde70b84908f65232a56437f924956cf3c4f6d1/DSCF5965_1-copy.jpg" /&#62;
&#60;img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/14066b7793da343b69f7d65bbd56d94e6240aa4b3c1a025f704686a20fa065b6/3H2A9120-copy.jpg" data-mid="244862504" border="0" alt="Topos, 2024, archival pigment print, 40 x 60 cm each, framed " data-caption="Topos, 2024, archival pigment print, 40 x 60 cm each, framed " src="https://freight.cargo.site/w/1000/i/14066b7793da343b69f7d65bbd56d94e6240aa4b3c1a025f704686a20fa065b6/3H2A9120-copy.jpg" /&#62;
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	Agropoetics: soils/bodies, 2026Curated by Elena Parpa

Museum of Modern and Contemporary Art, Nicosia, Cyprus
House Sparrow, 2021
archival pigment print, 9 photographs44 x 35 cm. (each) 
Text: Sofronis Sofroniou

May I venture to offer an interpretation of the corpus of work of Stelios Kallinikou: it is a practice that invites a wandering through the uncanny and, simultaneously, through the hyper-real. To directly clarify this unstable neologism, I will set the images of the work you are now observing into slight motion. Two or three generations of&#38;nbsp;sparrows, pigeons, parakeets, white storks, species don’t much matter, decide to live on the fringes of a forgotten town. Their chirping, cooing, squawking,&#38;nbsp;again, it scarcely matters, carry such resonance that, before long, other birds like them build their nests on the remnants of a construction site that was never completed. The place translates itself into a new, unstable constant. The images of&#38;nbsp;House of Sparrow&#38;nbsp;(2021) listen to this fragile translation, the moment architecture becomes biology and construction becomes refuge. They do not narrate; they breathe. They partake in a shift where matter gains awareness of itself. As in his other works,when Kallinikou observes iridescences and fissures&#38;nbsp;on stones, the gentle softenings of the sky, the abandoned caves on hard-to-reach slopes, or the traces of human intervention at the edges of a salt lake, his gaze does not seek beauty but rather the point of transformation: where place and all that inhabits it, stripped back yet dense, repeatedly rediscover their capacity to signify.


&#60;img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/d92cb50d36088c7a2cab2c457c4984fba0356edd7ca7ce09d7663cd0994c079d/DSCF6018-copy-3.jpg" data-mid="244862869" border="0" alt="Installation view, Museum of Modern and Contemporary Art, Nicosia, Cyprus, Nicosia, 2026" data-caption="Installation view, Museum of Modern and Contemporary Art, Nicosia, Cyprus, Nicosia, 2026" src="https://freight.cargo.site/w/1000/i/d92cb50d36088c7a2cab2c457c4984fba0356edd7ca7ce09d7663cd0994c079d/DSCF6018-copy-3.jpg" /&#62;
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	The Broken Pitcherde Appel, Amsterdam 2026

A collaborative project by Natascha Sadr Haghighian, Marina Christodoulidou and Peter EramianFormwork structure designed by Peter Eramian
Desert 

2021-2025


12 archival pigment prints 44x35cm each &#38;nbsp;


Bank architecture, like other forms of social infrastructure, once stood as institutional and aesthetic symbol of modernity. Over time, however, the digital transformation together with rapid technological advances, have radically reshaped society and spatiality. With the rise of online banking, many institutions have reduced their physical presence, closing local branches and replacing human interaction with automated systems. As money and labour become increasingly digital and dematerialised, the social fabric itself is being redefined.Stelios Kallinikou reflects on this transformation through his ongoing photographic series, which observes dormant rooms in states of urban isolation. A selection of this work is presented in The Broken Pitcher at de Appel, resonating with the shifting presence—and absence—of such infrastructures across different contexts.More info about the exhibition

	
&#60;img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/49fc7899bc57bd7b2d989ffcf93c6a3469f86f9fdd3875e986219e31ce5d280e/P1000787_high.jpg" data-mid="244863127" border="0" alt="Installation view, The Broken Pitcher, de Appel, Amsterdam, 2026" data-caption="Installation view, The Broken Pitcher, de Appel, Amsterdam, 2026" src="https://freight.cargo.site/w/1000/i/49fc7899bc57bd7b2d989ffcf93c6a3469f86f9fdd3875e986219e31ce5d280e/P1000787_high.jpg" /&#62;
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	Two minutes twenty two seconds thirty two milliseconds, 2024. 
Video, sound, 02’22”Parthenon, part 2, curated by Haris Epaminonda and Andre Zivanari, Nicosia, Cyprus, 2025The film follows a watchmaker reassembling a pocket watch. The subject of the film is time itself. The movie ends up being an autopsy of the mechanism that measures time and which technology has rendered obsolete.

More info about the exhibition
	
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	Same water, 2024video, sound, Duration: 14:09
sound: xypno

within the context of the exhibition La Bataille des Vins, Lania, Cyprus


The film is inspired by ritual healing practices that are deeply connected with the earth and are in harmony with the elements of nature as opposed to colonial-extractivist practices that exploit our commons and exhaust the earth by leaving ruins everywhere. Plants are constantly in contact with the elements of nature unlike us who have built whole mechanisms to protect ourselves from the natural environment. A tree attends to the physical elements precisely because the elements are not objects and cannot be objectified.
	
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	Calls and Songs
Eins gallery, Limassol, Cy
2024


For his second solo show at eins gallery, Calls and Songs, Stelios Kallinikou presents a body of work that explores how human beings have registered and altered the environment through technologies, and how we relate to recording devices…Along with the lyricism of his depiction of bodies, animals, plants, or human constructions, Kallinikou takes a physical and ideological stance in relation to the lens and the image, which is then mirrored and expanded in his audiences’ acts of looking. 


By taking a position in front of the technologies whereby we record the world, Kallinikou emphasises the distance between his body, the lens, the image, and that which is being recorded. By extension, this also shows the distances we retain, and which we often forget about. His work grants us a glimpse of the underlying implications of looking and recording the world, that is, of the contexts in which images are produced, circulated and consumed—many of which seem to hide away the more a picture circulates. It prompts us, in the end, to decide our position concerning what would prefer to stay unseen in all the images we encounter.


Except from exhibition text by Andrés Valtierra 
read the text here


an intimate response for the &#38;nbsp;exhibition byGervaise Alexis Savvias 
read the text here


&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/2a73e7f8770caed357076cfecb1ac85c32f321457d72b0f55b6d53d0ccbb3867/1.jpg" data-mid="210433877" border="0" alt="Calls and Songs, installation view, Eins Gallery, 2024" data-caption="Calls and Songs, installation view, Eins Gallery, 2024" src="https://freight.cargo.site/w/1000/i/2a73e7f8770caed357076cfecb1ac85c32f321457d72b0f55b6d53d0ccbb3867/1.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/e042a0acd707d115c3e437e8004416ba2ae864bba1b6f9adc3fd3ea29124b5bb/2.jpg" data-mid="210433878" border="0" alt="img#1, img#2, img#3 (feather paradox), 2019, archival pigment prints, 130x90 cm, each, framed" data-caption="img#1, img#2, img#3 (feather paradox), 2019, archival pigment prints, 130x90 cm, each, framed" src="https://freight.cargo.site/w/1000/i/e042a0acd707d115c3e437e8004416ba2ae864bba1b6f9adc3fd3ea29124b5bb/2.jpg" /&#62;
&#60;img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/0c1561d7ea4a2735c297c21f3cfdf29a1061741d0f9f1f5f2ba9db748aebc8ea/3.jpg" data-mid="210433881" border="0" alt="img#1(feather paradox), 2019, archival pigment print, 130x90 cm, framed" data-caption="img#1(feather paradox), 2019, archival pigment print, 130x90 cm, framed" src="https://freight.cargo.site/w/800/i/0c1561d7ea4a2735c297c21f3cfdf29a1061741d0f9f1f5f2ba9db748aebc8ea/3.jpg" /&#62;
&#60;img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/0f2198b9edd5aa5078dc98773e545a7b73aa0e4120dde7cb7cffb6a36af37c2b/4.jpg" data-mid="210433889" border="0" alt="img#2(feather paradox), 2019, archival pigment print, 130x90 cm, framed" data-caption="img#2(feather paradox), 2019, archival pigment print, 130x90 cm, framed" src="https://freight.cargo.site/w/800/i/0f2198b9edd5aa5078dc98773e545a7b73aa0e4120dde7cb7cffb6a36af37c2b/4.jpg" /&#62;
&#60;img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/ab67d64daac4b40960dc8e792332e1419ddeebc6b64cbc1c16bea11525f1ca94/5.jpg" data-mid="210433890" border="0" alt="img#3(feather paradox), 2019, archival pigment print, 130x90 cm, framed," data-caption="img#3(feather paradox), 2019, archival pigment print, 130x90 cm, framed," src="https://freight.cargo.site/w/800/i/ab67d64daac4b40960dc8e792332e1419ddeebc6b64cbc1c16bea11525f1ca94/5.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/df10cb65bd62764f6efdbee062e4f05b82fa838df6302815eb58c48359c71d0b/6.jpg" data-mid="210433987" border="0" alt="Still life , 2024, sound installation, seashells, mirrors, microphones, amplifiers, cables, dimensions variable + AMMATIN, 2023 video, loop" data-caption="Still life , 2024, sound installation, seashells, mirrors, microphones, amplifiers, cables, dimensions variable + AMMATIN, 2023 video, loop" src="https://freight.cargo.site/w/1000/i/df10cb65bd62764f6efdbee062e4f05b82fa838df6302815eb58c48359c71d0b/6.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/b02fce1234b1c3e836e22760c1e30a67ed9da6d8a2b9f61ba127553b3cde4bb6/7.jpg" data-mid="210434046" border="0" alt="detail, Still life , 2024, sound installation" data-caption="detail, Still life , 2024, sound installation" src="https://freight.cargo.site/w/1000/i/b02fce1234b1c3e836e22760c1e30a67ed9da6d8a2b9f61ba127553b3cde4bb6/7.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/b4a53ba2e33d0801372fe7169e5f9517c5823da2ce3061bb579a65fe52a0c387/8.jpg" data-mid="210434047" border="0" alt="Gas station, 2024 archival pigment print, 26x33 cm" data-caption="Gas station, 2024 archival pigment print, 26x33 cm" src="https://freight.cargo.site/w/1000/i/b4a53ba2e33d0801372fe7169e5f9517c5823da2ce3061bb579a65fe52a0c387/8.jpg" /&#62;
&#60;img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/088e697e93667dfe79c700f0aed12c21f965627547cd68f509b271c3bd699ca8/9.jpg" data-mid="210434048" border="0" alt="Bird (&#38;zeta;&#38;epsilon;&#38;upsilon;&#38;kappa;&#38;alpha;&#38;lambda;ά&#38;tau;&#38;eta;&#38;sigmaf;), 2022, video, sound, loop " data-caption="Bird (ζευκαλάτης), 2022, video, sound, loop " src="https://freight.cargo.site/w/800/i/088e697e93667dfe79c700f0aed12c21f965627547cd68f509b271c3bd699ca8/9.jpg" /&#62;
&#60;img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/ab95c130cec5be0c20534f203a89e8899a5548d8202b33befa7eb321d3c9be2e/10.jpg" data-mid="210434049" border="0" alt="Bird (&#38;zeta;&#38;epsilon;&#38;upsilon;&#38;kappa;&#38;alpha;&#38;lambda;ά&#38;tau;&#38;eta;&#38;sigmaf;), 2022, video, sound, loop " data-caption="Bird (ζευκαλάτης), 2022, video, sound, loop " src="https://freight.cargo.site/w/800/i/ab95c130cec5be0c20534f203a89e8899a5548d8202b33befa7eb321d3c9be2e/10.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/ca854693e66d891a8b9cfd17e4645dba18d287110dfc1eac3bb7f7c6619b62ec/11.jpg" data-mid="210434050" border="0" alt="Plant, 2019, archival pigment print, 26x33 cm" data-caption="Plant, 2019, archival pigment print, 26x33 cm" src="https://freight.cargo.site/w/1000/i/ca854693e66d891a8b9cfd17e4645dba18d287110dfc1eac3bb7f7c6619b62ec/11.jpg" /&#62;

Calls and Songs, video documentation, Eins Gallery, 2024


	Manifestation
Views of the otherworldly in painting and drawing
2024, NiMACCuration: Dr. Elena Parpa and Dr. Evanthia (Evi) Tselika SΚOMA &#124; Performance


Thursday 21 March 2024 


SΚOMA is a live audio performance inspired by the opening song of the 1946 colonial propaganda film "Cyprus is an island". The film's directors were instructed by the British Colonial Office to "find a film about a people as yet unfilmed. A people of whom there was a great deal to say, but of whom a great deal must be left unsaid". The performance experiments with the practice of 'mantras', approaching the melody and the lyrics of the song as a sonic vibration that explores the space between voice and narrative, embodied and disembodied experience, visibility and invisibility. A grieving and healing ritual informed by the current ecological emergency, that aspires to reclaim the voice as an act of resistance in the postcolonial context.
	
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/48f9f11d74b1778cc084631da859a42949f6da8d58f5027357f2a3ce0c92327a/_DSF2386_2-copy.jpg" data-mid="207616658" border="0" alt="Nimac, Nicosia, Cyprus, 2024" data-caption="Nimac, Nicosia, Cyprus, 2024" src="https://freight.cargo.site/w/1000/i/48f9f11d74b1778cc084631da859a42949f6da8d58f5027357f2a3ce0c92327a/_DSF2386_2-copy.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/eedd3432b93f47494e052da539b3842c415fce33bccd2028b711c3adba9c4659/_DSF2378_3.jpg" data-mid="207616659" border="0" alt="Nimac, Nicosia, Cyprus, 2024" data-caption="Nimac, Nicosia, Cyprus, 2024" src="https://freight.cargo.site/w/1000/i/eedd3432b93f47494e052da539b3842c415fce33bccd2028b711c3adba9c4659/_DSF2378_3.jpg" /&#62;
&#60;img width="2520" height="3780" width_o="2520" height_o="3780" data-src="https://freight.cargo.site/t/original/i/651ceae5eef2b44e5953321f2a71c54d3b69ffcb2c324d510f5283f5ca96deb5/20240321_200344-1.jpg" data-mid="207954404" border="0" alt="Nimac, Nicosia, Cyprus, 2024" data-caption="Nimac, Nicosia, Cyprus, 2024" src="https://freight.cargo.site/w/1000/i/651ceae5eef2b44e5953321f2a71c54d3b69ffcb2c324d510f5283f5ca96deb5/20240321_200344-1.jpg" /&#62;


	Awkward stones4k video with audio, duration: 15.24 min. 
2023Stelios Kallinikou
in collaboration withHaytham El-WardanyPeter Eramian Seeing Through Melancholia: Transcultural Melancholias / Hüzün in the East Mediterranean curated by Dr Alev Adil and Dr Gabriel KoureasProduction: Catherine Louis NikitaHouse of Hadjigeorkakis Kornesios, Nicosia, Cy The starting point for the project “awkward stones” is Haytham El-Wardany's poem ‘their names’, which was written on the occasion of the group exhibition Fabrica Hill (2021) at Thkio Ppalies artist-led project space. As interpreted by Stelios and Peter, the poem immerses the reader in notions of time, trauma, reconciliation, understanding, companionship and history by sensing the many faces of our contemporaries, in an attempt to speak the “laborious words”. In the video, we hear the poem in Cypriot dialect while landscapes near and far appear both in ruins and blooming, landscapes covered by the mist of our “criminal harmony”. The installation is framed by stones salvaged from the house of Hajigeorgakis Kornesios
	
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/641434095d4391bacd10d042dd63086c9a455d9af32aa8e6bac137770094677a/3H2A6113-HDR-copy.jpg" data-mid="204543129" border="0" alt="Awkward stones, Seeing Through Melancholia, House of Hadjigeorkakis Kornesios, Nicosia, 2023" data-caption="Awkward stones, Seeing Through Melancholia, House of Hadjigeorkakis Kornesios, Nicosia, 2023" src="https://freight.cargo.site/w/1000/i/641434095d4391bacd10d042dd63086c9a455d9af32aa8e6bac137770094677a/3H2A6113-HDR-copy.jpg" /&#62;
&#60;img width="1500" height="1002" width_o="1500" height_o="1002" data-src="https://freight.cargo.site/t/original/i/490a7c62ea44897ca6bb5c1d74d284d71de31cb120dbdc4f0231da5debd13bf2/3H2A6113-HDR-cloce-up-37.jpg" data-mid="204543124" border="0" alt="Awkward stones, Seeing Through Melancholia, House of Hadjigeorkakis Kornesios, Nicosia, 2023" data-caption="Awkward stones, Seeing Through Melancholia, House of Hadjigeorkakis Kornesios, Nicosia, 2023" src="https://freight.cargo.site/w/1000/i/490a7c62ea44897ca6bb5c1d74d284d71de31cb120dbdc4f0231da5debd13bf2/3H2A6113-HDR-cloce-up-37.jpg" /&#62;
&#60;img width="1500" height="1002" width_o="1500" height_o="1002" data-src="https://freight.cargo.site/t/original/i/d2c29250778680da3b755ec457b0eb4ace111e4aafae9861c8d46140904525ba/3H2A6113-HDR-cloce-up-1.jpg" data-mid="204543145" border="0" alt="Awkward stones, Seeing Through Melancholia, House of Hadjigeorkakis Kornesios, Nicosia, 2023" data-caption="Awkward stones, Seeing Through Melancholia, House of Hadjigeorkakis Kornesios, Nicosia, 2023" src="https://freight.cargo.site/w/1000/i/d2c29250778680da3b755ec457b0eb4ace111e4aafae9861c8d46140904525ba/3H2A6113-HDR-cloce-up-1.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/e07f7581551713cb05c96ed8b29a0197be51e5be30888f8f1c51fcba5854259b/3H2A6155.jpg" data-mid="226733907" border="0" alt="Awkward stones, Seeing Through Melancholia, House of Hadjigeorkakis Kornesios, Nicosia, 2023" data-caption="Awkward stones, Seeing Through Melancholia, House of Hadjigeorkakis Kornesios, Nicosia, 2023" src="https://freight.cargo.site/w/1000/i/e07f7581551713cb05c96ed8b29a0197be51e5be30888f8f1c51fcba5854259b/3H2A6155.jpg" /&#62;


	IN THE SEA OF THE SETTING SUNContemporary Photographic Practices and the Archive The State Gallery of Contemporary Art - SPELNicosia, Cy2022-2023curator, Dr Elena Stylianou Stelios Kallinikou’s work inhabits a space between reality and dreamworld, fact and fiction, the collective and the personal, the power of images and their relation to History. A combination of video, photography, and archival documentation blur the boundaries of the above, offering new readings relevant to the island’s colonial past and how this is intertwined with our current socio-political mythologies. On the one hand, “Radar station” – picturing RAF Troodos station, one of the main British overseas military installations since 1878 –; “Flamingo Theatre” – an abstract collage of poetic images created from a vast archival digital material and aspires to render the nuances and contradictions of the Akrotiri peninsula (British Western Sovereign Base Area) -; and “Midnight” – a series produced by re-photographing and restaging the signing ceremony for the establishment of the Republic of Cyprus, attest to the island’s charged past. On the other hand, a set of images, negotiates the personal. Film stills showing “The End” titles of the artist’s baptism ceremony filmed by a professional videographer when he was 3 months old and Sleep showing the artist’s young brother, filmed by his father, while an adult is disrupting his sleep, are excavated from personal archives. The ambiguities between the personal and historical discourse are only further challenged in Document which explores the interstitial space between language, information, and the image: the official Press photo from the signing ceremony for the establishment of the Republic of Cyprus was downloaded from the web and opened with a text edit programme in an incomprehensible and open to interpretation code.
 
	
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/14c28513d3c72502263e87755ec72f9369080cb504033c81b3082011d6060d23/1_3H2A9560.jpg" data-mid="204543473" border="0" alt="Sleep, 2022, video, loop" data-caption="Sleep, 2022, video, loop" src="https://freight.cargo.site/w/1000/i/14c28513d3c72502263e87755ec72f9369080cb504033c81b3082011d6060d23/1_3H2A9560.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/aa0fc25dbb5d6556f861ab5df52ef0fc712c441d2103a805f17523894efa6211/2_3H2A9489_1.jpg" data-mid="204543576" border="0" alt="The State Gallery of Contemporary Art - SPEL,&#38;amp;nbsp;Nicosia, Cyprus,&#38;amp;nbsp;2023" data-caption="The State Gallery of Contemporary Art - SPEL,&#38;amp;nbsp;Nicosia, Cyprus,&#38;amp;nbsp;2023" src="https://freight.cargo.site/w/1000/i/aa0fc25dbb5d6556f861ab5df52ef0fc712c441d2103a805f17523894efa6211/2_3H2A9489_1.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/1f0d265c6f66394ee4cf2951bb440e4e1f13f00d8d2ba48c36869feeda525c7a/3_3H2A9528_1.jpg" data-mid="204543744" border="0" alt="The State Gallery of Contemporary Art - SPEL,&#38;amp;nbsp;Nicosia, Cyprus,&#38;amp;nbsp;2023" data-caption="The State Gallery of Contemporary Art - SPEL,&#38;amp;nbsp;Nicosia, Cyprus,&#38;amp;nbsp;2023" src="https://freight.cargo.site/w/1000/i/1f0d265c6f66394ee4cf2951bb440e4e1f13f00d8d2ba48c36869feeda525c7a/3_3H2A9528_1.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/c523c49fcce61f3de8e5004b563b4aa275de7dbe381a75342dbc60f5a45d3a12/4_3H2A9349_1.jpg" data-mid="204543579" border="0" alt="Midnight, 2022, 26 archival pigment prints, 7x9.5 cm each" data-caption="Midnight, 2022, 26 archival pigment prints, 7x9.5 cm each" src="https://freight.cargo.site/w/1000/i/c523c49fcce61f3de8e5004b563b4aa275de7dbe381a75342dbc60f5a45d3a12/4_3H2A9349_1.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/1913ac3dc95214a463cc6b4b533b55049dca9d236798a6b97da3cf7a785e02e8/13_3H2A9573.jpg" data-mid="204543581" border="0" alt="detail/Midnight, 2022, 26 archival pigment prints, 7x9.5 cm each" data-caption="detail/Midnight, 2022, 26 archival pigment prints, 7x9.5 cm each" src="https://freight.cargo.site/w/1000/i/1913ac3dc95214a463cc6b4b533b55049dca9d236798a6b97da3cf7a785e02e8/13_3H2A9573.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/81116a9c0359d2f0ab5a5183b387f9d0cd5360a23460bbb2056543b253d6c01f/16_3H2A9580.-3.jpg" data-mid="204543582" border="0" alt="detail/Midnight, 2022, 26 archival pigment prints, 7x9.5 cm each" data-caption="detail/Midnight, 2022, 26 archival pigment prints, 7x9.5 cm each" src="https://freight.cargo.site/w/1000/i/81116a9c0359d2f0ab5a5183b387f9d0cd5360a23460bbb2056543b253d6c01f/16_3H2A9580.-3.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/c0197476f3957175956795049e85dd42f6a33ca3db10b7c9754c0004a214f71f/21_3H2A9517_1.jpg" data-mid="204543583" border="0" alt="Film stills, 2022, archival pigment prints, dimensions variable " data-caption="Film stills, 2022, archival pigment prints, dimensions variable " src="https://freight.cargo.site/w/1000/i/c0197476f3957175956795049e85dd42f6a33ca3db10b7c9754c0004a214f71f/21_3H2A9517_1.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/614a6835800a3e3ae76d4796a46842ec980a648180cc223137027d2c01aa4ea0/26_3H2A9383_6.jpg" data-mid="204543753" border="0" alt="Flamingo Theatre, 2019, Video, 13 minutes" data-caption="Flamingo Theatre, 2019, Video, 13 minutes" src="https://freight.cargo.site/w/1000/i/614a6835800a3e3ae76d4796a46842ec980a648180cc223137027d2c01aa4ea0/26_3H2A9383_6.jpg" /&#62;
&#60;img width="1500" height="1099" width_o="1500" height_o="1099" data-src="https://freight.cargo.site/t/original/i/264f90b89b7567b2c4ba372cef23779c38272796c63799a979a7e43b2f55548b/27_Still_11Flamingo-theatre.jpg" data-mid="204543759" border="0" alt="Still_11(Flamingo theatre)" data-caption="Still_11(Flamingo theatre)" src="https://freight.cargo.site/w/1000/i/264f90b89b7567b2c4ba372cef23779c38272796c63799a979a7e43b2f55548b/27_Still_11Flamingo-theatre.jpg" /&#62;
&#60;img width="1300" height="953" width_o="1300" height_o="953" data-src="https://freight.cargo.site/t/original/i/747ec12b38106016265aa79e5229b560a702dadfe38cb72c70b43173c54d0c7d/Still_15Flamingo-theatre.jpg" data-mid="204543760" border="0" alt="Still_15(Flamingo theatre)" data-caption="Still_15(Flamingo theatre)" src="https://freight.cargo.site/w/1000/i/747ec12b38106016265aa79e5229b560a702dadfe38cb72c70b43173c54d0c7d/Still_15Flamingo-theatre.jpg" /&#62;


	waterfallStelios kallinikou in collaboration with Tasos LamnisosXarkis festival, Agros, Cyprus, in the framework of Contested desires. 
2022The performance sonically activates part of Agro's water infrastructure developed during the Brisish rule period. The water tunnels are transformed into carriers of radar sounds blending with mantras and sacred syllables, exploring notions of visibility and invisibility, spirituality, emergency sounds, distance, alongside underground communication tactics. 
Video documentation


&#60;img width="1182" height="787" width_o="1182" height_o="787" data-src="https://freight.cargo.site/t/original/i/c93ac497dbcf2d24cbff3b129fc018b7cf9e6d7f065f1d619ed356262b4734fc/7N4B794a0s-copy.jpg" data-mid="204569840" border="0" alt="Waterfall, 2022, sound performance, Xarkis festival, Agros, Cyprus, in the framework of Contested desires. " data-caption="Waterfall, 2022, sound performance, Xarkis festival, Agros, Cyprus, in the framework of Contested desires. " src="https://freight.cargo.site/w/1000/i/c93ac497dbcf2d24cbff3b129fc018b7cf9e6d7f065f1d619ed356262b4734fc/7N4B794a0s-copy.jpg" /&#62;
&#60;img width="1400" height="933" width_o="1400" height_o="933" data-src="https://freight.cargo.site/t/original/i/f52e0f52421b28c741a4647c8aef8442148d7afbc5923dc1b9a199a91264e7b8/7N4B7940.jpg" data-mid="204545152" border="0" alt="Waterfall, 2022, sound performance, Xarkis festival, Agros, Cyprus, in the framework of Contested desires. " data-caption="Waterfall, 2022, sound performance, Xarkis festival, Agros, Cyprus, in the framework of Contested desires. " src="https://freight.cargo.site/w/1000/i/f52e0f52421b28c741a4647c8aef8442148d7afbc5923dc1b9a199a91264e7b8/7N4B7940.jpg" /&#62;
&#60;img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/7b0aa3aa554da1fe0ab8e0567936bb707db288b5d283004d642595c449214f06/DSCF6876.jpg" data-mid="204545155" border="0" alt="Waterfall, 2022, sound performance, Xarkis festival, Agros, Cyprus, in the framework of Contested desires. " data-caption="Waterfall, 2022, sound performance, Xarkis festival, Agros, Cyprus, in the framework of Contested desires. " src="https://freight.cargo.site/w/800/i/7b0aa3aa554da1fe0ab8e0567936bb707db288b5d283004d642595c449214f06/DSCF6876.jpg" /&#62;


	Glass Cage DreamEins Gallery Limassol, Cy2022
The following words, are taken from Haris Pellapaisiotis’ exhibition text, “The Disappearance of Things”:...Looking at the range of prints with exotic animals, which at first glance indicate the theme of Kallinikou’s work, it occurs to me that hidden beneath their striking presence lurks a larger concern that expresses the fragility of the photographic image, but also the negation of the photographic experience. In the age of digitalisation, what is fast disappearing is the space generated between photographer and object and subsequently the space for thinking that is created between image and viewer. No longer having the need to be physically situated in relation to the object, the photographer becomes dislocated in space and time as the photographer’s own sense of somatic awareness, in relation to the object, disappears from experience. Kallinikou’s deliberate venture to make each image less legible through a process of printing and reprinting, sometimes from digitally corrupted files till they create the effect he seeks, seems to reference a wider metaphor that takes us back to the photographic outcome as an encounter with the object.Kallinikou continues to seek the element of surprise, of wonder, and revelation, however not in the depiction of extraordinary new encounters with his outside environment, but in the digital production of images. For this body of work, he is thinking about his relation to photography as it makes the transition from one technology to another and in that process, he is inviting the viewer to step back, to find the space to hold dialogue with the work and to rethink with him the possible disappearance of things.”Read Haris Pellapaisiotis’ essay, “The Disappearance of Things”


&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/c3e7804ffb2e3ffdb4b09b1d98d79ca252b2a1f479d5ec2a178101881b6442bd/3.-Glass-Cage-DreamInstallation-view.jpg" data-mid="204604720" border="0" alt="Glass Cage Dream, installation view, Eins Gallery" data-caption="Glass Cage Dream, installation view, Eins Gallery" src="https://freight.cargo.site/w/1000/i/c3e7804ffb2e3ffdb4b09b1d98d79ca252b2a1f479d5ec2a178101881b6442bd/3.-Glass-Cage-DreamInstallation-view.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/3e497bb233037f2575308c447e572d421c53f1038bb7b27eb2ce1d1bdc2b47d9/16.-Glass-Cage-Dream-2022--video--infinite-loop.jpg" data-mid="204545910" border="0" alt="Glass Cage Dream, installation view, Eins Gallery" data-caption="Glass Cage Dream, installation view, Eins Gallery" src="https://freight.cargo.site/w/1000/i/3e497bb233037f2575308c447e572d421c53f1038bb7b27eb2ce1d1bdc2b47d9/16.-Glass-Cage-Dream-2022--video--infinite-loop.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/55f0a21873c1d85c6e59367b9eef00fb4636f98b41d73f7a6bdbaadf58732bd4/7.-Glass-Cage-DreamInstallation-view.jpg" data-mid="204545335" border="0" alt="Glass Cage Dream, installation view, Eins Gallery" data-caption="Glass Cage Dream, installation view, Eins Gallery" src="https://freight.cargo.site/w/1000/i/55f0a21873c1d85c6e59367b9eef00fb4636f98b41d73f7a6bdbaadf58732bd4/7.-Glass-Cage-DreamInstallation-view.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/f1588b4d7f43a414ac09a887525ebc28714d6b097e4b0757e547051ad93e0d49/11.-Glass-Cage-DreamInstallation-view.jpg" data-mid="204545340" border="0" alt="Glass Cage Dream, installation view, Eins Gallery" data-caption="Glass Cage Dream, installation view, Eins Gallery" src="https://freight.cargo.site/w/1000/i/f1588b4d7f43a414ac09a887525ebc28714d6b097e4b0757e547051ad93e0d49/11.-Glass-Cage-DreamInstallation-view.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/020fb4c2136fef38c1bbb0e102a8efa5f5258985769df8fda1ab1e9b5be8e5da/13.-Glass-Cage-DreamInstallation-view.jpg" data-mid="204545914" border="0" alt="Still life, 2022, sound installation, seashell, mirror, microphone, amplifier, cables" data-caption="Still life, 2022, sound installation, seashell, mirror, microphone, amplifier, cables" src="https://freight.cargo.site/w/1000/i/020fb4c2136fef38c1bbb0e102a8efa5f5258985769df8fda1ab1e9b5be8e5da/13.-Glass-Cage-DreamInstallation-view.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/bcd11547a59f72e199475daec5e68d08c528d52ed76041204d8c94c4aba0648a/12.-Glass-Cage-DreamInstallation-view.jpg" data-mid="204545915" border="0" alt="Still life, 2022, sound installation, seashell, mirror, microphone, amplifier, cables" data-caption="Still life, 2022, sound installation, seashell, mirror, microphone, amplifier, cables" src="https://freight.cargo.site/w/1000/i/bcd11547a59f72e199475daec5e68d08c528d52ed76041204d8c94c4aba0648a/12.-Glass-Cage-DreamInstallation-view.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/63499afa85169c15010b9c0349288748f5de905f28e1d998d2441f44dd3e2dc7/10.-Glass-Cage-DreamInstallation-view.jpg" data-mid="204545337" border="0" alt="Glass Cage Dream, installation view, Eins Gallery" data-caption="Glass Cage Dream, installation view, Eins Gallery" src="https://freight.cargo.site/w/1000/i/63499afa85169c15010b9c0349288748f5de905f28e1d998d2441f44dd3e2dc7/10.-Glass-Cage-DreamInstallation-view.jpg" /&#62;
&#60;img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/628d31f1ba256353a072b770b61289baa7dda30ff9991220c785166dbd79a616/2.-Landscape-with-reflections--2022--archival-pigment-print--102x69-cm--framed.jpg" data-mid="204545428" border="0" alt="Landscape with reflections, 2022, archival pigment print, 102x69 cm, framed " data-caption="Landscape with reflections, 2022, archival pigment print, 102x69 cm, framed " src="https://freight.cargo.site/w/1000/i/628d31f1ba256353a072b770b61289baa7dda30ff9991220c785166dbd79a616/2.-Landscape-with-reflections--2022--archival-pigment-print--102x69-cm--framed.jpg" /&#62;


	Weeper Capuchin6th Ural Industrial Biennial of Contemporary Art A Time to Embrace and to Refrain from Embracing 2021Thinking Hands, Touching Each Othercurated by Çağla Ilk, Assaf Kimmel, and Misal Adnan YıldızEkaterinburg, RussiaYekaterinburg State CircusandHouse of Metenkov Photography Museum

In Why look at animals John Berger, sets forth that “captive animals and we ourselves, their human counterparts, view one another across a narrow abyss of incomprehension.” The work (Weeper Capuchin, 2020/21) negotiate this space between us and the animal, striving to offer a bridge that hovers over the void. The expressive eyes of the Capuchins, as if carrying a prehistoric melancholy, exchange glances with the viewer via a thick glass wall that is invisible in the photographs, much like the photographic lens. Often birds find tragic death on such reflective glass walls because they are not visible to them.

	
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/07ec1682fc17543b5e8a0570b793783930bf1c82e96696a6c955c4debea99261/DSCF5467.jpg" data-mid="204547381" border="0" alt="Yekaterinburg State Circus, 6th Ural Industrial Biennial of Contemporary Art , 2021" data-caption="Yekaterinburg State Circus, 6th Ural Industrial Biennial of Contemporary Art , 2021" src="https://freight.cargo.site/w/1000/i/07ec1682fc17543b5e8a0570b793783930bf1c82e96696a6c955c4debea99261/DSCF5467.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/605709888eadbc8e18aa6c048aae699ded2417f2b9d17d2ee658f166edf14970/DSCF5524.jpg" data-mid="204547418" border="0" alt="Yekaterinburg State Circus, 6th Ural Industrial Biennial of Contemporary Art , 2021" data-caption="Yekaterinburg State Circus, 6th Ural Industrial Biennial of Contemporary Art , 2021" src="https://freight.cargo.site/w/1000/i/605709888eadbc8e18aa6c048aae699ded2417f2b9d17d2ee658f166edf14970/DSCF5524.jpg" /&#62;
&#60;img width="1500" height="1074" width_o="1500" height_o="1074" data-src="https://freight.cargo.site/t/original/i/00b5194257cd1c8c56202cc1ad45f2bf530bccb1e8dba2302ddfca1354d5a506/Screenshot-2021-12-09-at-12.27.48-PM.jpg" data-mid="204604844" border="0" alt="weeper capuchin I_1_2 , 2020, archival pigment print, 40x26 cm, diptych" data-caption="weeper capuchin I_1_2 , 2020, archival pigment print, 40x26 cm, diptych" src="https://freight.cargo.site/w/1000/i/00b5194257cd1c8c56202cc1ad45f2bf530bccb1e8dba2302ddfca1354d5a506/Screenshot-2021-12-09-at-12.27.48-PM.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/b5b4da627d21b8f856b39a4d7db258581fca9351544aef9e52de68a4bc320cba/DSCF5565.jpg" data-mid="204547423" border="0" alt="Yekaterinburg State Circus, 6th Ural Industrial Biennial of Contemporary Art , 2021" data-caption="Yekaterinburg State Circus, 6th Ural Industrial Biennial of Contemporary Art , 2021" src="https://freight.cargo.site/w/1000/i/b5b4da627d21b8f856b39a4d7db258581fca9351544aef9e52de68a4bc320cba/DSCF5565.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/65fc1f4a38a8e8e8d4868e3c275c8d05845c8d19ccbb148ac13616ebd0382444/DSCF5617.jpg" data-mid="204547429" border="0" alt="Metenkov Photography Museum, 6th Ural Industrial Biennial of Contemporary Art , 2021" data-caption="Metenkov Photography Museum, 6th Ural Industrial Biennial of Contemporary Art , 2021" src="https://freight.cargo.site/w/1000/i/65fc1f4a38a8e8e8d4868e3c275c8d05845c8d19ccbb148ac13616ebd0382444/DSCF5617.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/b5fb58e31e9cbebea354b7b4b9191555b2a165d2916a5f2dfcb5b9e817b000ac/DSCF5680.jpg" data-mid="204547433" border="0" alt="Metenkov Photography Museum, 6th Ural Industrial Biennial of Contemporary Art , 2021" data-caption="Metenkov Photography Museum, 6th Ural Industrial Biennial of Contemporary Art , 2021" src="https://freight.cargo.site/w/1000/i/b5fb58e31e9cbebea354b7b4b9191555b2a165d2916a5f2dfcb5b9e817b000ac/DSCF5680.jpg" /&#62;
&#60;img width="1500" height="1076" width_o="1500" height_o="1076" data-src="https://freight.cargo.site/t/original/i/92551a375e212aac6c0bab412252be7adaa09c2cbd3f050447ee19a850f45927/Screenshot-2021-12-09-at-12.26.12-PM.jpg" data-mid="204547467" border="0" alt="weeper capuchin IX_1_2, 2020, archival pigment print, 40x26 cm, diptych" data-caption="weeper capuchin IX_1_2, 2020, archival pigment print, 40x26 cm, diptych" src="https://freight.cargo.site/w/1000/i/92551a375e212aac6c0bab412252be7adaa09c2cbd3f050447ee19a850f45927/Screenshot-2021-12-09-at-12.26.12-PM.jpg" /&#62;
&#60;img width="867" height="1300" width_o="867" height_o="1300" data-src="https://freight.cargo.site/t/original/i/05ef88ee9b4432fca1382665df48485a75f02e853f493c353e40baef7597170b/DSCF5642.jpg" data-mid="204547447" border="0" alt="Metenkov Photography Museum, 6th Ural Industrial Biennial of Contemporary Art , 2021" data-caption="Metenkov Photography Museum, 6th Ural Industrial Biennial of Contemporary Art , 2021" src="https://freight.cargo.site/w/867/i/05ef88ee9b4432fca1382665df48485a75f02e853f493c353e40baef7597170b/DSCF5642.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/5f58617518c801c856ad9ff07c009ecbec9d02f4022355f41c686b7628fedf6b/weeper-capuchin-X.jpg" data-mid="204547471" border="0" alt="weeper capuchin X, 2020, archival pigment print, 26x40 cm" data-caption="weeper capuchin X, 2020, archival pigment print, 26x40 cm" src="https://freight.cargo.site/w/1000/i/5f58617518c801c856ad9ff07c009ecbec9d02f4022355f41c686b7628fedf6b/weeper-capuchin-X.jpg" /&#62;


	Flamingo Theater State and Nature Staatliche Kunsthalle Baden-Baden, 2021Curated by Çağla İlk and Misal Adnan Yıldız with Hendrik Bündge and Benedikt Seerieder…Departing from the complex residue of colonial history on the island of Cyprus, Cypriot artist Stelios Kallinikou’s photographic works Flamingo Theatre (2015) feature migratory birds and fighter jets thundering through the sky. They form poetic choreographies and dissolve the supposed opposition between the state and nature. Through this form of coevality, the British armed forces and the flamingos that repeatedly congregate on their migratory routes in Cyprus become agents of a smouldering geopolitics and its consequences for the ecosystem…
	

&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/dc35fcc3cbe3f0f550be209677209ac90074cd6444d46fa0732892e0030d7135/DSCF4386.jpg" data-mid="204548544" border="0" alt="Staatliche Kunsthalle Baden-Baden, 2021" data-caption="Staatliche Kunsthalle Baden-Baden, 2021" src="https://freight.cargo.site/w/1000/i/dc35fcc3cbe3f0f550be209677209ac90074cd6444d46fa0732892e0030d7135/DSCF4386.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/0fca5a82c14b1a32b8dfeb1ca67b8a0599aded4c8c637df6f15e4f29d9c166ef/DSCF4270.jpg" data-mid="204548571" border="0"  src="https://freight.cargo.site/w/1000/i/0fca5a82c14b1a32b8dfeb1ca67b8a0599aded4c8c637df6f15e4f29d9c166ef/DSCF4270.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/bed7a892f48d2a43dbf091f11087e8038c9f8018cbdc8233a3c657b35455e401/DSCF4607-d.jpg" data-mid="204548720" border="0" alt="Staatliche Kunsthalle Baden-Baden, 2021" data-caption="Staatliche Kunsthalle Baden-Baden, 2021" src="https://freight.cargo.site/w/1000/i/bed7a892f48d2a43dbf091f11087e8038c9f8018cbdc8233a3c657b35455e401/DSCF4607-d.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/7940bd4a83b2ee8f136db8f5a4b8f171a35bed1d491ffa2cc7a8fc73bef54fb8/DSCF4716-3.jpg" data-mid="204548728" border="0" alt="Staatliche Kunsthalle Baden-Baden, 2021" data-caption="Staatliche Kunsthalle Baden-Baden, 2021" src="https://freight.cargo.site/w/1000/i/7940bd4a83b2ee8f136db8f5a4b8f171a35bed1d491ffa2cc7a8fc73bef54fb8/DSCF4716-3.jpg" /&#62;
&#60;img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/ad804b751bf800233be6d44feb544f659dd7e97d8f7fd8caf4a8ad549c8e78f7/Radar-station--2019.jpg" data-mid="204548804" border="0" alt="Radar station, 2018, archival pigment print, 64x 44.5 cm" data-caption="Radar station, 2018, archival pigment print, 64x 44.5 cm" src="https://freight.cargo.site/w/800/i/ad804b751bf800233be6d44feb544f659dd7e97d8f7fd8caf4a8ad549c8e78f7/Radar-station--2019.jpg" /&#62;
&#60;img width="960" height="1200" width_o="960" height_o="1200" data-src="https://freight.cargo.site/t/original/i/89728e6d44bf5d6f100f80161d66c66d5d26b957a539893eea73bb55cd4c4c17/Two-flamingos-Haarp-2020.jpg" data-mid="204604974" border="0" alt="Two flamingos (Haarp), 2020, archival pigment print, 58x46 cm" data-caption="Two flamingos (Haarp), 2020, archival pigment print, 58x46 cm" src="https://freight.cargo.site/w/960/i/89728e6d44bf5d6f100f80161d66c66d5d26b957a539893eea73bb55cd4c4c17/Two-flamingos-Haarp-2020.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/ee5bcd44c844bf48e3e56a7e1f0023edc64937c6fe2980eb8048f72441654ec3/grasshopper-and-fly-2020.jpg" data-mid="204548817" border="0" alt="grasshopper and fly, 2020, archival pigment print, 39.5x58.5 cm" data-caption="grasshopper and fly, 2020, archival pigment print, 39.5x58.5 cm" src="https://freight.cargo.site/w/1000/i/ee5bcd44c844bf48e3e56a7e1f0023edc64937c6fe2980eb8048f72441654ec3/grasshopper-and-fly-2020.jpg" /&#62;
&#60;img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/57732eae800080fbba05f300452b95320049270302e6e6881bfcb053fcc61260/wave-ripples-with-frog-2020.jpg" data-mid="204548923" border="0" alt="wave ripples with frog , 2020, archival pigment print, 64x 44.5 cm" data-caption="wave ripples with frog , 2020, archival pigment print, 64x 44.5 cm" src="https://freight.cargo.site/w/800/i/57732eae800080fbba05f300452b95320049270302e6e6881bfcb053fcc61260/wave-ripples-with-frog-2020.jpg" /&#62;
&#60;img width="960" height="1200" width_o="960" height_o="1200" data-src="https://freight.cargo.site/t/original/i/c14268286181cffb3b289f197a8523d58afdfb08328d7402d310caf774cb61e4/Butterflies-Haarp2020.jpg" data-mid="204548919" border="0" alt="Butterflies (Haarp), 2020, archival pigment print, 58x46 cm" data-caption="Butterflies (Haarp), 2020, archival pigment print, 58x46 cm" src="https://freight.cargo.site/w/960/i/c14268286181cffb3b289f197a8523d58afdfb08328d7402d310caf774cb61e4/Butterflies-Haarp2020.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/e2ca1e01265e446a7e8ec10f767c13669e2a273220e856f673366c2a32fa0952/DSCF4642-2.jpg" data-mid="204548974" border="0" alt="Staatliche Kunsthalle Baden-Baden, 2021" data-caption="Staatliche Kunsthalle Baden-Baden, 2021" src="https://freight.cargo.site/w/1000/i/e2ca1e01265e446a7e8ec10f767c13669e2a273220e856f673366c2a32fa0952/DSCF4642-2.jpg" /&#62;
&#60;img width="1500" height="1095" width_o="1500" height_o="1095" data-src="https://freight.cargo.site/t/original/i/22a85bfaa071603a9bc35c53db21fcdbcc57eba3b4fbbd7760482ecfc22a0157/DSCF4711-1.jpg" data-mid="204604994" border="0" alt="Dragon fly , 2019, archival pigment print, 44.5x64 cm" data-caption="Dragon fly , 2019, archival pigment print, 44.5x64 cm" src="https://freight.cargo.site/w/1000/i/22a85bfaa071603a9bc35c53db21fcdbcc57eba3b4fbbd7760482ecfc22a0157/DSCF4711-1.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/e7fb367509d545daaaa052500799024bd7e7b9086b1bb456f6486ce406831480/DSCF4692-1.jpg" data-mid="204548990" border="0" alt="Staatliche Kunsthalle Baden-Baden, 2021" data-caption="Staatliche Kunsthalle Baden-Baden, 2021" src="https://freight.cargo.site/w/1000/i/e7fb367509d545daaaa052500799024bd7e7b9086b1bb456f6486ce406831480/DSCF4692-1.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/ce0e7cbc5b8bbfb6f6ebe0d3b22ce77d2643f2d63734cdff2b96c18aada0ebfe/Red-arrows-rainbow.jpg" data-mid="204605045" border="0" alt="Red arrows rainbow, 2017, archival pigment print, 39.5x58.5 cm" data-caption="Red arrows rainbow, 2017, archival pigment print, 39.5x58.5 cm" src="https://freight.cargo.site/w/1000/i/ce0e7cbc5b8bbfb6f6ebe0d3b22ce77d2643f2d63734cdff2b96c18aada0ebfe/Red-arrows-rainbow.jpg" /&#62;


	Fabrica hill Thkio Ppalies, Nicosia, Cyprus, 2021 Group exhibition featuring artworks by Rumen Tropchev, Stelios Kallinikou, Peter Eramian and text by Haytham El-Wardany.Thkio Ppalies exhibition documentationtheir names text by Haytham El-Wardany6 years ago we were looking to rent a shared studio and found a space in Pallouriotissa that used to be a general construction and repair machine shop called Fabrica (factory). On the garage door there was a sticker for a local plumbing services company called Thkio Ppalies. The local residential/industrial feel of the neighbourhood and the Kotsirkas river path that runs parallel enchanted us. The space needed work, it was in a state of disrepair. Thankfully we were recommended a technician who would join us and help transform it. The three of us soon became good friends. Running, managing and maintaining the space together was laborious work. Our friend- ship foundational, holding it all together, with grace.There’s an archaeological site in Paphos called Fabrica Hill. The name is due to a cotton factory that was located there during the Middle Ages, however the site dates back to the Hellenistic-Roman period. Fabrica Hill is of great archaeological interest as it contains a number of motifs from different epochs. Situated on a limestone mountain, it is firstly a site of extraction, one of the first known underground quarries. Amongst the artificial caves are catacombs, tombs and places of worship from different eras, some of which are still in use today. During the later Roman period the site was converted into a residential district with buildings, fortifications, traces of a complex water management system and a nymphaeum. In certain parts, one may stumble upon stone carved marks that are speculated to have been used by workers as board games. Towards the south lies an ancient amphitheatre which was used for over 6 centuries until it was destroyed by an earthquake. Overlooking the site is Kings Avenue Mall.


&#60;img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/e45eba1cd5eb884ae41f322228a84b9443492ea641fb24851e42ee956931d17c/3H2A9971.jpg" data-mid="204555100" border="0" alt="Thkio Ppalies, Nicosia, Cyprus, 2021" data-caption="Thkio Ppalies, Nicosia, Cyprus, 2021" src="https://freight.cargo.site/w/1000/i/e45eba1cd5eb884ae41f322228a84b9443492ea641fb24851e42ee956931d17c/3H2A9971.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/f8fde29e7521f85f2057b94a820a680d1c1b7fb4219127a3d028d8f93111450a/3H2A5254.jpg" data-mid="204555111" border="0" alt="Interior, 2020, archival pigment print, 44 x 33 cm" data-caption="Interior, 2020, archival pigment print, 44 x 33 cm" src="https://freight.cargo.site/w/900/i/f8fde29e7521f85f2057b94a820a680d1c1b7fb4219127a3d028d8f93111450a/3H2A5254.jpg" /&#62;
&#60;img width="1800" height="1350" width_o="1800" height_o="1350" data-src="https://freight.cargo.site/t/original/i/a9e25de37a30a4ae211384f4d5bd8f29f8166efc48d85c827d6c8adc146061f5/3H2A3387_1.jpg" data-mid="204555137" border="0" alt="Interior, 2020, archival pigment print, 33 x 44 cm" data-caption="Interior, 2020, archival pigment print, 33 x 44 cm" src="https://freight.cargo.site/w/1000/i/a9e25de37a30a4ae211384f4d5bd8f29f8166efc48d85c827d6c8adc146061f5/3H2A3387_1.jpg" /&#62;
&#60;img width="1800" height="1350" width_o="1800" height_o="1350" data-src="https://freight.cargo.site/t/original/i/1d42215a434d726e3b0fb65332bbe62fe5f5ab1f35659175cc50c59dfebf3fb0/3H2A3425-HDR_6.jpg" data-mid="204555172" border="0" alt="Interior, 2020, archival pigment print, 33 x 44 cm" data-caption="Interior, 2020, archival pigment print, 33 x 44 cm" src="https://freight.cargo.site/w/1000/i/1d42215a434d726e3b0fb65332bbe62fe5f5ab1f35659175cc50c59dfebf3fb0/3H2A3425-HDR_6.jpg" /&#62;
&#60;img width="1800" height="1350" width_o="1800" height_o="1350" data-src="https://freight.cargo.site/t/original/i/f4f1e00415cba3552aeab418c36944d32ac153c15ba9560a87d54c27b477e4ea/3H2A3395_3.jpg" data-mid="204555140" border="0" alt="Interior, 2020, archival pigment print, 33 x 43 cm" data-caption="Interior, 2020, archival pigment print, 33 x 43 cm" src="https://freight.cargo.site/w/1000/i/f4f1e00415cba3552aeab418c36944d32ac153c15ba9560a87d54c27b477e4ea/3H2A3395_3.jpg" /&#62;
&#60;img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/318477457a9794dd243189262e1e6add51a6597fee700e09271dfc28e2176221/3H2A9995.jpg" data-mid="204555105" border="0" alt="Thkio Ppalies, Nicosia, Cyprus, 2021" data-caption="Thkio Ppalies, Nicosia, Cyprus, 2021" src="https://freight.cargo.site/w/1000/i/318477457a9794dd243189262e1e6add51a6597fee700e09271dfc28e2176221/3H2A9995.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/ce92af0b687a55d839a5964fc96a9b298e37ba43220d3ceab4f21c0a443d8b8c/3H2A5113_1-2.jpg" data-mid="204605082" border="0" alt="Interior, 2020, archival pigment print, 44 x 33 cm" data-caption="Interior, 2020, archival pigment print, 44 x 33 cm" src="https://freight.cargo.site/w/900/i/ce92af0b687a55d839a5964fc96a9b298e37ba43220d3ceab4f21c0a443d8b8c/3H2A5113_1-2.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/8025047be75496f8dfef367819072201cce0b0e9d2b4b532865309ee70d71e25/3H2A5592.jpg" data-mid="204555149" border="0" alt="Interior, 2020, archival pigment print, 44 x 33 cm" data-caption="Interior, 2020, archival pigment print, 44 x 33 cm" src="https://freight.cargo.site/w/900/i/8025047be75496f8dfef367819072201cce0b0e9d2b4b532865309ee70d71e25/3H2A5592.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/ca26851f695c6520a7b6d61db2b995066e6eccc0189785aceb5902514386b1e7/3H2A5114_2.jpg" data-mid="204555146" border="0" alt="Interior, 2020, archival pigment print, 44 x 33 cm" data-caption="Interior, 2020, archival pigment print, 44 x 33 cm" src="https://freight.cargo.site/w/900/i/ca26851f695c6520a7b6d61db2b995066e6eccc0189785aceb5902514386b1e7/3H2A5114_2.jpg" /&#62;
&#60;img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/b38b98b803caa7079570565556b60a21f2ee47db0a6492397f9c9ff2294fcbbc/3H2A0130.jpg" data-mid="204555195" border="0" alt="Thkio Ppalies, Nicosia, Cyprus, 2021" data-caption="Thkio Ppalies, Nicosia, Cyprus, 2021" src="https://freight.cargo.site/w/1000/i/b38b98b803caa7079570565556b60a21f2ee47db0a6492397f9c9ff2294fcbbc/3H2A0130.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/adbc945fdef35f3fc8a05266b0b1620a243e6f579840c17741d1195f39de9e75/3H2A5089_final-final-.jpg" data-mid="204555201" border="0" alt="Interior, 2020, archival pigment print, 44 x 33 cm" data-caption="Interior, 2020, archival pigment print, 44 x 33 cm" src="https://freight.cargo.site/w/900/i/adbc945fdef35f3fc8a05266b0b1620a243e6f579840c17741d1195f39de9e75/3H2A5089_final-final-.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/7ba62ba20355d7665fe3ccafb47b588dd351f1a1e24d1a933837cb6c269dda49/3H2A5246.jpg" data-mid="204555204" border="0" alt="Interior, 2020, archival pigment print, 44 x 33 cm" data-caption="Interior, 2020, archival pigment print, 44 x 33 cm" src="https://freight.cargo.site/w/900/i/7ba62ba20355d7665fe3ccafb47b588dd351f1a1e24d1a933837cb6c269dda49/3H2A5246.jpg" /&#62;


	NebokeruGrey Noise, Dubai2021.In this new exhibition Kallinikou presents us with sequences of imagery, flowing into interlaced dialogues, whilst exploring the nexus between the narrative limitations of photography and consciousness. The photographic effect known as Bokeh has been defined as "the way the lens renders out-of-focus points of light”. The term comes from the Japanese word boke , which means "blur" or "haze", or boke-aji , meaning "blur quality".The exhibition title is derived from the Japanese verb Nebokeru denoting the actions or condition of someone who is half-asleep. Images appear mythological and archeologically proto-human, connecting something primordial to the present by way of narrativising the body’s connection with the earth. In an introspective, meditative pace, Kallinikou brings works together constructing a world serving as a speculative scenario, through which he can better envisage his relationship to politics of vision, challenging the ways in which such mechanisms influence our experience.


&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/b679fab54a6474b9cb3f5f2913d5b551811f3f21edc967237bce749278729dc7/MUS07798-copy.jpg" data-mid="239843922" border="0" alt="Grey Noise, Dubai, 2021" data-caption="Grey Noise, Dubai, 2021" src="https://freight.cargo.site/w/1000/i/b679fab54a6474b9cb3f5f2913d5b551811f3f21edc967237bce749278729dc7/MUS07798-copy.jpg" /&#62;
&#60;img width="2000" height="1334" width_o="2000" height_o="1334" data-src="https://freight.cargo.site/t/original/i/3352f5996267479709d17b2612c1d62413e579bdc2709867c8ee129d6f27a91f/MUS07785-copy.jpg" data-mid="239843845" border="0" alt="Leaf (diptych), 2019, archival pigment prints, 82.1 x 55.5 cm (each)" data-caption="Leaf (diptych), 2019, archival pigment prints, 82.1 x 55.5 cm (each)" src="https://freight.cargo.site/w/1000/i/3352f5996267479709d17b2612c1d62413e579bdc2709867c8ee129d6f27a91f/MUS07785-copy.jpg" /&#62;
&#60;img width="461" height="691" width_o="461" height_o="691" data-src="https://freight.cargo.site/t/original/i/23312911a6a00209781ae5f6c60d01ab2e87cc2e8601a627ddf1abfa1396f72f/leaf-2-detail.jpg" data-mid="204555936" border="0" alt="detail/Leaf (diptych), 2019, archival pigment prints, 82.1 x 55.5 cm (each)" data-caption="detail/Leaf (diptych), 2019, archival pigment prints, 82.1 x 55.5 cm (each)" src="https://freight.cargo.site/w/461/i/23312911a6a00209781ae5f6c60d01ab2e87cc2e8601a627ddf1abfa1396f72f/leaf-2-detail.jpg" /&#62;
&#60;img width="483" height="724" width_o="483" height_o="724" data-src="https://freight.cargo.site/t/original/i/18955701b12c1274e74231626eaa67741c9625712353afdb75c29fa7e7a508d0/leaf-1-detail-.jpg" data-mid="204555938" border="0" alt="detail/Leaf (diptych), 2019, archival pigment prints, 82.1 x 55.5 cm (each)" data-caption="detail/Leaf (diptych), 2019, archival pigment prints, 82.1 x 55.5 cm (each)" src="https://freight.cargo.site/w/483/i/18955701b12c1274e74231626eaa67741c9625712353afdb75c29fa7e7a508d0/leaf-1-detail-.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/453d5e8c1fd5bd29863147b13f5a4a28ab256a73a6a46c748fcb3c8929a636a2/MUS07790-copy.jpg" data-mid="239843858" border="0" alt="Grey Noise, Dubai, 2021" data-caption="Grey Noise, Dubai, 2021" src="https://freight.cargo.site/w/1000/i/453d5e8c1fd5bd29863147b13f5a4a28ab256a73a6a46c748fcb3c8929a636a2/MUS07790-copy.jpg" /&#62;
&#60;img width="5304" height="7952" width_o="5304" height_o="7952" data-src="https://freight.cargo.site/t/original/i/725d7b9806337fc1f31a533615c86cc327d3f45288e7edb281e86630c8f2307b/MUS07789.jpg" data-mid="204555609" border="0" alt="Grey Noise, Dubai, 2021" data-caption="Grey Noise, Dubai, 2021" src="https://freight.cargo.site/w/1000/i/725d7b9806337fc1f31a533615c86cc327d3f45288e7edb281e86630c8f2307b/MUS07789.jpg" /&#62;
&#60;img width="1908" height="1273" width_o="1908" height_o="1273" data-src="https://freight.cargo.site/t/original/i/07018aedccb21bc0817bf2307eb6372c486d48c2dab4311c27d452623367162b/MUS07792.jpg" data-mid="204555643" border="0" alt="Grey Noise, Dubai, 2021" data-caption="Grey Noise, Dubai, 2021" src="https://freight.cargo.site/w/1000/i/07018aedccb21bc0817bf2307eb6372c486d48c2dab4311c27d452623367162b/MUS07792.jpg" /&#62;
&#60;img width="933" height="1369" width_o="933" height_o="1369" data-src="https://freight.cargo.site/t/original/i/a836f2ff3991d25a3df59a01608f1189d8bc07bbf7413896a3c588a728bc95e8/Raindrop-no.9544.jpg" data-mid="204555651" border="0" alt="Raindrop no.9544, 2020, archival pigment print, 48 x 33 cm" data-caption="Raindrop no.9544, 2020, archival pigment print, 48 x 33 cm" src="https://freight.cargo.site/w/933/i/a836f2ff3991d25a3df59a01608f1189d8bc07bbf7413896a3c588a728bc95e8/Raindrop-no.9544.jpg" /&#62;
&#60;img width="933" height="1369" width_o="933" height_o="1369" data-src="https://freight.cargo.site/t/original/i/e7aac58575f1bd1d265840f0120aa9cf09081592e899b8bb0cdf6e949fa78664/Raindrop-no.9551.jpg" data-mid="204555652" border="0" alt="Raindrop no.9551, 2020, archival pigment print, 48 x 33 cm" data-caption="Raindrop no.9551, 2020, archival pigment print, 48 x 33 cm" src="https://freight.cargo.site/w/933/i/e7aac58575f1bd1d265840f0120aa9cf09081592e899b8bb0cdf6e949fa78664/Raindrop-no.9551.jpg" /&#62;
&#60;img width="933" height="1369" width_o="933" height_o="1369" data-src="https://freight.cargo.site/t/original/i/8ce8581e778f505c801e31db151a26fb87aaea614090edcd1ec8d6fecbf33022/Raindrop-no.9564.jpg" data-mid="204555657" border="0" alt="Raindrop no.9564, 2020, archival pigment print, 48 x 33 cm" data-caption="Raindrop no.9564, 2020, archival pigment print, 48 x 33 cm" src="https://freight.cargo.site/w/933/i/8ce8581e778f505c801e31db151a26fb87aaea614090edcd1ec8d6fecbf33022/Raindrop-no.9564.jpg" /&#62;
&#60;img width="1908" height="1273" width_o="1908" height_o="1273" data-src="https://freight.cargo.site/t/original/i/c12f132306aa7bc0151ef4d24cffa5b96a282602a0d08fbe075aec718af726fd/MUS07818.jpg" data-mid="204555800" border="0" alt="Grey Noise, Dubai, 2021" data-caption="Grey Noise, Dubai, 2021" src="https://freight.cargo.site/w/1000/i/c12f132306aa7bc0151ef4d24cffa5b96a282602a0d08fbe075aec718af726fd/MUS07818.jpg" /&#62;
&#60;img width="956" height="794" width_o="956" height_o="794" data-src="https://freight.cargo.site/t/original/i/fa0358037dc22c4bab675a4f97bccce3e616d37609373846f0346fc8bc0d2a10/Landscape--1.jpg" data-mid="204555806" border="0" alt="Grey Noise, Dubai, 2021" data-caption="Grey Noise, Dubai, 2021" src="https://freight.cargo.site/w/956/i/fa0358037dc22c4bab675a4f97bccce3e616d37609373846f0346fc8bc0d2a10/Landscape--1.jpg" /&#62;
&#60;img width="1908" height="1273" width_o="1908" height_o="1273" data-src="https://freight.cargo.site/t/original/i/79d643fb4b9eb0476fb6376c1b8ef0818d1f5c369281cbbe0d376beb3aa4f7af/MUS07816.jpg" data-mid="204555809" border="0" alt="Grey Noise, Dubai, 2021" data-caption="Grey Noise, Dubai, 2021" src="https://freight.cargo.site/w/1000/i/79d643fb4b9eb0476fb6376c1b8ef0818d1f5c369281cbbe0d376beb3aa4f7af/MUS07816.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/019d5791aed797077ab05f07497cae00d99e4d0e4763f9c59b07b8e825e9181e/MUS07779-copy.jpg" data-mid="239843867" border="0" alt="Grey Noise, Dubai, 2021" data-caption="Grey Noise, Dubai, 2021" src="https://freight.cargo.site/w/1000/i/019d5791aed797077ab05f07497cae00d99e4d0e4763f9c59b07b8e825e9181e/MUS07779-copy.jpg" /&#62;
&#60;img width="1908" height="1273" width_o="1908" height_o="1273" data-src="https://freight.cargo.site/t/original/i/b918b36a92e7b26e95f97f45600121e1808281f523c87242d44b1f90b56e7ee2/MUS07783.jpg" data-mid="204555872" border="0" alt="detail/ Untitled, 2020, archival pigment print, 42 x 29.5 cm" data-caption="detail/ Untitled, 2020, archival pigment print, 42 x 29.5 cm" src="https://freight.cargo.site/w/1000/i/b918b36a92e7b26e95f97f45600121e1808281f523c87242d44b1f90b56e7ee2/MUS07783.jpg" /&#62;
&#60;img width="477" height="716" width_o="477" height_o="716" data-src="https://freight.cargo.site/t/original/i/6de54e4fa876c029701960bbf089118540f943b88fe82a8d4239cad76f9d0ac4/weeper-capuchin-I_2.jpg" data-mid="204555839" border="0" alt="weeper capuchin I (diptych), 2020, archival pigment prints, 30 x 20 cm" data-caption="weeper capuchin I (diptych), 2020, archival pigment prints, 30 x 20 cm" src="https://freight.cargo.site/w/477/i/6de54e4fa876c029701960bbf089118540f943b88fe82a8d4239cad76f9d0ac4/weeper-capuchin-I_2.jpg" /&#62;
&#60;img width="1390" height="2085" width_o="1390" height_o="2085" data-src="https://freight.cargo.site/t/original/i/118b9b8a91d48cd1f8025e025b9025e5356420f09fa014e8b3c6aeaf71caf6ee/variation--6.jpg" data-mid="204555856" border="0" alt="Variation #6, 2019, archival pigment prints, 29.5 x 44 cm" data-caption="Variation #6, 2019, archival pigment prints, 29.5 x 44 cm" src="https://freight.cargo.site/w/1000/i/118b9b8a91d48cd1f8025e025b9025e5356420f09fa014e8b3c6aeaf71caf6ee/variation--6.jpg" /&#62;


	Howlings and optical illusionsSaigon, Athens, Greece, 2020 Look at what it's doing, see it? It's becoming blurry by itself!You can’t see anything now.You can see it from my phone right? Did you get it?Yes I got itYes yes yes yes it’s definitely somethingWhite light Bright WhiteMoving towards the east.P.S. "μεῖνον μεθ᾿ ἡμῶν, ὅτι πρὸς ἑσπέραν ἐστὶ καὶ κέκλικεν ἡ ἡμέρα
	
&#60;img width="2316" height="1550" width_o="2316" height_o="1550" data-src="https://freight.cargo.site/t/original/i/6cb05f0fabd72165a2b80728defe270963c1a8ba773813b0c9ddfb7779611afe/Screenshot-2020-10-29-at-8.10.58-PM.png" data-mid="204556379" border="0" alt="Saigon, Athens, Greece, 2020" data-caption="Saigon, Athens, Greece, 2020" src="https://freight.cargo.site/w/1000/i/6cb05f0fabd72165a2b80728defe270963c1a8ba773813b0c9ddfb7779611afe/Screenshot-2020-10-29-at-8.10.58-PM.png" /&#62;
&#60;img width="2310" height="1536" width_o="2310" height_o="1536" data-src="https://freight.cargo.site/t/original/i/c2519e262324a8a1508863154e77407ade87df44b8e9f4da62ca857b48cbe3fc/Screenshot-2020-10-29-at-5.47.35-PM.png" data-mid="204556251" border="0" alt="Saigon, Athens, Greece, 2020" data-caption="Saigon, Athens, Greece, 2020" src="https://freight.cargo.site/w/1000/i/c2519e262324a8a1508863154e77407ade87df44b8e9f4da62ca857b48cbe3fc/Screenshot-2020-10-29-at-5.47.35-PM.png" /&#62;
&#60;img width="1198" height="1700" width_o="1198" height_o="1700" data-src="https://freight.cargo.site/t/original/i/ee78987d7910b848c05054d19230d3facb9e259d48afd96dbf901206b25ad770/Screenshot-2020-10-29-at-5.51.47-PM.png" data-mid="204605114" border="0" alt="Variation #3 , 2020, archival pigment print, 42 x 28 cm" data-caption="Variation #3 , 2020, archival pigment print, 42 x 28 cm" src="https://freight.cargo.site/w/1000/i/ee78987d7910b848c05054d19230d3facb9e259d48afd96dbf901206b25ad770/Screenshot-2020-10-29-at-5.51.47-PM.png" /&#62;
&#60;img width="2064" height="1448" width_o="2064" height_o="1448" data-src="https://freight.cargo.site/t/original/i/47b1bcbbf9c24fe5ec2443876f5656374b4566f29c476c136200f03ba2e0d0ad/Screenshot-2020-10-29-at-8.11.50-PM.png" data-mid="204605118" border="0" alt="Landscape #2, 2020, archival pigment print, 28 x 40 cm" data-caption="Landscape #2, 2020, archival pigment print, 28 x 40 cm" src="https://freight.cargo.site/w/1000/i/47b1bcbbf9c24fe5ec2443876f5656374b4566f29c476c136200f03ba2e0d0ad/Screenshot-2020-10-29-at-8.11.50-PM.png" /&#62;
&#60;img width="2316" height="1540" width_o="2316" height_o="1540" data-src="https://freight.cargo.site/t/original/i/8de00a5a5962da9bc867d44232a267da6e9ddd0152d77a00faa9514684d15949/Screenshot-2020-10-29-at-8.10.37-PM.png" data-mid="204556162" border="0" alt="Saigon, Athens, Greece, 2020" data-caption="Saigon, Athens, Greece, 2020" src="https://freight.cargo.site/w/1000/i/8de00a5a5962da9bc867d44232a267da6e9ddd0152d77a00faa9514684d15949/Screenshot-2020-10-29-at-8.10.37-PM.png" /&#62;
&#60;img width="1200" height="905" width_o="1200" height_o="905" data-src="https://freight.cargo.site/t/original/i/7ef78dfb0901bdc446d7abfe219bc3cfa98b0cd525bbdf707996b9f84c82cdbb/Screenshot-2020-10-15-at-8.53.07-PM-copy.jpg" data-mid="204556369" border="0" alt="Video still, Howlings, and optical illusions, video, 21 minutes " data-caption="Video still, Howlings, and optical illusions, video, 21 minutes " src="https://freight.cargo.site/w/1000/i/7ef78dfb0901bdc446d7abfe219bc3cfa98b0cd525bbdf707996b9f84c82cdbb/Screenshot-2020-10-15-at-8.53.07-PM-copy.jpg" /&#62;
&#60;img width="2314" height="1542" width_o="2314" height_o="1542" data-src="https://freight.cargo.site/t/original/i/285450ad2dcc6c7eac9ade3c86ed6c0394c2ead9d1a4af68497e9f3253a71fbb/Screenshot-2020-10-29-at-8.10.10-PM.png" data-mid="204556257" border="0" alt="Saigon, Athens, Greece, 2020" data-caption="Saigon, Athens, Greece, 2020" src="https://freight.cargo.site/w/1000/i/285450ad2dcc6c7eac9ade3c86ed6c0394c2ead9d1a4af68497e9f3253a71fbb/Screenshot-2020-10-29-at-8.10.10-PM.png" /&#62;
&#60;img width="1040" height="1300" width_o="1040" height_o="1300" data-src="https://freight.cargo.site/t/original/i/d751af7430c096a05795bfadd55f9cba2a7d2e55a56a164e4b81b4dfa6d396f3/Hades--2--2020.jpg" data-mid="204556374" border="0" alt="Hades #1, 2020,&#38;amp;nbsp;archival pigment print, 35 x 28 cm" data-caption="Hades #1, 2020,&#38;amp;nbsp;archival pigment print, 35 x 28 cm" src="https://freight.cargo.site/w/1000/i/d751af7430c096a05795bfadd55f9cba2a7d2e55a56a164e4b81b4dfa6d396f3/Hades--2--2020.jpg" /&#62;
&#60;img width="961" height="1200" width_o="961" height_o="1200" data-src="https://freight.cargo.site/t/original/i/3d9b8595369e5574d397c9c3e0a592dc0b3ab06b48f1dacee01b0f8d0716ac48/3H2A5666_14cc.jpg" data-mid="204549502" border="0" alt="Hades #4, 2020,&#38;amp;nbsp;archival pigment print, 35 x 28 cm" data-caption="Hades #4, 2020,&#38;amp;nbsp;archival pigment print, 35 x 28 cm" src="https://freight.cargo.site/w/961/i/3d9b8595369e5574d397c9c3e0a592dc0b3ab06b48f1dacee01b0f8d0716ac48/3H2A5666_14cc.jpg" /&#62;
&#60;img width="1028" height="1542" width_o="1028" height_o="1542" data-src="https://freight.cargo.site/t/original/i/bb5e3370225af2ca296985c3c16036bfff3747130136b22bbdd8d1989489715f/Screenshot-2020-10-29-at-8.11.24-PM.png" data-mid="204556404" border="0" alt="Saigon, Athens, Greece, 2020" data-caption="Saigon, Athens, Greece, 2020" src="https://freight.cargo.site/w/1000/i/bb5e3370225af2ca296985c3c16036bfff3747130136b22bbdd8d1989489715f/Screenshot-2020-10-29-at-8.11.24-PM.png" /&#62;
&#60;img width="1080" height="1624" width_o="1080" height_o="1624" data-src="https://freight.cargo.site/t/original/i/cbfe52bfd518b8b524722abe17560cd35e9ffbb35905741277c6e1656b8be46d/Screenshot-2020-10-29-at-8.13.09-PM.png" data-mid="204556406" border="0" alt="Moonlight swan, 2020, archival pigment print, 24,5 x 16,5 cm" data-caption="Moonlight swan, 2020, archival pigment print, 24,5 x 16,5 cm" src="https://freight.cargo.site/w/1000/i/cbfe52bfd518b8b524722abe17560cd35e9ffbb35905741277c6e1656b8be46d/Screenshot-2020-10-29-at-8.13.09-PM.png" /&#62;


	hypersurfacingNiMAC, Nicosia, Cyprus Installation at the Nicosia Municipal Arts Centre as part of the exhibition Hypersurfacing curated by Marina Christodoulidou. 2019-2020. In Star gaze Stelios Kallinikou climbs up Mount Olympus—the highest peak in Cyprus—and creates astrophotography depicting the starry sky and the condensation of his breath. These images assimilate the mechanical operation of the camera and, at the same time, the respiratory function of the body. Radar station focuses both on the RAF (Royal Air Force) Troodos station, one of the main British overseas military installations—in the Troodos mountains since 1878, and on the Starbrook wide-field telescope of the BNSC (British National Space Centre), situated on the same spot since 2016. In these images a colonial gaze is juxtaposed with the critical eye of the artist. Nearby, a young Μoufflon, also in the Troodos area, gazes at the camera. Finally, a fragment of a painting, depicting four naked legs at the lower part of a flat grey surface, forms the work rcsaerh. The narration lays ahead.Artists: Raissa Angeli, Peter Eramian, Stelios Kallinikou, Lito Kattou, Phanos Kyriacou, Orestis Lazouras, Nayia Savva, Constantinos Taliotis, Maria Toumazou, Leontios Toumpouris, Marina Xenofontos, Natalie YiaxiFor more read exhibition essay by Misal Adnan Yıldız


&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/f99794ced43c4d3ee982ccba9a83e8a2f27367351a2d872646a68d5acd29a1b1/3H2A1800.jpg" data-mid="204565278" border="0" alt="Star gaze,  2019,  nine archival pigment prints, 40 x 30 cm each, NiMAC, Nicosia, Cyprus&#38;nbsp;" data-caption="Star gaze,  2019,  nine archival pigment prints, 40 x 30 cm each, NiMAC, Nicosia, Cyprus&#38;nbsp;" src="https://freight.cargo.site/w/1000/i/f99794ced43c4d3ee982ccba9a83e8a2f27367351a2d872646a68d5acd29a1b1/3H2A1800.jpg" /&#62;
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/ea01af9b223b98a0bcbacb78f3e16f4f66cb1f600d75f561c29f9448643e74e6/3H2A1853.jpg" data-mid="204565279" border="0" alt="Star gaze,  2019,  nine archival pigment prints, 40 x 30 cm each, NiMAC, Nicosia, Cyprus&#38;nbsp;" data-caption="Star gaze,  2019,  nine archival pigment prints, 40 x 30 cm each, NiMAC, Nicosia, Cyprus&#38;nbsp;" src="https://freight.cargo.site/w/1000/i/ea01af9b223b98a0bcbacb78f3e16f4f66cb1f600d75f561c29f9448643e74e6/3H2A1853.jpg" /&#62;
&#60;img width="533" height="800" width_o="533" height_o="800" data-src="https://freight.cargo.site/t/original/i/a19b6ee7c4f3c67e8633e946c5cf1893358e718deec194af0f8429b697f5aec8/1.jpg" data-mid="204565282" border="0" alt="Star gaze,  2019,  archival pigment print, 40 x 30 cm " data-caption="Star gaze,  2019,  archival pigment print, 40 x 30 cm " src="https://freight.cargo.site/w/533/i/a19b6ee7c4f3c67e8633e946c5cf1893358e718deec194af0f8429b697f5aec8/1.jpg" /&#62;
&#60;img width="533" height="800" width_o="533" height_o="800" data-src="https://freight.cargo.site/t/original/i/464986b64d49dd06b74c969c10d357600d5e050e2a57e9bfbb7d977432813a01/2.jpg" data-mid="204565287" border="0" alt="Star gaze,  2019,  archival pigment print, 40 x 30 cm " data-caption="Star gaze,  2019,  archival pigment print, 40 x 30 cm " src="https://freight.cargo.site/w/533/i/464986b64d49dd06b74c969c10d357600d5e050e2a57e9bfbb7d977432813a01/2.jpg" /&#62;
&#60;img width="533" height="800" width_o="533" height_o="800" data-src="https://freight.cargo.site/t/original/i/0553b5cf47569139f7e40d429a2c0c2256f102be36646ebe30f83d67a6ff7079/3.jpg" data-mid="204565283" border="0" alt="Star gaze,  2019,  archival pigment print, 40 x 30 cm " data-caption="Star gaze,  2019,  archival pigment print, 40 x 30 cm " src="https://freight.cargo.site/w/533/i/0553b5cf47569139f7e40d429a2c0c2256f102be36646ebe30f83d67a6ff7079/3.jpg" /&#62;
&#60;img width="533" height="800" width_o="533" height_o="800" data-src="https://freight.cargo.site/t/original/i/06b60a5e162771b6cdd2f59acc4422eb7ac73b6a8916bd7bd2240ee24900ec89/4.jpg" data-mid="204565284" border="0" alt="Star gaze,  2019,  archival pigment print, 40 x 30 cm " data-caption="Star gaze,  2019,  archival pigment print, 40 x 30 cm " src="https://freight.cargo.site/w/533/i/06b60a5e162771b6cdd2f59acc4422eb7ac73b6a8916bd7bd2240ee24900ec89/4.jpg" /&#62;
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/7a54f2fde05f8efd2dc69d59c87b93b5e65322736c70a8658f957e11fc97088f/3H2A1804.jpg" data-mid="204574914" border="0" alt="Radar station, 2018, archival pigment print, 130 x 86 cm, NiMAC, Nicosia, Cyprus&#38;amp;nbsp;" data-caption="Radar station, 2018, archival pigment print, 130 x 86 cm, NiMAC, Nicosia, Cyprus&#38;amp;nbsp;" src="https://freight.cargo.site/w/1000/i/7a54f2fde05f8efd2dc69d59c87b93b5e65322736c70a8658f957e11fc97088f/3H2A1804.jpg" /&#62;
&#60;img width="533" height="800" width_o="533" height_o="800" data-src="https://freight.cargo.site/t/original/i/e9a4184206ae46aff7ed4f2cb5267fc53ab6d111e509a324774827516ab7267d/3H2A1861.jpg" data-mid="204574915" border="0" alt="Radar station, 2018, archival pigment print, 130 x 86 cm, NiMAC, Nicosia, Cyprus&#38;amp;nbsp;" data-caption="Radar station, 2018, archival pigment print, 130 x 86 cm, NiMAC, Nicosia, Cyprus&#38;amp;nbsp;" src="https://freight.cargo.site/w/533/i/e9a4184206ae46aff7ed4f2cb5267fc53ab6d111e509a324774827516ab7267d/3H2A1861.jpg" /&#62;
&#60;img width="1200" height="801" width_o="1200" height_o="801" data-src="https://freight.cargo.site/t/original/i/ab2b04cfc146de05e3f98394d14b24ecd3227e17b9fc2f23def42197fab558fc/MRK_4408.jpg" data-mid="204565317" border="0" alt="Moufflon, 2019, archival pigment pigment prints, 26 x 35 cm, NiMAC, Nicosia, Cyprus&#38;amp;nbsp;" data-caption="Moufflon, 2019, archival pigment pigment prints, 26 x 35 cm, NiMAC, Nicosia, Cyprus&#38;amp;nbsp;" src="https://freight.cargo.site/w/1000/i/ab2b04cfc146de05e3f98394d14b24ecd3227e17b9fc2f23def42197fab558fc/MRK_4408.jpg" /&#62;
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/8a9fc1eb5dc666eb25e552411e4a94cfd83aa01862e0ab5631286315a6314955/3H2A1843-copy.jpg" data-mid="204565322" border="0" alt="Moufflon, 2019, archival pigment pigment prints, 26 x 35 cm, NiMAC, Nicosia, Cyprus&#38;amp;nbsp;" data-caption="Moufflon, 2019, archival pigment pigment prints, 26 x 35 cm, NiMAC, Nicosia, Cyprus&#38;amp;nbsp;" src="https://freight.cargo.site/w/1000/i/8a9fc1eb5dc666eb25e552411e4a94cfd83aa01862e0ab5631286315a6314955/3H2A1843-copy.jpg" /&#62;
&#60;img width="533" height="800" width_o="533" height_o="800" data-src="https://freight.cargo.site/t/original/i/fb6433bbea2c8991974b9148539766e7e876dab1fffbf9196e8855d85324aaad/3H2A2511-4-1.jpg" data-mid="204565325" border="0" alt=" rcsaerh, 2019, archival pigment print, framed, 123 x 84 cm, NiMAC, Nicosia, Cyprus&#38;amp;nbsp;" data-caption=" rcsaerh, 2019, archival pigment print, framed, 123 x 84 cm, NiMAC, Nicosia, Cyprus&#38;amp;nbsp;" src="https://freight.cargo.site/w/533/i/fb6433bbea2c8991974b9148539766e7e876dab1fffbf9196e8855d85324aaad/3H2A2511-4-1.jpg" /&#62;


	Nymphaeaceae Point Centre for Contemporary Art Nicosia, Cyprus, 2019Kallinikou for this exhibition present works from his long term project entitled “The Garden of Peace and Desire”. This time he turns his gaze on the Nicosia Municipal Gardens, located behind the parliament house and next to the Green Line. Its set up started during the English rule and it was originally named ‘Victoria’s Garden’, in honour of the namesake queen. In 1968, almost ten years after Cyprus independence, the prominent Cypriot architect Neoptolemos Michaelides undertook the area’s remodeling. He replaced ‘Victoria’s Garden’ with a "Cypriot garden" of endemic plants that develops "freely", as he himself put it. The garden was renamed as ‘The Garden of Peace’.Kallinikou enters this politically charged space and concentrates on the locations and visible traces of sexual activity, moving within a new architecture indicated by the needs of “cruising”. In Where are you going young man, handsome like a legend (2016-17) the artist scouted out, in the rough forests of Cyprus, the hideouts created from the organization EOKA during the campaign for Cypriot self-determination against the British rule (1955-59). In The Garden of Peace and Desire he further develops his thought on how nature, in the guise of the municipal garden, acts as a hide out -this time for desire, becoming by extension an arena for the fight for the self-determination of the body itself.
	
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/b0b9451bc77a4dd6c47f196da75f1c9712bd9f37088575448aeba469e1962378/1-3H2A6701.jpg" data-mid="204565498" border="0" alt="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" data-caption="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" src="https://freight.cargo.site/w/1000/i/b0b9451bc77a4dd6c47f196da75f1c9712bd9f37088575448aeba469e1962378/1-3H2A6701.jpg" /&#62;
&#60;img width="533" height="800" width_o="533" height_o="800" data-src="https://freight.cargo.site/t/original/i/516c24d5a9302adeb6d36b194f2e25285a76fbea57d3b9264080c82a761eef58/4-3H2A6919.jpg" data-mid="204565667" border="0" alt="Hide out, 2017, archival pigment print, 60x40 cm" data-caption="Hide out, 2017, archival pigment print, 60x40 cm" src="https://freight.cargo.site/w/533/i/516c24d5a9302adeb6d36b194f2e25285a76fbea57d3b9264080c82a761eef58/4-3H2A6919.jpg" /&#62;
&#60;img width="1200" height="801" width_o="1200" height_o="801" data-src="https://freight.cargo.site/t/original/i/91798aead7f12f499f673aa6c5fda2efd9aea946a43ba856ee5950de6febd332/2.3H2A6871.jpg" data-mid="204565504" border="0" alt="Young coconut juice, 2019, archival pigment print, 30x44 cm " data-caption="Young coconut juice, 2019, archival pigment print, 30x44 cm " src="https://freight.cargo.site/w/1000/i/91798aead7f12f499f673aa6c5fda2efd9aea946a43ba856ee5950de6febd332/2.3H2A6871.jpg" /&#62;
&#60;img width="1200" height="801" width_o="1200" height_o="801" data-src="https://freight.cargo.site/t/original/i/b88cbb7cc28fed781bec34550c559fcf069bc3f893be6cd42b3d74aefc63946a/13-3H2A6721.jpg" data-mid="204565571" border="0" alt="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" data-caption="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" src="https://freight.cargo.site/w/1000/i/b88cbb7cc28fed781bec34550c559fcf069bc3f893be6cd42b3d74aefc63946a/13-3H2A6721.jpg" /&#62;
&#60;img width="533" height="800" width_o="533" height_o="800" data-src="https://freight.cargo.site/t/original/i/0b3b1dcec79a037b6590f4dceeb44375ea8768fbe7c3bfa79d95bd08a2131406/9-3H2A6885.jpg" data-mid="204565543" border="0" alt="Statue 1, 2019, archival pigment print, 35x23 cm" data-caption="Statue 1, 2019, archival pigment print, 35x23 cm" src="https://freight.cargo.site/w/533/i/0b3b1dcec79a037b6590f4dceeb44375ea8768fbe7c3bfa79d95bd08a2131406/9-3H2A6885.jpg" /&#62;
&#60;img width="1200" height="801" width_o="1200" height_o="801" data-src="https://freight.cargo.site/t/original/i/b27fa36909299c1958476fe483cc286ffcd1f865d2a9af18d850b1470c68cffe/12-3H2A6848.jpg" data-mid="204565555" border="0" alt="Bench, 2017, archival pigment print, 60x40 cm &#124; Landscape I, 2017, archival pigment print, 60x40 cm" data-caption="Bench, 2017, archival pigment print, 60x40 cm &#124; Landscape I, 2017, archival pigment print, 60x40 cm" src="https://freight.cargo.site/w/1000/i/b27fa36909299c1958476fe483cc286ffcd1f865d2a9af18d850b1470c68cffe/12-3H2A6848.jpg" /&#62;
&#60;img width="1200" height="801" width_o="1200" height_o="801" data-src="https://freight.cargo.site/t/original/i/45ec2dd7d28cb30195c54592b5119e58bb116a56c6662ccef174369b995e170f/14-3H2A6835.jpg" data-mid="204565573" border="0" alt="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" data-caption="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" src="https://freight.cargo.site/w/1000/i/45ec2dd7d28cb30195c54592b5119e58bb116a56c6662ccef174369b995e170f/14-3H2A6835.jpg" /&#62;
&#60;img width="1200" height="801" width_o="1200" height_o="801" data-src="https://freight.cargo.site/t/original/i/301490309dcf4a1e68346dc0d9f0e4823713de95e719a630a36665771eb426af/15-3H2A6738.jpg" data-mid="204565546" border="0" alt="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" data-caption="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" src="https://freight.cargo.site/w/1000/i/301490309dcf4a1e68346dc0d9f0e4823713de95e719a630a36665771eb426af/15-3H2A6738.jpg" /&#62;
&#60;img width="532" height="800" width_o="532" height_o="800" data-src="https://freight.cargo.site/t/original/i/7bedd0b15eb3180d5e939eb49b58e3e88a047dd894f0ce343aa0708913b7b1d1/16-3H2A6851-1.jpg" data-mid="204565560" border="0" alt="Water lilies, 2017, archival pigment print, 48x32 cm" data-caption="Water lilies, 2017, archival pigment print, 48x32 cm" src="https://freight.cargo.site/w/532/i/7bedd0b15eb3180d5e939eb49b58e3e88a047dd894f0ce343aa0708913b7b1d1/16-3H2A6851-1.jpg" /&#62;
&#60;img width="533" height="800" width_o="533" height_o="800" data-src="https://freight.cargo.site/t/original/i/fc16ef6b1606529d5ba10e51a7ecf32b64c54fde6a4fd61adf7b4d9c2e3f6604/18-3H2A7073.jpg" data-mid="204565655" border="0" alt="Glove, 2017, archival pigment print, 29x19 cm " data-caption="Glove, 2017, archival pigment print, 29x19 cm " src="https://freight.cargo.site/w/533/i/fc16ef6b1606529d5ba10e51a7ecf32b64c54fde6a4fd61adf7b4d9c2e3f6604/18-3H2A7073.jpg" /&#62;
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&#60;img width="533" height="800" width_o="533" height_o="800" data-src="https://freight.cargo.site/t/original/i/3666475d92931775a93721fb6633ed83d042f16e67b276da6ec272c5c7cfe018/20-3H2A7072.jpg" data-mid="204565563" border="0" alt="Tree, 2017, archival pigment print, 130x86 cm" data-caption="Tree, 2017, archival pigment print, 130x86 cm" src="https://freight.cargo.site/w/533/i/3666475d92931775a93721fb6633ed83d042f16e67b276da6ec272c5c7cfe018/20-3H2A7072.jpg" /&#62;
&#60;img width="1200" height="801" width_o="1200" height_o="801" data-src="https://freight.cargo.site/t/original/i/e3953aee75956bbbe8433f762dbe64b3ac50addcfc6b3f38780e157fd10d2ace/21.3H2A6962.jpg" data-mid="204565577" border="0" alt="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" data-caption="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" src="https://freight.cargo.site/w/1000/i/e3953aee75956bbbe8433f762dbe64b3ac50addcfc6b3f38780e157fd10d2ace/21.3H2A6962.jpg" /&#62;
&#60;img width="1200" height="801" width_o="1200" height_o="801" data-src="https://freight.cargo.site/t/original/i/756c07bb5d716798cc34d19f5dc225813ae9915ad9df130d69bf32be1289a208/26-3H2A6999-copy.jpg" data-mid="204565580" border="0" alt="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" data-caption="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" src="https://freight.cargo.site/w/1000/i/756c07bb5d716798cc34d19f5dc225813ae9915ad9df130d69bf32be1289a208/26-3H2A6999-copy.jpg" /&#62;
&#60;img width="533" height="800" width_o="533" height_o="800" data-src="https://freight.cargo.site/t/original/i/0392f8885f4672d801b070aabc3f48d10586dd7cd22f27590e03e329b087ca0b/25-.3H2A7101_2.jpg" data-mid="204565649" border="0" alt="Still life, 2017, archival pigment print, 44x30 cm" data-caption="Still life, 2017, archival pigment print, 44x30 cm" src="https://freight.cargo.site/w/533/i/0392f8885f4672d801b070aabc3f48d10586dd7cd22f27590e03e329b087ca0b/25-.3H2A7101_2.jpg" /&#62;
&#60;img width="533" height="800" width_o="533" height_o="800" data-src="https://freight.cargo.site/t/original/i/9710e698292ce5eb18ada62e115410505a61721770d07447f17481094350a19b/27-3H2A7068-1.jpg" data-mid="204565652" border="0" alt="Boy with violin, 2017, archival pigment print, 60x40 cm" data-caption="Boy with violin, 2017, archival pigment print, 60x40 cm" src="https://freight.cargo.site/w/533/i/9710e698292ce5eb18ada62e115410505a61721770d07447f17481094350a19b/27-3H2A7068-1.jpg" /&#62;
&#60;img width="1200" height="801" width_o="1200" height_o="801" data-src="https://freight.cargo.site/t/original/i/96434d031ad42e51d12736fa49286cae713af07010bffd0d7434e12c49084dda/30-3H2A6796.jpg" data-mid="204565656" border="0" alt="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" data-caption="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" src="https://freight.cargo.site/w/1000/i/96434d031ad42e51d12736fa49286cae713af07010bffd0d7434e12c49084dda/30-3H2A6796.jpg" /&#62;
&#60;img width="1200" height="801" width_o="1200" height_o="801" data-src="https://freight.cargo.site/t/original/i/f1cddacdef21c296455acc6e1aefd17e18456d922edef647f8f9932c25d7de2a/31-3H2A6786-copy.jpg" data-mid="204565660" border="0" alt="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" data-caption="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" src="https://freight.cargo.site/w/1000/i/f1cddacdef21c296455acc6e1aefd17e18456d922edef647f8f9932c25d7de2a/31-3H2A6786-copy.jpg" /&#62;
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&#60;img width="1200" height="801" width_o="1200" height_o="801" data-src="https://freight.cargo.site/t/original/i/41100031b82e8889e585991472842ae682a66f50b976dc6015b848266ec57a7e/34-3H2A7039.jpg" data-mid="204565781" border="0" alt="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" data-caption="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" src="https://freight.cargo.site/w/1000/i/41100031b82e8889e585991472842ae682a66f50b976dc6015b848266ec57a7e/34-3H2A7039.jpg" /&#62;
&#60;img width="1200" height="801" width_o="1200" height_o="801" data-src="https://freight.cargo.site/t/original/i/9ef76270ed6f6cb1033438752da8349813b63c587e7c01e0e8e87a506ab45112/36-3H2A6823.jpg" data-mid="204565783" border="0" alt="Full moon studies, 2018, archival pigment print, 37x16 cm each" data-caption="Full moon studies, 2018, archival pigment print, 37x16 cm each" src="https://freight.cargo.site/w/1000/i/9ef76270ed6f6cb1033438752da8349813b63c587e7c01e0e8e87a506ab45112/36-3H2A6823.jpg" /&#62;
&#60;img width="533" height="800" width_o="533" height_o="800" data-src="https://freight.cargo.site/t/original/i/e424dd61c4ef3b6b825a9cf7781bf173b3e25327df17f57ea9c85f32f482c4df/35-3H2A7187.jpg" data-mid="204565785" border="0" alt="Statue 2, 2019, archival pigment print, 29x19 cm" data-caption="Statue 2, 2019, archival pigment print, 29x19 cm" src="https://freight.cargo.site/w/533/i/e424dd61c4ef3b6b825a9cf7781bf173b3e25327df17f57ea9c85f32f482c4df/35-3H2A7187.jpg" /&#62;
&#60;img width="1200" height="801" width_o="1200" height_o="801" data-src="https://freight.cargo.site/t/original/i/777f5f82fa29a81b60f6c408cdf3527768c785cd9db16882e8799772124f0fb1/37-3H2A7042-copy.jpg" data-mid="204565788" border="0" alt="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" data-caption="Point Centre for Contemporary Art, Nicosia, Cyprus, 2019" src="https://freight.cargo.site/w/1000/i/777f5f82fa29a81b60f6c408cdf3527768c785cd9db16882e8799772124f0fb1/37-3H2A7042-copy.jpg" /&#62;
&#60;img width="533" height="800" width_o="533" height_o="800" data-src="https://freight.cargo.site/t/original/i/3fff087970fce440bfe4efe869ee8c5987a12c9b3336b11c5e7761d185a83120/38-3H2A7056.jpg" data-mid="204565817" border="0" alt="Yuri, 2017, archival pigment print, 20x13 cm " data-caption="Yuri, 2017, archival pigment print, 20x13 cm " src="https://freight.cargo.site/w/533/i/3fff087970fce440bfe4efe869ee8c5987a12c9b3336b11c5e7761d185a83120/38-3H2A7056.jpg" /&#62;


	Phenomenon 3Anafi Island, Greece, 2019Phenomenon 3, A residency and an exhibition held in the Aegean island of Anafi, Greece. It is organized by the Association Phenomenon and the Collection Kerenidis Pepe.with: Eva Barto, Jason Dodge, David Horvitz, Florence Jung, Stelios Kallinikou, Jochen Lempert, Eileen Myles, Deimantas Narkevičius, Vittorio Santoro, Paky Vlassopoulou&#38;nbsp;Kallinikou’s practice is characterised by an interest in the function of the gaze as an embodied experience which determines the ways in which we comprehend and interact with our surroundings. For the Phenomenon 3 exhibition Kallinikou brings together works from Flamingo theatre (2016) , Over the Horizon (2018), Star gaze (2019), Mouflon (2019)
more info about Phenomenon

	
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/1c284f909f52148d2f019aca9f8c47b743583d783a71d31374328429a8f3c34f/DSCF5175_1.jpg" data-mid="204565889" border="0" alt="Flamingo theatre, Anafi, Greece, 2019" data-caption="Flamingo theatre, Anafi, Greece, 2019" src="https://freight.cargo.site/w/1000/i/1c284f909f52148d2f019aca9f8c47b743583d783a71d31374328429a8f3c34f/DSCF5175_1.jpg" /&#62;
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/95bec49b659da926b4fe858efd87bd720423e14cfa6e35f5264e5ba378a8c799/DSCF5196_2-2ccc.jpg" data-mid="204565899" border="0" alt="Phenomenon 3, Anafi, Greece, 2019" data-caption="Phenomenon 3, Anafi, Greece, 2019" src="https://freight.cargo.site/w/1000/i/95bec49b659da926b4fe858efd87bd720423e14cfa6e35f5264e5ba378a8c799/DSCF5196_2-2ccc.jpg" /&#62;
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/b363d2d63e01b3aa6054def7fe4d92e256822151ba436c43466a14205a68c10f/bird.jpg" data-mid="204566000" border="0" alt="Heron, 2017, Nocture" data-caption="Heron, 2017, Nocture" src="https://freight.cargo.site/w/1000/i/b363d2d63e01b3aa6054def7fe4d92e256822151ba436c43466a14205a68c10f/bird.jpg" /&#62;
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/211f5e2266fe7a634d3755d0137a16d3343a8b40a9778a2fefa94efabab4648e/DSCF5419_1.jpg" data-mid="204565905" border="0" alt="Phenomenon 3, Anafi, Greece, 2019" data-caption="Phenomenon 3, Anafi, Greece, 2019" src="https://freight.cargo.site/w/1000/i/211f5e2266fe7a634d3755d0137a16d3343a8b40a9778a2fefa94efabab4648e/DSCF5419_1.jpg" /&#62;
&#60;img width="532" height="800" width_o="532" height_o="800" data-src="https://freight.cargo.site/t/original/i/1b0407c57aefdfc15bade572e26dc8493ee6671bcf1a35e066df4724f051b43f/Screenshot-2019-07-14-11.34.09-copy.jpg" data-mid="204565908" border="0" alt="View, 2018, archival pigment print, 40x28 cm" data-caption="View, 2018, archival pigment print, 40x28 cm" src="https://freight.cargo.site/w/532/i/1b0407c57aefdfc15bade572e26dc8493ee6671bcf1a35e066df4724f051b43f/Screenshot-2019-07-14-11.34.09-copy.jpg" /&#62;
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/15b6b023955f63474cac342bf832bc2a7b4613cf1ecf9beedfe270c2b2cb5217/DSCF5439_1.jpg" data-mid="204566003" border="0" alt="Phenomenon 3, Anafi, Greece, 2019" data-caption="Phenomenon 3, Anafi, Greece, 2019" src="https://freight.cargo.site/w/1000/i/15b6b023955f63474cac342bf832bc2a7b4613cf1ecf9beedfe270c2b2cb5217/DSCF5439_1.jpg" /&#62;
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/f3270e993f10cf84f5b9de7240faca960873e92dd08f45dfe9d2be4d73e76b47/3H2A1218-2-2.jpg" data-mid="204566111" border="0" alt="View, 2018, archival pigment print, 40x28 cm" data-caption="View, 2018, archival pigment print, 40x28 cm" src="https://freight.cargo.site/w/1000/i/f3270e993f10cf84f5b9de7240faca960873e92dd08f45dfe9d2be4d73e76b47/3H2A1218-2-2.jpg" /&#62;
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/3d2912e7f54e017fb3643d39248bd65cf24e024183db0d16564e436961d1d57f/DSCF5260_1.jpg" data-mid="204566004" border="0" alt="Phenomenon 3, Anafi, Greece, 2019" data-caption="Phenomenon 3, Anafi, Greece, 2019" src="https://freight.cargo.site/w/1000/i/3d2912e7f54e017fb3643d39248bd65cf24e024183db0d16564e436961d1d57f/DSCF5260_1.jpg" /&#62;


	rcsaerh , 2019Künstlerhaus Bethanien, Berlin, Germany...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.
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.

The Landscape is the Arena of Our Collective Actions*For many years, through his photographic work, artist Stelios Kallinikou has investigated the multi-layered landscape of Cyprus, in search of life emerging from the ruins of a past that meets and mix, shaping the present. The landscape is an archive of stories that are narrated by the lens of the artist’s camera. Like the story of a rare endemic species of wild tulip known as Cyprus tulip which the artist has documented in a series of painterly portraits of wild-life inthe borderland. In rcsaerh (2019), the artist focuses on a different type of interstitial space, the one opened by the physical encounter with a painting in a museum 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 worth highlighting, and what remains in darkness. In this series, Kallinikou approaches digital images as he does the Cypriot landscapes, opening for the viewer a space of material resistance, 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
	

&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/60e0fe19281c4ace2c63ea9a8ed66b7928d79c6c04fc2fb0d7874014960dd3a3/3H2A2415_2.jpg" data-mid="204605638" border="0" alt="K&#38;uuml;nstlerhaus Bethanien, Berlin, Germany, 2019 " data-caption="Künstlerhaus Bethanien, Berlin, Germany, 2019 " src="https://freight.cargo.site/w/1000/i/60e0fe19281c4ace2c63ea9a8ed66b7928d79c6c04fc2fb0d7874014960dd3a3/3H2A2415_2.jpg" /&#62;
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&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/2776f4e4a5e61babaefcf6e50c611fd7fa7a41b57116c53d30ea99f763d34f7b/3H2A2470_3-copy-3-copy_1.jpg" data-mid="204566925" border="0" alt="K&#38;uuml;nstlerhaus Bethanien, Berlin, Germany, 2019 " data-caption="Künstlerhaus Bethanien, Berlin, Germany, 2019 " src="https://freight.cargo.site/w/1000/i/2776f4e4a5e61babaefcf6e50c611fd7fa7a41b57116c53d30ea99f763d34f7b/3H2A2470_3-copy-3-copy_1.jpg" /&#62;
&#60;img width="593" height="800" width_o="593" height_o="800" data-src="https://freight.cargo.site/t/original/i/a868752a062ee01ed751757d6e9650b94aed63566c9779e3165eeb6aa6c8dfca/3H2A2518-2-1-copy.jpg" data-mid="204566928" border="0" alt="eht_etnionivn_fo_teh_gntipina, 2019, archival pigment print, framed, 73x54 cm" data-caption="eht_etnionivn_fo_teh_gntipina, 2019, archival pigment print, framed, 73x54 cm" src="https://freight.cargo.site/w/593/i/a868752a062ee01ed751757d6e9650b94aed63566c9779e3165eeb6aa6c8dfca/3H2A2518-2-1-copy.jpg" /&#62;
&#60;img width="549" height="800" width_o="549" height_o="800" data-src="https://freight.cargo.site/t/original/i/63360b7ba3eb7e822c36d6fadf285d442246074338f579cf5bd294b92b14f8cb/3H2A2511-5.jpg" data-mid="204566933" border="0" alt="rcsaerh, 2019, archival pigment print, framed, 123x84 cm" data-caption="rcsaerh, 2019, archival pigment print, framed, 123x84 cm" src="https://freight.cargo.site/w/549/i/63360b7ba3eb7e822c36d6fadf285d442246074338f579cf5bd294b92b14f8cb/3H2A2511-5.jpg" /&#62;
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/d24e9cfd763c21facdb6813ed75dbc629584a608e32257f0233dde8504cd0a1d/3H2A2461_1.jpg" data-mid="204566926" border="0" alt="K&#38;uuml;nstlerhaus Bethanien, Berlin, Germany, 2019 " data-caption="Künstlerhaus Bethanien, Berlin, Germany, 2019 " src="https://freight.cargo.site/w/1000/i/d24e9cfd763c21facdb6813ed75dbc629584a608e32257f0233dde8504cd0a1d/3H2A2461_1.jpg" /&#62;
&#60;img width="1200" height="906" width_o="1200" height_o="906" data-src="https://freight.cargo.site/t/original/i/a28f263a9cc042be3ec109f3f34cfe447bcf7ac9cf28e4fc4d6789600e8d6aec/3H2A2556-3.jpg" data-mid="204605192" border="0" alt="rfsheifklo, 2019, archival pigment print, framed, 83x110 cm " data-caption="rfsheifklo, 2019, archival pigment print, framed, 83x110 cm " src="https://freight.cargo.site/w/1000/i/a28f263a9cc042be3ec109f3f34cfe447bcf7ac9cf28e4fc4d6789600e8d6aec/3H2A2556-3.jpg" /&#62;


Flamingo theatre/ Künstlerhaus Bethanien, Berlin, Germany, 2019


	Studies in GeologyAPhF19, Benaki Museum, Athens, Greece, 2019 Studies in Geology (Lava Walls) (2017-18), plays upon the theme of natural history by utilising the unique feeling that standing into the world means embracing the simultaneity of extremes. The birth and emergence of the island of Cyprus and the Troodos mountain range (where the photographs were taken) is the result of unique and complex geological processes that lasted millions of years. Troodos, the largest mountain range in Cyprus, was created by volcanic activity at the depths of the ocean 90 million years ago. As we rise up to Troodos, the rock formations we come across are the same as those that we would have come across when going down to the depths of the oceans. Therefore, the geographical coordinates of the photographs reveal that we are located at Troodos, the highest peak of the island, whilst geologically we are located at the bottom of the ancient ocean of Tethys. Kallinikou, enthralled from the scientific narrative, traverses the mountain range following the paths where traces of lava can be found. The images that he creates seek to reveal the secrets of the rocks as they are submerged in the endless game of the multitude of matter and time.


Studies in Geology Foam Museum, Amsterdam, Netherlands, 2018 ...Kallinikou’s ongoing series Studies in Geology presents a group of photographs taken in an ancient mine hidden in the pine forests of Troodos Mountains, the largest mountain range in Cyprus. Based on archaeological excavations, mining activity in Cyprus can be dated back to the 3rd century BC. The presence of a large number of valuable minerals and useful, raw materials has made mining in the area attractive throughout the ages. This influenced the course of history and the interference of foreign powers on the island. Kallinikou enters the crater of the mine and the resulting lake to observe the earth as an open body. He meticulously examines the ground and the surface of the lake for traces of human gesture as it has been inscribed throughout time.For more read exhibition essay by Kim Knoppers


&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/9d1aa76a2c1dc243f13c087b288990f9dc18d6a9bd08a92a32cb003544c690c8/_ATH6636-copy.jpg" data-mid="204567064" border="0" alt="APhF18, Benaki Museum, Athens, Greece, 2019" data-caption="APhF18, Benaki Museum, Athens, Greece, 2019" src="https://freight.cargo.site/w/1000/i/9d1aa76a2c1dc243f13c087b288990f9dc18d6a9bd08a92a32cb003544c690c8/_ATH6636-copy.jpg" /&#62;
&#60;img width="534" height="800" width_o="534" height_o="800" data-src="https://freight.cargo.site/t/original/i/e62adbf2de27f00c78164752b3ad3ddb5961bc2e2c891f627768e2ef75f10fec/Variation-13-Lava-walls--Studies-in-Geology--2018-.jpg" data-mid="204567065" border="0" alt="Variation 13, 2018, Studies in Geology" data-caption="Variation 13, 2018, Studies in Geology" src="https://freight.cargo.site/w/534/i/e62adbf2de27f00c78164752b3ad3ddb5961bc2e2c891f627768e2ef75f10fec/Variation-13-Lava-walls--Studies-in-Geology--2018-.jpg" /&#62;
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&#60;img width="534" height="800" width_o="534" height_o="800" data-src="https://freight.cargo.site/t/original/i/20a1581263fb6c65ba720765e87ba0020f733bd2784046bed98a24fbf7199654/Variation-2-Lava-walls--Studies-in-Geology--2018-.jpg" data-mid="204567068" border="0" alt="Variation 2, 2018, Studies in Geology" data-caption="Variation 2, 2018, Studies in Geology" src="https://freight.cargo.site/w/534/i/20a1581263fb6c65ba720765e87ba0020f733bd2784046bed98a24fbf7199654/Variation-2-Lava-walls--Studies-in-Geology--2018-.jpg" /&#62;
&#60;img width="534" height="800" width_o="534" height_o="800" data-src="https://freight.cargo.site/t/original/i/d4c955dec00cfda7310197254db646df9f5ddd56c1d3bde3b9a303741e3747c7/Variation-8-Lava-walls--Studies-in-Geology--2018-.jpg" data-mid="204567075" border="0" alt="Variation 8, 2018, Studies in Geology" data-caption="Variation 8, 2018, Studies in Geology" src="https://freight.cargo.site/w/534/i/d4c955dec00cfda7310197254db646df9f5ddd56c1d3bde3b9a303741e3747c7/Variation-8-Lava-walls--Studies-in-Geology--2018-.jpg" /&#62;


&#60;img width="1200" height="675" width_o="1200" height_o="675" data-src="https://freight.cargo.site/t/original/i/3707d9990b67bd1e873de9fa87746bf5927c007132e4c804fc43b58aa0082319/DSCF4036-1.jpg" data-mid="204567137" border="0" alt="Foam Museum, Amsterdam, Netherlands, 2018" data-caption="Foam Museum, Amsterdam, Netherlands, 2018" src="https://freight.cargo.site/w/1000/i/3707d9990b67bd1e873de9fa87746bf5927c007132e4c804fc43b58aa0082319/DSCF4036-1.jpg" /&#62;
&#60;img width="1200" height="881" width_o="1200" height_o="881" data-src="https://freight.cargo.site/t/original/i/88ec68675bb6f9ceee0a00af3eb4d39740626516331f8078f3e98fca0035115e/Water-composition-7--Studies-in-Geology--2017--Stelios-Kallinikou.jpg" data-mid="204605913" border="0" alt="Water composition 7,8, 2017, Studies in Geology" data-caption="Water composition 7,8, 2017, Studies in Geology" src="https://freight.cargo.site/w/1000/i/88ec68675bb6f9ceee0a00af3eb4d39740626516331f8078f3e98fca0035115e/Water-composition-7--Studies-in-Geology--2017--Stelios-Kallinikou.jpg" /&#62;
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/e68824aeefbd37fe06180e56613a6e14b49f17b1e13fd1bda71ad94df671703e/DSCF4061.jpg" data-mid="204567082" border="0" alt="Foam Museum, Amsterdam, Netherlands, 2018" data-caption="Foam Museum, Amsterdam, Netherlands, 2018" src="https://freight.cargo.site/w/1000/i/e68824aeefbd37fe06180e56613a6e14b49f17b1e13fd1bda71ad94df671703e/DSCF4061.jpg" /&#62;
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&#60;img width="867" height="1300" width_o="867" height_o="1300" data-src="https://freight.cargo.site/t/original/i/d288a835382d0b8740f58b7d7ab8b1462298fcfb0fd34fd553db56d077f4504f/Water-composition-4--Studies-in-Geology--2017--Stelios-Kallinikou-copy.jpg" data-mid="204605970" border="0" alt="Water composition 4, Studies in Geology, 2017 " data-caption="Water composition 4, Studies in Geology, 2017 " src="https://freight.cargo.site/w/867/i/d288a835382d0b8740f58b7d7ab8b1462298fcfb0fd34fd553db56d077f4504f/Water-composition-4--Studies-in-Geology--2017--Stelios-Kallinikou-copy.jpg" /&#62;
&#60;img width="867" height="1300" width_o="867" height_o="1300" data-src="https://freight.cargo.site/t/original/i/64cfa019edb3bc24c9a02409954d78d9e378a4665ba44f0dd1228ff139ced19f/Water-composition-5--Studies-in-Geology--2017--Stelios-Kallinikou-copy.jpg" data-mid="204605969" border="0" alt="Water composition 5, Studies in Geology, 2017 " data-caption="Water composition 5, Studies in Geology, 2017 " src="https://freight.cargo.site/w/867/i/64cfa019edb3bc24c9a02409954d78d9e378a4665ba44f0dd1228ff139ced19f/Water-composition-5--Studies-in-Geology--2017--Stelios-Kallinikou-copy.jpg" /&#62;


	Over The Horizon, 2018 Nimac, Nicosia Municipal Arts CentreIn 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
	
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/b618cfe58a5225d199176ddf088994a980ceec8ad396553ecdd83acb36bdba04/3H2A1163.jpg" data-mid="204567379" border="0" alt="Nimac, Nicosia, Cyprus, 2018" data-caption="Nimac, Nicosia, Cyprus, 2018" src="https://freight.cargo.site/w/1000/i/b618cfe58a5225d199176ddf088994a980ceec8ad396553ecdd83acb36bdba04/3H2A1163.jpg" /&#62;
&#60;img width="1200" height="801" width_o="1200" height_o="801" data-src="https://freight.cargo.site/t/original/i/ea286b0fe7d9e0de19c158d49b20825397b647e153c48325be3c6d9dfc5d5f9c/9-3H2A1218-3.jpg" data-mid="204567383" border="0" alt="Sheep, 2018, Over The Horizon" data-caption="Sheep, 2018, Over The Horizon" src="https://freight.cargo.site/w/1000/i/ea286b0fe7d9e0de19c158d49b20825397b647e153c48325be3c6d9dfc5d5f9c/9-3H2A1218-3.jpg" /&#62;
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/e63af2a7975e492ac2dbd1115b89b4e0f602a4600e53d89e0055735451d5f844/3H2A1075.jpg" data-mid="204567385" border="0" alt="Nimac, Nicosia, Cyprus, 2018" data-caption="Nimac, Nicosia, Cyprus, 2018" src="https://freight.cargo.site/w/1000/i/e63af2a7975e492ac2dbd1115b89b4e0f602a4600e53d89e0055735451d5f844/3H2A1075.jpg" /&#62;
&#60;img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/ca14f07736c60d732c6495eb800f3c90b64779d917f1d72fbf4ea1c6ad9b8e56/antenas-2018.jpg" data-mid="204567393" border="0" alt="Antenna, 2018, Over The Horizon" data-caption="Antenna, 2018, Over The Horizon" src="https://freight.cargo.site/w/1000/i/ca14f07736c60d732c6495eb800f3c90b64779d917f1d72fbf4ea1c6ad9b8e56/antenas-2018.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/62eb5f48d41ecccb28f853466c3f2aa8fd4e3b196d043213e130f30fb1de5fa2/Flamingos-2018-.jpg" data-mid="204567394" border="0" alt="Flamingos, 2018, Over The Horizon" data-caption="Flamingos, 2018, Over The Horizon" src="https://freight.cargo.site/w/1000/i/62eb5f48d41ecccb28f853466c3f2aa8fd4e3b196d043213e130f30fb1de5fa2/Flamingos-2018-.jpg" /&#62;
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/1b16a0db2cb8c617c7af8cbe20552e192fd73ca4b991b70ffc820f928fb7ef37/3H2A1092.jpg" data-mid="204567402" border="0" alt="Nimac, Nicosia, Cyprus, 2018" data-caption="Nimac, Nicosia, Cyprus, 2018" src="https://freight.cargo.site/w/1000/i/1b16a0db2cb8c617c7af8cbe20552e192fd73ca4b991b70ffc820f928fb7ef37/3H2A1092.jpg" /&#62;
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/921324ed95e466482398a4fe374d15b5cfec5134222b12bcad3d953e43810046/3H2A2299.jpg" data-mid="204567411" border="0" alt="Antenna (PLUTO II OTH), 2018, Over The Horizon" data-caption="Antenna (PLUTO II OTH), 2018, Over The Horizon" src="https://freight.cargo.site/w/1000/i/921324ed95e466482398a4fe374d15b5cfec5134222b12bcad3d953e43810046/3H2A2299.jpg" /&#62;
&#60;img width="534" height="800" width_o="534" height_o="800" data-src="https://freight.cargo.site/t/original/i/afda933ccb11cfe6d744e7dddeae5dc88f7343f036a10db88d1fabd10305ae3c/3H2A2308_1.jpg" data-mid="204567412" border="0" alt="Radar station, 2018, Over The Horizon" data-caption="Radar station, 2018, Over The Horizon" src="https://freight.cargo.site/w/534/i/afda933ccb11cfe6d744e7dddeae5dc88f7343f036a10db88d1fabd10305ae3c/3H2A2308_1.jpg" /&#62;
&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/e65e31db7e013ec08a47b65495fec8b12fbd9b3b62cda34a23cb8cff27c218af/3H2A1104.jpg" data-mid="204567435" border="0" alt="Nimac, Nicosia, Cyprus, 2018" data-caption="Nimac, Nicosia, Cyprus, 2018" src="https://freight.cargo.site/w/1000/i/e65e31db7e013ec08a47b65495fec8b12fbd9b3b62cda34a23cb8cff27c218af/3H2A1104.jpg" /&#62;
&#60;img width="534" height="800" width_o="534" height_o="800" data-src="https://freight.cargo.site/t/original/i/cea41296d89b99df5a60a5ca256ecb6a015a4e6c1fc460249caae7990ae17b36/3H2A0386.jpg" data-mid="204567456" border="0" alt="View 1, 2018, Over The Horizon" data-caption="View 1, 2018, Over The Horizon" src="https://freight.cargo.site/w/534/i/cea41296d89b99df5a60a5ca256ecb6a015a4e6c1fc460249caae7990ae17b36/3H2A0386.jpg" /&#62;
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	Where are you going young man, handsome like a legend. Point Centre for Contemporary Art Nicosia, Cyprus, 2017 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 Cyprus’ 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 EOKA guerrilla group during the national liberation struggle of 1955 – 1959 against British rule.&#38;nbsp;For moreread exhibition review by Harris Pellapaisiotis 
	
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	<item>
		<title>films</title>
				
		<link>https://stelioskallinikou.com/films</link>

		<pubDate>Thu, 19 Oct 2023 11:10:06 +0000</pubDate>

		<dc:creator>Stelios Kallinikou </dc:creator>

		<guid isPermaLink="true">https://stelioskallinikou.com/films</guid>

		<description>

	Films
	

Decomposition, 2025Video with audio, 11 minutes

Sound: Panagiotis Mina


The video reflects the reality of destruction without anchoring it to a specific place or moment. Instead, it unfolds within a spiralling space–time continuum, where catastrophe repeats, dissolves, and resurfaces like a returning tide. Kallinikou gathers online footage recorded by people witnessing ecological disasters, armed conflicts, and sudden moments of danger. From this material, he isolates a single recurring gesture: the instant the eyewitness begins to run, while the camera continues to capture their frantic escape. These fragments form a rapid relay of images suggesting a work that searches for an exit from within its own turbulence. In this suspended emergency, the piece raises urgent questions. Who is the victim? Who is the witness? Who is the viewer?


Same water, 2024
HD video with audio, 14:09 min&#38;nbsp;(excerpt)
sound: xypno

The film is inspired by ritual healing practices that are deeply connected with the earth and are in harmony with the elements of nature as opposed to colonial-extractivist practices that exploit our commons and exhaust the earth by leaving ruins behind. Plants are constantly in contact with the elements of nature unlike us who have built whole mechanisms to protect ourselves from the natural environment. A tree attends to the physical elements precisely because the elements are not objects and cannot be objectified.


	two minutes twenty two seconds thirty two milliseconds, 2024
HD video with audio, 02:22 min (excerpt)

The film follows a watchmaker reassembling a pocket watch. The subject of the film is time itself. The movie ends up being an autopsy of the mechanism that measures time and which technology has rendered obsolete.


	Bird watching, 2023HD video with audio, 07:40 min (excerpt)

The film aspires to offer a reflection on the relationship between people, animals and the environment in the context of militaristic and property rights mindsets of ongoing processes of colonisation and extinction.


	Awkward stones, 2023
4k video with audio, 15.24 min  (excerpt)

Stelios Kallinikou&#38;nbsp;
in collaboration withHaytham El-WardanyPeter Eramian

The starting point for the project “awkward stones” is Haytham El-Wardany's poem ‘their names’, which was written on the occasion of the group exhibition Fabrica Hill (2021) at Thkio Ppalies artist-led project space. As interpreted by Stelios and Peter, the poem immerses the reader in notions of time, trauma, reconciliation, understanding, companionship and history by sensing the many faces of our contemporaries, in an attempt to speak the “laborious words”. In the video, we hear the poem in Cypriot dialect while landscapes near and far appear both in ruins and blooming, landscapes covered by the mist of our “criminal harmony”.&#38;nbsp;


	Flamingo Theatre, 2019
Video with audio, 13 min (excerpt)
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.


	Howlings, and optical illusions 2020
Video with audio, 21 min (excerpt)
The video work Howlings and optical illusions is a&#38;nbsp; collage made out of found online footage of Cypriots discovering Ufos. The work functions as a poetic musical play where the witnesses/protagonists of the film balance between the local and the extraterrestrial.


	Video works

	Bird, 2022
 Video with audio, loop
The video shows a bird flying repeatedly and pecking at its reflection in the side mirror of a car. The phenomenon of a bird defending its nest against intruders — in this case, its own reflection is known nowadays where human made reflective surfaces and structures cause confusion and disorientation.

	
Sleep, 2022
Video with audio, loop

The video work entitled "sleep" is excavated from my family video archive. My young brother filmed by my father is trying to fall asleep while an adult is disrupting him in an effort to keep him awake. An instance situated in the threshold between dreamworld and reality. An act that insist to repeat itself in a circle between sleep and wakefulness.


Sparrow, 2019Video, loop

On the screen we see a small sparrow lying on its back and breathing heavily in an infinite loop. The image and the act of breathing are maintained on the screen surface via the connection to electrical power. At the same time, the sparrow is constantly and endlessly in a state of emergency.


	Weeper Capuchin, 2022
Video, loop

In Why look at animals John Berger, sets forth that “captive animals and we ourselves, their human counterparts, view one another across a narrow abyss of incomprehension.” The work (Weeper Capuchin, 2020/21) negotiate this space between us and the animal, striving to offer a bridge that hovers over the void. The expressive eyes of the Capuchins, as if carrying a prehistoric melancholy, exchange glances with the viewer via a thick glass wall that is invisible in the photographs, much like the photographic lens. Often birds find tragic death on such reflective glass walls because they are not visible to them.


</description>
		
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	<item>
		<title>Text</title>
				
		<link>https://stelioskallinikou.com/Text</link>

		<pubDate>Sun, 29 Dec 2019 11:07:12 +0000</pubDate>

		<dc:creator>Stelios Kallinikou </dc:creator>

		<guid isPermaLink="true">https://stelioskallinikou.com/Text</guid>

		<description>


	Liquid Landscapes: 
Water Tunnels, Flamingos, and Radar Sounds in Contemporary Photography From Cyprusby Dr Elena Stylianou, 2026, (Eng)
Chance, Trespass and political geography 
in the artwork of Stelios Kallinikou 
by Gervaise Alexis Savvias, &#38;nbsp;2025,&#38;nbsp;(Eng)

Politics of the Landscape in the Work of Stelios Kallinikou by Adela Lovric 2024&#38;nbsp;(Eng)

Calls and Songsan intimate responseGervaise Alexis Savvias, 2024 (Eng)

Calls and Songsby Andrés Valtierra, 2024 (Eng)

Exploring the liquidity of Cyprus: Maria Hadjimichael talks with curator Evagoras Vanezis and artists Stelios Kallinikou and Korallia Stergides about the Cypriot participation in the Atlas of Mediterranean Liquidity.Goethe Institut-Zypern 2023 (Eng,Gr,De,Tr) 

The Disappearance of Things by Haris Pellapaisiotis 2022 (Eng)
Locations of Gaze by Misal Adnan Yıldızon the occasion of the exhibition hypersurfacing curated by Marina Christodoulidou at 
NiMAC, Nicosia, Cyprus, 2019 (Eng)

Nymphaeaceae, interview for Phileleftheros newsparer 2019 (Gr)
 
Politics of the landscape, interview for Urbanautica by Georges Salameh, 2018 (Eng)
Studies in
Geology, 2018, text by curator Kim
Knoppers, Foam
Museum, Amsterdam (Eng)

Over The Horizon, 2018 text : Dr. Yiannis Toumazis, Nimac, Nicosia (Eng)


Step firmly onto the earth, young man…2017. A reflection on Stelios Kallinikou’s photographs at Point Centre for Contemporary Art. Text: Haris Pellapaisiotis (Eng)

The Question Behind the Dream: Disrupting Cypriot Photography. Interview by Kiriakos Spyrou for Yatzer, 2016 (Eng)


</description>
		
	</item>
		
		
	<item>
		<title>Calls and Songs; an intimate response</title>
				
		<link>https://stelioskallinikou.com/Calls-and-Songs-an-intimate-response</link>

		<pubDate>Thu, 13 Jun 2024 08:24:12 +0000</pubDate>

		<dc:creator>Stelios Kallinikou </dc:creator>

		<guid isPermaLink="true">https://stelioskallinikou.com/Calls-and-Songs-an-intimate-response</guid>

		<description>


	Liquid Landscapes: Water Tunnels, Flamingos, and Radar Sounds in Contemporary Photography From Cyprusby Dr Elena Stylianou, 2026, (Eng)

Chance, Trespass and political geography 
in the artwork of Stelios Kallinikou 
by Gervaise Alexis Savvias, &#38;nbsp;2025, (Eng)

Politics of the Landscape in the Work of Stelios Kallinikou by Adela Lovric 2024&#38;nbsp;(Eng)

Calls and Songsan intimate responseGervaise Alexis Savvias, 2024 (Eng)

Calls and Songsby Andrés Valtierra, 2024 (Eng)

Exploring the liquidity of Cyprus: Maria Hadjimichael talks with curator Evagoras Vanezis and artists Stelios Kallinikou and Korallia Stergides about the Cypriot participation in the Atlas of Mediterranean Liquidity.Goethe Institut-Zypern 2023 (Eng,Gr,De,Tr) 

The Disappearance of Things by Haris Pellapaisiotis 2022 (Eng)
Locations of Gaze by Misal Adnan Yıldızon the occasion of the exhibition hypersurfacing curated by Marina Christodoulidou at 
NiMAC, Nicosia, Cyprus, 2019 (Eng)

Nymphaeaceae, interview for Phileleftheros newsparer 2019 (Gr)
 
Politics of the landscape, interview for Urbanautica by Georges Salameh, 2018 (Eng)
Studies in
Geology, 2018, text by curator Kim
Knoppers, Foam
Museum, Amsterdam (Eng)

Over The Horizon, 2018 text : Dr. Yiannis Toumazis, Nimac, Nicosia (Eng)


Step firmly onto the earth, young man…2017. A reflection on Stelios Kallinikou’s photographs at Point Centre for Contemporary Art. Text: Haris Pellapaisiotis (Eng)

The Question Behind the Dream: Disrupting Cypriot Photography. Interview by Kiriakos Spyrou for Yatzer, 2016 (Eng)


	Calls and Songs

an intimate response

Gervaise Alexis Savvias

link


There is no safety, and there is no end. 

The world is seldom heard in silence. 

Maybe all the pain in the world requires poetry; someone to bear witness, to survey; to fix their gaze and remain steadfast in their pursuit of meticulously building a hut in the suffocating desert. So often, you see things that shake you, move you—maybe once, a momentary glitch. Maybe always, and constantly—a cacophonous litany. 


Our planet is in peril. We must recognise that the fundamental conditions of global modernity are closely tied to the enclosure of our commons, which is altogether symbiotic to racial capitalism’s inherent dependency on the corralling of space. Modernity is a social and ecological disaster–one which we are constantly attempting to survive. To surmise it as anything other than brutal would be fallacious. We ought to understand modernity as a system and structure––deeply entangled with capitalism and its attendant brutality––rather than a fixed event. The nation states makes use of a variety of violent methods to claim the earth as ours, involving fences, borders, territorialisation; displacement, deracination and confinement; the destruction of our commons. This is an emergency: we must see the earth before the end of the world. By that metric, the precise role of the artist, then, is to illuminate the darkness, blaze roads through the vast forest; open a line of enquiry as to how we might honour the earth, and in doing so, walk more lightly upon it. 


The distant songbird call; a distinctly heartfelt undulation between observation, documentation and active participation. The natural world, and by equal measure, its form as malleable archive; rehearsal and reminder for living; evidence of the living-commotion, beckons to Stelios Kallinikou. A seemingly fragmented approach vividly translates into the articulation of his practice, stretching across the aural realm, photography, video and found-archival material. This is perhaps most emphatically realised at his recent solo exhibition, Calls and Songs, at eins gallery (Limassol, Cyprus). 


Spring is a portentous season. The earth remembers its own name. The smell of chrysanthemums fills the air. Blades of grass stain your sneakers. New stars in the sky. The gentleness that comes not from the absence of violence but despite the abundance of it. First light of morning, the chemical of waking; the morning birds are a Grecian choir. I write my reflections below in a manner akin to my practice: parapoetics. These fragmented thoughts were written blithely; in the aftermath of my visit at the start of May 2024. 


Poeticism is political. Always. &#38;nbsp;


I. 1, 2-4. (Bird [ζευκαλάτης], 2022); (img #1, #2, #3 [feather paradox], 2019); 

I Urge You. 
pay attention to the natural world around you.
everything in nature is obedient and
always teaching us patience; grace. 

&#38;nbsp;
INTERLUDE:

tap-tap on the rear-view mirror.

ecstatic territoriality. 

modernity is an all-consuming macrophage.

everything matters—now more than ever. 

our present moment, our imagination

is actively being deracinated; devoured.

technology is often inimical.

flashing screens 

and diodes 

and blue lights 

and the future is now!

but the earth is dying!

take the little bird of rage
open her beak. blow into her sternum 

so it looks like breathing 

and take the fire she gives you.


II. 5. (Still Life 2-4, 2022); (AMMATIN, 2023);

part one

the side eye;

the cutting eye,

or otherwise:

retinal antagonism. 

it is hard to tear the eyes away, but

facts about the iris

do not make the iris.

open. 

your eyes adjust to darkness

but the heart never. 


part two

all water has a perfect memory and is forever trying to get back to where it was. 

glacial silence can be as heavy as metal.

a hard light. but

what happens when you listen to silence? 

feedback is a ghostly entourage.

the groan of the ocean: 
vibrational eloquence.
it beckons attunement of the ear.

love for the natural world.

not as attachment

but as a constituent element;

an enveloping. &#38;nbsp;


III. 6–7. (Gas station, 2024); (Plant, 2019);


an ode to playful mythologizing; dream spaces. 

the dramatization of nothing

is an intimate propellor into the future.

not garish, not inchoate. 

a secret third thing:

a devotion to the eerie; amorous dereliction;

a trigger of hope. 


Which is easier? 


To imagine the end of the world, or an end to capitalism? 


Stelio Kallinikou’s archive is recalcitrant. Calls and Songs is resonant insofar as its visual acuity is meticulously crafted and artistically installed; a tender oscillation between stillness and spectacle. Kallinikou’s work is exciting for the mere fact that the entirety of his critical, conceptual (and at times, ethereal) project is fully present throughout the particularity of this exhibition. Echoing Bertolt Brecht, art is not a mirror held up to reality, but a hammer with which to shape it. As artists, our central call is to honour the collective utterance and echoes of those, and that, which came before us. In the shadow of gross capital accumulation and European modernity, Kallinikou honours the rapidly changing fabric of the Earth, all while honouring its expansive abundance and grandeur. In a resplendent manner, in large part due to the distinct and rich scope of his visual language, Kallinikou listens to the whispers on the wind in a refreshingly analytical manner––calling upon us to do the same; to couple the political act of witnessing alongside praxis. 


––––––––––––––––––––––––––––––––––


Endnotes


the precise role of the artist, then, is to illuminate the darkness, blaze roads through the vast forest: James Baldwin, ‘The Creative Process’ in Adolph Suehsdorf &#38;amp; Jerry Mason (eds.), Creative America (Ridge Press, 1962) 17. 

we must see the earth before the end of the world: Ed Roberson, ‘To See the Earth Before the End of the World’ in Ed Roberson, To See the Earth Before the End of the World (Wesleyan University Press, 2010).

all water has a perfect memory and is forever trying to get back to where it was: Toni Morrison, from a talk given at the New York Public Library (1986).

a rehearsal and reminder for living: See Leanne Betasamosake &#38;amp; Robyn Maynard, Rehearsals for Living (Haymarket Books, 2022).

To imagine the end of the world, or an end to capitalism?: Mark Fischer, Capitalism Realism: Is There No Alternative? (Zero Books, 2010).


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	<item>
		<title>Calls and Songs, Andrés Valtierra, 2024 (Eng)</title>
				
		<link>https://stelioskallinikou.com/Calls-and-Songs-Andres-Valtierra-2024-Eng</link>

		<pubDate>Mon, 22 Apr 2024 10:49:20 +0000</pubDate>

		<dc:creator>Stelios Kallinikou </dc:creator>

		<guid isPermaLink="true">https://stelioskallinikou.com/Calls-and-Songs-Andres-Valtierra-2024-Eng</guid>

		<description>


	Liquid Landscapes: Water Tunnels, Flamingos, and Radar Sounds in Contemporary Photography From Cyprusby Dr Elena Stylianou, 2026, (Eng)

Chance, Trespass and political geography 
in the artwork of Stelios Kallinikou 
by Gervaise Alexis Savvias, &#38;nbsp;2025, (Eng)

Politics of the Landscape in the Work of Stelios Kallinikou by Adela Lovric 2024 (Eng)

Calls and Songsan intimate responseGervaise Alexis Savvias, 2024 (Eng)

Calls and Songsby Andrés Valtierra, 2024 (Eng)

Exploring the liquidity of Cyprus: Maria Hadjimichael talks with curator Evagoras Vanezis and artists Stelios Kallinikou and Korallia Stergides about the Cypriot participation in the Atlas of Mediterranean Liquidity.Goethe Institut-Zypern 2023 (Eng,Gr,De,Tr) 

The Disappearance of Things by Haris Pellapaisiotis 2022 (Eng)
Locations of Gaze by Misal Adnan Yıldızon the occasion of the exhibition hypersurfacing curated by Marina Christodoulidou at 
NiMAC, Nicosia, Cyprus, 2019 (Eng)

Nymphaeaceae, interview for Phileleftheros newsparer 2019 (Gr)
 
Politics of the landscape, interview for Urbanautica by Georges Salameh, 2018 (Eng)
Studies in
Geology, 2018, text by curator Kim
Knoppers, Foam
Museum, Amsterdam (Eng)

Over The Horizon, 2018 text : Dr. Yiannis Toumazis, Nimac, Nicosia (Eng)


Step firmly onto the earth, young man…2017. A reflection on Stelios Kallinikou’s photographs at Point Centre for Contemporary Art. Text: Haris Pellapaisiotis (Eng)

The Question Behind the Dream: Disrupting Cypriot Photography. Interview by Kiriakos Spyrou for Yatzer, 2016 (Eng)


	Stelios Kallinikou. Calls and Songs
Text. Andrés Valtierra, 2024&#38;nbsp;


The proliferation of cameras—their reduction in size and our constant exposure to the innumerable images they produce—has made it seem as if the distance between the lens and the human eye has been reduced, almost eliminated. We constantly see through our screens, oftentimes forget to pause and look at whatever might be in front of us—objects, people, scenes—, for a quick snap has substituted our process of observation and analysis. We captured something, and this is enough because we can retrieve our images at a later date and look at them more carefully. Except that our encyclopaedia of potential perusal becomes noise for the large part, another vehicle for endless scrolling in which only a few frames will call our attention, random frames that do not depend on the nature of each image. The selection is contingent on the context in which we are—physically, mentally, and emotionally—, and on the visual grammar of our image libraries.


Being subject to this process, we often forget that many of the images we consume—and save—were not taken by us. Even if we are aware of this, we tend to look at them in similar terms: storing, forgetting, and making them seem passive. This happens almost automatically, for this has become a standard way of consuming visual information. In other words, even our critical thinking has been hijacked by such a dynamic, causing in each of us blind spots that precede our process of thought. These are not only the oversights we all have when reflecting on a certain subject; these are pieces of information that we have consumed without paying much attention, for we would later do so, yet they continue to grow inside us. No matter how prone we are to critical thinking (or theory), some other peoples’ views have passed before us and into us.


Stelios Kallinikou’s practice takes the archive as a starting point, yet his process of gathering, storing and revisiting images happens in very different terms. His work is the constant research of how we relate to images—physically, politically, emotionally, and intellectually—, of how they are taken, distributed, sometimes forgotten, and ultimately viewed. The sources of his images are manifold: some he takes on a quotidian basis, while for others he makes proper excursions, as a photographer working on field; there are some pictures he retrieves while browsing online, and yet others that he finds during more structured archival research. He usually pursues diverse lines of inquiry at the same time, which often intersect in diverse points. This allows him to make a cross-pollination between conceptual threads. It is common that exhibitions include works developed for previous shows, which are now re-contextualised and re-signified.


For his second solo show at eins gallery, Calls and Songs, Stelios Kallinikou presents a body of work that explores how human beings have registered and altered the environment through technologies, and how we relate to recording devices. Likewise, his artworks evince a high sensitivity towards the artist’s surroundings, one that could almost be described as poetic, if this word did not simplify the different levels in which Kallinikou works. Along with the lyricism of his depiction of bodies, animals, plants, or human constructions, Kallinikou takes a physical and ideological stance in relation to the lens and the image, which is then mirrored and expanded in his audiences’ acts of looking.


For each of his presentations, Kallinikou carefully selects the works he will include and decides their placement in the exhibition space. This almost creates an installation of a sort, except that the artworks always retain their independence. Kallinikou creates temporary constellations that play with our experience and the possible interpretations artworks may have. Upon entering Calls and Songs, one sees objects placed on the walls and floor. Yet the experience is not only retinal; there are sounds one hears and that are present all throughout our visit. A resonance of static fills the space, yet it is not necessarily steady. The sound changes subtly at first, then the last note becomes louder, perhaps even changes tone after a while. It might be difficult at first to untangle what produces this sound, and to what the variations respond. Eventually one realises it’s connected to the seashell lying on a mirror on the floor, with a microphone attached to its centre (Still Life, 2022). It amplifies what we have commonly learned to refer to as the sound of the sea trapped in a shell, and Kallinikou has set the work to react to the movement of people in the gallery. Simultaneously, a bird chirps and flaps its wings; occasionally, we hear a tapping sound. A screen shows a bird trying to fight its own reflection on a side-view mirror (Bird, 2022). Our initial experience of these works is through hearing, yet one needs to rely on a visual exploration in order to make sense of them. This is not to say that the eye is the organ that enables the comprehension of the works; rather, they exist in the connection between the image/object and one’s extended bodily experience. What is more, both works use recording technologies to, in the first case, map through sound the beings in a setting; in the second, to document how optical instruments have altered the environment, to a point that defies the comprehension and behaviour of other species. Both could be read as allegories of how other technologies are used as exercises of power on the global stage, and yet they continue to refer to particular situations and beings.


The images, however thin may be, are never flat in Kallinikou’s work—they always remain objects and are displayed through objects. A square monitor shows an anonymous eye that fills the complete screen (AMMATIN, 2023). Its constant movement is ambiguous: is it looking at an invisible image, perusing us, or nervously reacting to other stimuli? In this uncertainty, the eye feels oppressive, even threatening. But the video really shows “a scanpath recording of a participant freely looking at a picture,” according to wikipedia where the video was found. By turning our sight to the eye, rather than focusing on the absent image, the video emphasises the physiological mechanics of seeing, revealing how ambivalent the act of looking is in itself; how certain, minute gestures that could even feel threatening, when seen in a larger context—quotidian human interaction, really—, they become neutralised.


Stelios Kallinikou looks into the connections between the images he works with and diverse histories: of photography, of painting, of film, of a particular terrain he is working on, of how he got there, and of Cyprus’s political past and present. By taking a position in front of the technologies whereby we record the world, Kallinikou emphasises the distance between his body, the lens, the image, and that which is being recorded. By extension, this also shows the distances we retain, and which we often forget about. His work grants us a glimpse of the underlying implications of looking and recording the world, that is, of the contexts in which images are produced, circulated and consumed—many of which seem to hide away the more a picture circulates. It prompts us, in the end, to decide our position concerning what would prefer to stay unseen in all the images we encounter.


</description>
		
	</item>
		
		
	<item>
		<title>The Disappearance of Things  Haris Pellapaisiotis</title>
				
		<link>https://stelioskallinikou.com/The-Disappearance-of-Things-Haris-Pellapaisiotis</link>

		<pubDate>Tue, 24 May 2022 08:00:39 +0000</pubDate>

		<dc:creator>Stelios Kallinikou </dc:creator>

		<guid isPermaLink="true">https://stelioskallinikou.com/The-Disappearance-of-Things-Haris-Pellapaisiotis</guid>

		<description>


	Liquid Landscapes: Water Tunnels, Flamingos, and Radar Sounds in Contemporary Photography From Cyprusby Dr Elena Stylianou, 2026, (Eng)

Chance, Trespass and political geography 
in the artwork of Stelios Kallinikou 
by Gervaise Alexis Savvias, &#38;nbsp;2025, (Eng)

Politics of the Landscape in the Work of Stelios Kallinikou by Adela Lovric 2024&#38;nbsp;(Eng)

Calls and Songsan intimate responseGervaise Alexis Savvias, 2024 (Eng)

Calls and Songsby Andrés Valtierra, 2024 (Eng)

Exploring the liquidity of Cyprus: Maria Hadjimichael talks with curator Evagoras Vanezis and artists Stelios Kallinikou and Korallia Stergides about the Cypriot participation in the Atlas of Mediterranean Liquidity.Goethe Institut-Zypern 2023 (Eng,Gr,De,Tr) 

The Disappearance of Things by Haris Pellapaisiotis 2022 (Eng)
Locations of Gaze by Misal Adnan Yıldızon the occasion of the exhibition hypersurfacing curated by Marina Christodoulidou at 
NiMAC, Nicosia, Cyprus, 2019 (Eng)

Nymphaeaceae, interview for Phileleftheros newsparer 2019 (Gr)
 
Politics of the landscape, interview for Urbanautica by Georges Salameh, 2018 (Eng)
Studies in
Geology, 2018, text by curator Kim
Knoppers, Foam
Museum, Amsterdam (Eng)

Over The Horizon, 2018 text : Dr. Yiannis Toumazis, Nimac, Nicosia (Eng)


Step firmly onto the earth, young man…2017. A reflection on Stelios Kallinikou’s photographs at Point Centre for Contemporary Art. Text: Haris Pellapaisiotis (Eng)

The Question Behind the Dream: Disrupting Cypriot Photography. Interview by Kiriakos Spyrou for Yatzer, 2016 (Eng)

	The Disappearance of ThingsHaris Pellapaisiotis 
This essay emerged from conversations with the artist Stelios Kallnikou as he was preparing for his exhibition of photographs at Eins Gallery in Limassol. It is based on thoughts about his work, our mutual interest in photography and the sharing of ideas about its future.

The printed still-image, long thought-off as the outcome of an encounter between the person behind the camera and something that materially exists in the world, is now overtaken by the production of images that are configured through a range of new reproductive digital and technological practices currently operating in the visual field. Consequently, the transition in photographic experience from a relational exchange between the photographer and something actual - to virtual and digitally produced imagery, has destabilized the perception that photography is a way of seeing the world through the lived quality of being in the world. This technological shift does not simply indicate the obsolescence of an older technology by another more expedient way of making photographs, but also signals the disappearance of a way of thinking about photography. Photography has long been thought of as a form of prosthesis of vision connected to the mind that had sought to maintain a continuity between natural perception and technology.

Historically, the relationship between art, photography and technology has been an uneasy one, as expressed by Baudelaire, who derided his fellow countrymen and women for their cheap narcissistic desire to prostrate themselves before a false and idolatrous God. Widely considered to be the father of modern art criticism, Baudelaire pulls back at the tide of the mechanization of the image that comes with photography. He warns against the cold mechanical eye of the camera which guarantees a likeness of nature and generates false truths. Like the Romantics before him, Baudelaire considers that the artist should not only paint what is seen, but also what is felt. The camera on the other hand, he had warned, captures whatever is reflected into the lens and reduces the object to its mere hyperbolic likeness, rendering therefore the photograph into a thing of make-believe that obscures any direct correspondence between objects in the material world and the mind. By this logic, the photograph becomes a floating sign that mimetically replaces the object’s true nature with its reproduced image. According to Baudelaire, what is sacrificed during the object’s transformation into a photographic reproduction is the impalpable in art, the imaginary and the sublime.

And yet, contrary to much of what has been written about the idea of the photograph as a signifier which reduces its referent into its symbolic likeness, photography is a spatial, performative, and relational practice whereby to photograph is to position oneself within an ecology of connecting elements that co-exist in actual space and time. Looked at from such a perspective, photography does not simply amount to reducing reality (as such) into “bad” theatricality –something which is prevalent in our contemporary massification and consumption of photographic images, but rather, photography can performatively function as a tool that connects the human body to a practice that utilizes imagery and visualization at the point of contact with the physical, spatial, natural, and socio-political environment. To photograph is to reconnect with the object in front of the camera in a way that rethinks that relationship. The task of the photographer is to find ways to translate the encounter with the object in some way that reveals meaning without erring towards rhetorical definitions. &#38;nbsp;

Looking at the range of prints with exotic animals, which at first glance indicate the theme of Kallinikou’s work, it occurs to me that hidden beneath their striking presence lurks a larger concern that expresses the fragility of the photographic image, but also the negation of the photographic experience. In the age of digitalization, what is fast disappearing is the space generated between photographer and object and subsequently the space for thinking that is created between image and viewer. No longer having the need to be physically situated in relationship to the object, the photographer becomes dislocated in space and time as the photographer’s own sense of somatic awareness, in relation to the object, disappears from experience. Kallinikou’s deliberate venture to make each image less legible through a process of printing and reprinting, sometimes from digitally corrupted files till they create the effect he seeks, seems to reference a wider metaphor that takes us back to the photographic outcome as an encounter with the object. The emphatic materiality that is textured into each print through his process of working takes on a metaphorical and physical state of permanent counterbalance between theme and form which has the effect of drawing the viewer back to the image as a referent. In other words, it is the fragility of the image that is referenced here –it is the image that is been represented for the viewer to think about. The prefix re- as it is used before a verb indicates a dialogical engagement with one’s actions in a process that involves rethinking presentational values. In the same way, that to rethink means to think again and reflect on past positions, to represent means to present again in such a way as to generate fresh thinking. 

What I believe underscores the intentionality of Kallinikou’s work is that even though he is largely in control of the effect he is after in his prints, he nevertheless continues to seek the element of surprise, of wonder and revelation, not in the depiction of extraordinary new encounters with his outside environment, but in the digital production of images. In this sense, he is thinking his relation to photography as it makes the transition from one technology to another and in that process, he is inviting the viewer to step back, to find the space to hold dialogue with the work and to rethink with him the possible disappearance of things. 


</description>
		
	</item>
		
		
	<item>
		<title>Locations of Gaze  Misal Adnan Yıldız  </title>
				
		<link>https://stelioskallinikou.com/Locations-of-Gaze-Misal-Adnan-Yildiz</link>

		<pubDate>Fri, 13 Nov 2020 10:57:35 +0000</pubDate>

		<dc:creator>Stelios Kallinikou </dc:creator>

		<guid isPermaLink="true">https://stelioskallinikou.com/Locations-of-Gaze-Misal-Adnan-Yildiz</guid>

		<description>


	Liquid Landscapes: Water Tunnels, Flamingos, and Radar Sounds in Contemporary Photography From Cyprusby Dr Elena Stylianou, 2026, (Eng)

Chance, Trespass and political geography 
in the artwork of Stelios Kallinikou 
by Gervaise Alexis Savvias, &#38;nbsp;2025, (Eng)

Politics of the Landscape in the Work of Stelios Kallinikou by Adela Lovric 2024&#38;nbsp;(Eng)

Calls and Songsan intimate responseGervaise Alexis Savvias, 2024 (Eng)

Calls and Songsby Andrés Valtierra, 2024 (Eng)

Exploring the liquidity of Cyprus: Maria Hadjimichael talks with curator Evagoras Vanezis and artists Stelios Kallinikou and Korallia Stergides about the Cypriot participation in the Atlas of Mediterranean Liquidity.Goethe Institut-Zypern 2023 (Eng,Gr,De,Tr) 

The Disappearance of Things by Haris Pellapaisiotis 2022 (Eng)
Locations of Gaze by Misal Adnan Yıldızon the occasion of the exhibition hypersurfacing curated by Marina Christodoulidou at 
NiMAC, Nicosia, Cyprus, 2019 (Eng)

Nymphaeaceae, interview for Phileleftheros newsparer 2019 (Gr)
 
Politics of the landscape, interview for Urbanautica by Georges Salameh, 2018 (Eng)
Studies in
Geology, 2018, text by curator Kim
Knoppers, Foam
Museum, Amsterdam (Eng)

Over The Horizon, 2018 text : Dr. Yiannis Toumazis, Nimac, Nicosia (Eng)


Step firmly onto the earth, young man…2017. A reflection on Stelios Kallinikou’s photographs at Point Centre for Contemporary Art. Text: Haris Pellapaisiotis (Eng)

The Question Behind the Dream: Disrupting Cypriot Photography. Interview by Kiriakos Spyrou for Yatzer, 2016 (Eng)


	Locations of Gaze

Misal Adnan Yıldız on the occasion of the exhibition hypersurfacing&#38;nbsp;curated by Marina Christodoulidou at 
NiMAC, Nicosia, Cyprus 
2019

First, I came across some recent news about Turkey’s unauthorized gas drilling in Cypriot waters on my feed. Then, a few friends around me started to talk about the new urban development project proposed for Varosha in Famagusta, Cyprus—a ghost town under the control of Turkish military. This abandoned suburb was a popular tourism destination before the Turkish invasion of Cyprus in 1974, and attracted Brigitte Bardot, Sophia Loren, and Elizabeth Taylor, among others, in its good old days. After seeing some photos of this “no man’s land” I actually thought of my uncle, who has recently passed away. He was the first person I knew with a tattoo, and it was a hand drawn map of Cyprus which he got after he served in the Turkish Army during the invasion. &#38;nbsp;

Much later, I read that water wells were discovered by archaeologists in western Cyprus, and they are believed to be the oldest in the world, from 9,000 to 10,500 years old(1). This fascinated me just as much as imagining this land as the birthplace of Aphrodite and Adonis. Water means are so urgent and vital for human survival; we know that literary evidence suggests an early Phoenician presence at Kition which was under Tyrian rule at the beginning of the tenth century BC(2). Since the very beginning of human history on the planet, Cyprus has been suffering from invasions, interventions, and military occupations; the island—with an amazing landscape, generous resources, and a mystical aura, has been one of the earliest victims of colonialism. It is definitely not a coincidence that Limassol-born Cypriot artist Stelios Kallinikou’s lens-based practice has been influenced not only by the history of the island, but also by the politics of this specific location. &#38;nbsp;

I remember myself standing in front of a powerful image at the solo exhibition that Kallinikou presented this year at the Künstlerhaus Bethanien in Berlin, concluding his residency there. Among other strong works based on experimenting with surveillance, landscape, and the politics of image, this photographic image entitled Radar Station (2018) portrays a starry sky mesmerizing us with the feeling of breathing into the infinity of the universe. The moment captured here poetically reflects the perfection of the composition of the cosmos. While this romantic atmosphere creates such an illusion, the twin white spheres bring up a critical question about how our sky has been globally controlled, monitored, and scanned. Kallinikou took this photo at the highest point of the island which also hosts the oldest British military base on the island—there since 1878. It is called Troodos. &#38;nbsp;

This is not the only work the artist has produced on this site. Star Gaze (2019) series is based on experimenting with the physicality of the location, the conditions of the surrounding area, as well as the impact of the environment on our perception of land, space, and gaze. Working with a camera on a snowy day, the artist found himself once again on top of the island. Kallinikou’s lenses were attempting to encapsulate the limits of the sky while he was breathing. During the process, he noticed subtle remarks of his breathing on the screen of his digital camera, and kept on doing what he was doing. 

This element of performative research does not only make the presence of the photographer visible, but also adds another layer to the work. The highest point of the island seems like an artist’s studio. And the artist is no different from the scientist in that he too develops a learning process through an accident of work in progress. I saw these prints carefully installed on another island (Anafi) this summer. Kallinikou presented them as part of this year’s edition of the Phenomenon exhibition in a classroom at the local elementary school. The venue served as a natural setting where one could see these works uncovering their close relationships with science, art, and education while further posing questions about how we reproduce knowledge across generations. Looking at them reminds me of how images from astronomy books for kids, visits to science museums, or losing oneself in encyclopedias can introduce us to outer spaces with categorized forms of distance, perception of space and gaze. 

In both cases, thinking together with Radar Station and also the Star Gaze series inevitably alludes to a frequent reference: “The Overview Effect is a cognitive shift in awareness reported by some astronauts and cosmonauts during spaceflight . . .&#38;nbsp; It refers to the experience of seeing firsthand the reality that the Earth is in space, a tiny, fragile ball of life, ‘hanging in the void,’ shielded and nourished by a paper-thin atmosphere. The experience often transforms astronauts’ perspective on the planet and humanity’s place in the universe. Some common aspects of it are feeling of awe for the planet, a profound understanding of the interconnection of all life, and a renewed sense of responsibility for taking care of the environment.” (3)

Apart from the planetary awareness gained through watching the Earth as a blue dot while floating in the void of space, there is another critical form of consciousness that appears in the Star Gaze series. Kallinikou’s commentary—a remainder of his breathing act on the photographic surface—expressly integrates with the colors, dots, and texture of the image in ways which portray the presence of the soul and the mind of the photographer. It can be seen&#38;nbsp; as an introspective aspect of contemporary photography. 

The overview effect, which is the cognitive experience of seeing the Earth from and in space, challenges human perspectives about political, cultural, social, and environmental issues based on shifting the position of the human beings as the center of the planet. The position for this perceptual experience is based on the necessity of a critical distance between the human being and the planet, whereas Kallinikou proposes to hide the presence of a/the photographer in the depiction of space, just like bodily movements, faces, and gestures are painted in Francis Bacon’s portraits.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;

An earlier project by Kallinikou, The Flamingo Theatre (2015) becomes relevant within this point of reference. At a beach located within the British Western Sovereign Base Area, the artist once again looked at the connection between the landscape, the environment, and nature through questioning surveillance. The location is known not only as a holiday destination but also as a military base neighboring the Akrotiri salt lake. The lake seasonally hosts different types of birds, including flamingos, that stop over every year during their migration between Africa and Europe. 

As Kallinikou was aware of the rules and regulations in the area, including the prohibitions for photographing the landscape around the military base, he always worked with a spare memory card where he saved his photos of these flying waders. His experience of observing the location with a critical gaze also inspired him for another body of work, the&#38;nbsp; Over the horizon series (2018), where pilots, parachuters, and antennas are depicted by Kallinikou’s lenses like flamingos. Camouflaging himself as a nature photographer, he documented the coexistence of two different forms of mobility and movement in the location: the ongoing traffic of birds juxtaposed alongside military aircraft, gadgets and vehicles. This link could be extended to how he repositions the castles of Byzantine heritage as ancient forms of ‘drones’ in his works [View 1-6 (2018)], which is part of the Over the horizon series (2018).&#38;nbsp; &#38;nbsp; &#38;nbsp;

Today, the objective seems to be a shift from a way of thinking that wants us, humans, seeing ourselves as separate from nature, to one where we acknowledge our existence as an integral part of nature. “The ecological thought” involves thinking about interconnectedness. Thinking the ecological thought is part of an ecological project (4). Beyond observations and interventions referring to the environmental crisis, climate change, and geomorphism, the ecological project also has a more positive dimension in the sense of reconfiguring our relationship to our complex habitat, which we used to call nature. Yet, a change of perspectives is fundamental: What would a geo-centered subject look like?(5)How would interconnectedness become a paradigm? How would these shifts in our perspectives influence our imagination and or understanding of our existence, and also forms of creativity, innovative thinking, and expression? These set of questions might be reformulated through another image by Kallinikou; a baby mouflon staring at the viewer in a forest. The silver grey, foggy and magical -almost otherworldly- atmosphere of the photographic image stages the baby animal as an actor, an agent and a protagonist of the Anthropocene. Considering that the mouflon, also called agrino, is the national symbol of Cyprus, what does this decision of the artist to show an offspring tell us in relation to another big question: 
- Who owns the land?&#38;nbsp; 
-------------------------------------------------------
(1)“Stone Age wells found in Cyprus” BBC News, (website)&#38;nbsp; http://news.bbc.co.uk/2/hi/europe/8118318.stm&#38;nbsp; (accessed December 28, 2019).(2)Hadjisavvas, Sophocles, The Phoenician Period Necropolis of Kition, Volume I. (Shelby White and Leon Levy Program for Archaeological Publications, 2013), p.1. (3)“The Overview Effect”, The Overview Institute of Australia (website) https://www.overviewinstituteaustralia.org/the-overview-effect&#38;nbsp; (accessed December 5, 2019).(4) Timothy Morton, The Ecological Thought (Harvard University Press, 2010), p.7. (5)Rosi Braidotti, The Posthuman (polity, 2013), p. 4.&#38;nbsp; &#38;nbsp;


</description>
		
	</item>
		
		
	<item>
		<title>Nymphaeaceae\Interview for Phileleftheros newsparer 2019 (Gr)</title>
				
		<link>https://stelioskallinikou.com/NymphaeaceaeInterview-for-Phileleftheros-newsparer-2019-Gr</link>

		<pubDate>Tue, 05 Jan 2021 07:35:09 +0000</pubDate>

		<dc:creator>Stelios Kallinikou </dc:creator>

		<guid isPermaLink="true">https://stelioskallinikou.com/NymphaeaceaeInterview-for-Phileleftheros-newsparer-2019-Gr</guid>

		<description>


	Liquid Landscapes: Water Tunnels, Flamingos, and Radar Sounds in Contemporary Photography From Cyprusby Dr Elena Stylianou, 2026, (Eng)

Chance, Trespass and political geography 
in the artwork of Stelios Kallinikou 
by Gervaise Alexis Savvias, &#38;nbsp;2025, (Eng)

Politics of the Landscape in the Work of Stelios Kallinikou by Adela Lovric 2024 (Eng)

Calls and Songsan intimate responseGervaise Alexis Savvias, 2024 (Eng)

Calls and Songsby Andrés Valtierra, 2024 (Eng)


Exploring the liquidity of Cyprus: Maria Hadjimichael talks with curator Evagoras Vanezis and artists Stelios Kallinikou and Korallia Stergides about the Cypriot participation in the Atlas of Mediterranean Liquidity.Goethe Institut-Zypern 2023 (Eng,Gr,De,Tr) 

The Disappearance of Things by Haris Pellapaisiotis 2022 (Eng)
Locations of Gaze by Misal Adnan Yıldızon the occasion of the exhibition hypersurfacing curated by Marina Christodoulidou at 
NiMAC, Nicosia, Cyprus, 2019 (Eng)


Nymphaeaceae, interview for Phileleftheros newsparer 2019 (Gr)
 
Politics of the landscape, interview for Urbanautica by Georges Salameh, 2018 (Eng)
Studies in
Geology, 2018, text by curator Kim
Knoppers, Foam
Museum, Amsterdam (Eng)

Over The Horizon, 2018 text : Dr. Yiannis Toumazis, Nimac, Nicosia (Eng)


Step firmly onto the earth, young man…2017. A reflection on Stelios Kallinikou’s photographs at Point Centre for Contemporary Art. Text: Haris Pellapaisiotis (Eng)

The Question Behind the Dream: Disrupting Cypriot Photography. Interview by Kiriakos Spyrou for Yatzer, 2016 (Eng)


	Στέλιος Καλλινίκου: Το παρελθόν είναι ένα πολύτιμο υλικό

Συνέντευξη στο Γιώργο Σαββινίδη για την εφημερίδα Φιλελεύθερος με αφορμή την έκθεση Nymphaeaceae στο Point Centre for Contemporary Art.Νοεμβρίος 2019


Ο Κύπριος καλλιτέχνης έμαθε να διαβάζει την ιστορία πάντα σε παροντικό χρόνο και να διερευνά το τοπίο σε σχέση με τα διαπλεκόμενα εδαφικά και ιδεολογικά του νοήματα. 

Το περασμένο καλοκαίρι το πρόγραμμα φιλοξενίας καλλιτεχνών του Bethanien στο Βερολίνο, στο οποίο συμμετείχε, ολοκληρώθηκε. Ο Στέλιος Καλλινίκου χωρίς δεύτερη σκέψη πήρε τα μπογαλάκια του κι επέστρεψε στην Κύπρο. Κι αυτό γιατί το δέσιμο με τον χώρο είναι βασικό συστατικό στη δουλειά του. Αυτό δεν σημαίνει ότι τα μπογαλάκια από τη Γερμανία ήταν άδεια. Γύρισε πιο συνειδητοποιημένος καλλιτέχνης και άνθρωπος ενώ στο διάστημα αυτό των 12 μηνών υπέγραψε δύο πολύ σημαντικά πρότζεκτ: την έκθεση «rcsaerh» τον περασμένο Μάιο στο Künstlerhaus Bethanien και τη συμμετοχή το καλοκαίρι στο διετές πρόγραμμα «Φαινόμενο» στο νησί της Ανάφης, με την εγκατάσταση χώρου «Ανέφηνεν». Ο ίδιος νιώθει ότι κάθε του πρότζεκτ είναι μέρος μιας εργασίας σε εξέλιξη και φυσική συνέχεια του προηγούμενου. Το ίδιο ισχύει και για τη νέα του δουλειά «Nymphaeaceae» που παρουσιάζεται στο Point.


Σπούδασες ιστορία και αρχαιολογία. Σε ποιο βαθμό αισθάνεσαι ότι ασκείς το αντικείμενο των σπουδών σου; Μέσα από τη δουλειά μου, σίγουρα. Μ’ ενδιαφέρει πολύ η ιδέα του θραύσματος, το πώς δημιουργείται μια αφήγηση. Η ίδια η Ιστορία είναι μια αφήγηση που βασίζεται σε αποσπασματικές ιδέες κι εκτιμήσεις.


 Θα σ’ ενδιέφερε να συμμετέχεις σε μια ανασκαφή;Όχι, αλλά μ’ ενδιαφέρει η ιδέα του τι βρίσκεται κάτω από τη γη κι έχω εργαστεί πάνω σ’ αυτή. Το πεδίο της ιστορίας και της αρχαιολογίας μ’ ενδιέφεραν πάντα. Το ζήτημα είναι ότι πάντα διάβαζα την Ιστορία με μια ποιητική προσέγγιση, παρά επιστημονική. Περισσότερο σαν αφήγηση. Όταν ξεκίνησα ν’ ασχολούμαι με τη φωτογραφία κατάλαβα ότι δεν θα γινόμουν ποτέ καλός επιστήμονας. Όσο κι αν μου άρεσε.


Ποια βιώματα των παιδικών σου χρόνων πιστεύεις ότι καθόρισαν τη μετέπειτα πορεία σου; Είναι πολλά πράγματα. Ως παράδειγμα θα αναφέρω το πρώτο βιβλίο που διάβασα, τις «Περιπέτειες του Ρομπέν των Δασών». Με κέρδισε αμέσως η έννοια της φύσης ως μαγικού τοπίου, ως καταφυγίου ιδεών και ως φορέα αντίστασης. Θυμάμαι ότι πήγαινα εκδρομή με την οικογένεια στο Τρόοδος κι εγώ είχα το κεφάλι έξω από το παράθυρο, ένιωθα τον άνεμο, έβλεπα τα δέντρα και έφτιαχνα με τη φαντασία μου ισχυρές εικόνες από περιπέτειες. Παρακαλούσα να μην τελειώσει το ταξίδι, να μη φτάσουμε στο εστιατόριο που πηγαίναμε για φαγητό, να μείνουμε όσο γίνεται σ’ αυτή την κίνηση.


Αυτός ο χρόνος που πέρασες στη Γερμανία, στο πρόγραμμα φιλοξενίας καλλιτεχνών, πόσο επηρέασε την οπτική σου πάνω στα πράγματα; Σίγουρα την επηρέασε. Καταρχάς, είχα για πρώτη φορά το περιθώριο να κοιτάξω τη δουλειά μου με την ησυχία μου, να τη μελετήσω. Είναι σημαντικό να βρίσκεις χρόνο για έναν αναστοχασμό πάνω στο τι έχεις κάνει μέχρι σήμερα. Το Βερολίνο είναι ένα περιβάλλον το οποίο διεγείρει το ενδιαφέρον σου.


 Γύρισες διαφορετικός άνθρωπος; Γενικά με βοήθησε να πιστέψω περισσότερο στον εαυτό μου και ταυτόχρονα να πιστέψω περισσότερο στον τόπο μου και στη δουλειά που κάνουμε εδώ οι Κύπριοι δημιουργοί.


 Δηλαδή δεν μπήκε καθόλου το σαράκι μέσα σου να φύγεις από την Κύπρο και να πας εκεί που χτυπάει η καρδιά της σύγχρονης τέχνης; Όχι. Μάλλον το αντίθετο. Είμαι συνδεδεμένος με τον τόπο μου κι εξάλλου δεν αισθάνομαι ότι ανήκω στους καλλιτέχνες που είναι προσηλωμένοι στην καριέρα τους. Ούτως ή άλλως, η δουλειά μου είναι συνδεδεμένη με την έννοια του τόπου. Ακόμη και στα έργα που έκανα στο Βερολίνο, δεν ένιωθα άνετα να συνδιαλέγομαι με την ιστορία της πόλης. Νιώθω στα νερά μου όταν μιλάω για την Κύπρο. Είναι σαν να μπαίνεις στο πατρικό σου: δεν ντρέπεσαι ν’ ανοίξεις το ψυγείο. Είναι μια οικειότητα και μια γνώση για το πού βρίσκεται το κάθε πράγμα. Ο τρόπος που δουλεύω είναι βιωματικός, συνεπώς είναι απαραίτητο αυτό το δέσιμο με τον χώρο.

Σε τρόμαξαν το άγνωστο, το χαοτικό, οι ρυθμοί της μεγαλούπολης; Δεν με τρομάζει το άγνωστο. Απλώς δεν νιώθω ότι έχω τη δικαιοδοσία να μιλήσω για την ιστορία κάποιου άλλου από τη στιγμή που δεν τη βίωσα. Στην περίπτωση της Κύπρου λ.χ. έχω κάνει κάποια πρότζεκτ που μιλούν για το αποικιοκρατικό παρελθόν. Όχι επειδή ήθελα να μιλήσω για την αποικιοκρατία, αλλά επειδή η πτυχή αυτή προκύπτει όποια πέτρα κι αν σηκώσεις.


Πάντα αντιμετώπιζες την ιστορία με βάση το παρόν; Πάντα έτσι διαβάζεται η ιστορία. Εμείς απλώς ρίχνουμε μια δέσμη φωτός στο τώρα. Γι’ αυτό και η ιστορία είναι σχετική και χρήζει πολλαπλών αναγνώσεων.


Δηλαδή, αυτό που πραγματικά συνέβη είναι το τελευταίο που έχει σημασία; Δεν λέω αυτό. Αλλά έχει σημασία η ανάγνωση των πτυχών για να μπορέσουμε να αποδεχτούμε τον εαυτό μας. Δεν έχουμε ως λαός μια ειλικρινή σχέση με την Ιστορία. Τη χρησιμοποιούμε εντελώς ωφελιμιστικά. Όπως μας βολεύει την ξεχειλώνουμε, την παραποιούμε συνειδητά και απροκάλυπτα. Η αδυναμία μας να την αντιμετωπίσουμε κατάματα μάς έχει προκαλέσει σοβαρό πρόβλημα ταυτότητας. Δεν γνωρίζουμε το παρελθόν μας και δεν το αποδεχόμαστε και προτιμούμε να διατηρούμε αμέτρητες μυθολογίες σχετικά με το ποιοι είμαστε.

Εσύ επιτρέπεις στις προσωπικές σου πεποιθήσεις να επηρεάσουν το αποτέλεσμα της δουλειάς σου; Σίγουρα. Αναγκαστικά. Πώς γίνεται να το αποφύγεις αυτό; Η δουλειά μου είναι βιωματική. Ούτε με την ιστορία έχω σχέση κατηγορηματική, αλλά ούτε έχω την ψευδαίσθηση ότι κατέχω και πραγματεύομαι μια αλήθεια. Είναι όπως ένας συγγραφέας, που βασίζεται σε αληθινά ή ιστορικά γεγονότα για να γράψει ένα βιβλίο μυθοπλασίας.


Ποια είναι η σχέση σου με το παρελθόν; Είναι ένα υλικό για μένα. Πολύτιμο υλικό, για να μπορέσω ν’ αναπτύξω τις αφηγήσεις μου.


Το μέλλον πώς το βλέπεις; Με απασχολεί το παρόν. Και την ιστορία τη διαβάζω πάντα σε παροντικό χρόνο. Το ίδιο ισχύει για το μέλλον. Το αντιμετωπίζω σε συνάρτηση με το τώρα. Το σημαντικό είναι να συγκεντρωθούμε στα πράγματα που δομούν την καθημερινότητά μας. Τα μικρά. Το πώς συμπεριφέρεται ο καθένας στον περίγυρό του, πώς μιλάει στη γυναίκα και το παιδί του.


Τι σε ενοχλεί περισσότερο σήμερα σε σχέση με την καλλιτεχνική πραγματικότητα εδώ; Η διαπίστωση ότι δεν υπάρχει πίστη στους Κύπριους δημιουργούς. Όταν αναχωρούσα για το Βερολίνο, πολλοί άνθρωποι του χώρου με ενθάρρυναν να φύγω μόνιμα στο εξωτερικό. Τώρα που επέστρεψα κάποιοι το εξέλαβαν ως ήττα, ως πισωγύρισμα. Ακόμη κι εκεί στο Βερολίνο κάποιοι θεώρησαν δεδομένο ότι επειδή προέρχομαι από έναν μικρό τόπο ο σκοπός μου θα ήταν να μείνω και να καθιερωθώ εκεί. Όμως ήταν συνειδητή επιλογή μου να επιστρέψω. Γίνονται ωραία πράγματα στην Κύπρο και υπάρχει αξιόλογο δυναμικό. Επιπλέον, πιστεύω ότι τη σήμερον ημέρα που είμαστε όλοι πολίτες του κόσμου μπορείς να δημιουργείς απρόσκοπτα από οπουδήποτε και να έχεις και διεθνή αντίκτυπο.


Τι θα κρατούσες και τι θα απέρριπτες; Δεν αντιλέγω ότι είναι πολλά που πρέπει και μπορούν ν’ αλλάξουν. Από πού να το πιάσουμε; Αμφιβάλλω ότι ο ίδιος ο Υπουργός Παιδείας και Πολιτισμού μπορεί να κατονομάσει έστω κι έναν Κύπριο καλλιτέχνη. Είμαστε ένας μικρός τόπος που πρέπει να πιστέψουμε περισσότερο στις δυνάμεις μας. Έρχονται συχνά άνθρωποι από το εξωτερικό και δεν πιστεύουν πόσο σημαντική είναι η παρουσία των Κυπρίων δημιουργών σε σχέση με το μέγεθος της χώρας και παρά τα δεδομένα προβλήματα.


Με τη δική σου εμπειρία τι είναι αυτό που αντέχει στον χρόνο; Κυρίως η ποιότητα. Η ιστορία της τέχνης, ωστόσο, γράφεται από τους ισχυρούς. Το σύστημα που περιβάλλει την τέχνη μοιάζει να είναι λίγο ελιτίστικο, όμως η τέχνη στην ουσία της είναι λαϊκή. Εξάλλου, δεν έχει και πολλή σημασία ποιος έχει τα έργα στην κατοχή του. Ειδικά στην ψηφιακή εποχή που όλα είναι προσβάσιμα σε όλους.


Πώς βλέπεις το αναδυόμενο τοπίο των ανεξάρτητων καλλιτεχνικών χώρων στην Κύπρο; Ποιες οι προκλήσεις για τέτοιου είδους εγχειρήματα; Η πρόκληση είναι πώς θα βρούμε τρόπους να διατηρήσουμε αυτούς τους χώρους εμπλέκοντας και νέους ανθρώπους που θα φέρουν νέα δυναμική και θα παραλάβουν και τη σκυτάλη. Για τη λειτουργία αυτών των χώρων κάποιοι άνθρωποι επενδύουν χρόνο και κόπο. Αυτή η ενέργεια κάποτε εξαντλείται και ο κύκλος κλείνει. Οι άνθρωποι αυτοί θέλουν να δουν ανταπόκριση από το κοινό, στήριξη, να νιώσουν ότι μπορεί να υπάρξει συνέχεια. Πρέπει να προκύψει ένα πλαίσιο ώστε οι χώροι αυτοί να μπορέσουν να επιβιώσουν, να μεγαλώσουν και να μεταλαμπαδευτούν, να ενισχυθούν με νέες ιδέες και νέα ενέργεια ώστε να μη χρειάζεται να φτιάχνονται κάθε λίγο καινούριοι από την αρχή.


Αν η δουλειά σου είναι μια διαρκής εργασία σε εξέλιξη, πώς συνδέεται η επικείμενη έκθεση «Nymphaeaceae» με την προηγούμενη με τα κρησφύγετα των αγωνιστών στο Τρόοδος; Στην προηγούμενη δουλειά στο Point το 2017 πραγματευόμουν το πώς η φύση μπορεί να λειτουργήσει ως κρησφύγετο για το ανθρώπινο σώμα. Αυτή τη φορά σκέφτηκα τον Δημοτικό Κήπο Λευκωσίας. Είναι ένα μέρος που συμβαίνει ψωνιστήρι. Μ’ ενδιαφέρει, λοιπόν πώς ο κήπος, αυτή τη φορά, λειτουργεί ως ένα καταφύγιο για τον πόθο και την επιθυμία. Ο «ήρωας» είναι το σώμα. Σε μια εποχή που η ηθική της επαφής μεταβάλλεται ριζικά με τις νέες τεχνολογίες, επικεντρώθηκα στο πώς προσαρμόζεται το περιβάλλον και η αρχιτεκτονική του κήπου με βάση τους όρους του ψωνιστηριού.


Και το ποίημα του Καβάφη που χρησιμοποιείς στο δελτίο τύπου πού κολλάει; Ο Καβάφης ιστορικοποιεί το σώμα. Βρίσκω συγκλονιστικό τον τρόπο που πραγματεύεται την ιστορία, την εξουσία και την ίδια στιγμή εμπλέκει το βίωμα του σώματος σε παροντικό χρόνο. Εν προκειμένω είναι και ο τρόπος που ο ποιητής «φωτίζει» τους χώρους του με οικονομία. Κι εγώ χρησιμοποιώ το φεγγάρι και παίζω πολύ με την έννοια της μέρας και της νύχτας. Δεν φωτογράφισα ανθρώπους, ούτε και μ’ ενδιαφέρει. Το ενδιαφέρον είναι το άγνωστο και η ζωικότητά του. Είναι κάτι βαθύ που έχει να κάνει με τα ένστικτά μας. 


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	<item>
		<title>Interview for Urbanautica</title>
				
		<link>https://stelioskallinikou.com/Interview-for-Urbanautica</link>

		<pubDate>Sun, 29 Dec 2019 11:13:22 +0000</pubDate>

		<dc:creator>Stelios Kallinikou </dc:creator>

		<guid isPermaLink="true">https://stelioskallinikou.com/Interview-for-Urbanautica</guid>

		<description>


Liquid Landscapes: Water Tunnels, Flamingos, and Radar Sounds in Contemporary Photography From Cyprusby Dr Elena Stylianou, 2026, (Eng)

Chance, Trespass and political geography 
in the artwork of Stelios Kallinikou 
by Gervaise Alexis Savvias, &#38;nbsp;2025, (Eng)

Politics of the Landscape in the Work of Stelios Kallinikou by Adela Lovric 2024 (Eng)

Calls and Songsan intimate responseGervaise Alexis Savvias, 2024 (Eng)

Calls and Songsby Andrés Valtierra, 2024 (Eng)

Exploring the liquidity of Cyprus: Maria Hadjimichael talks with curator Evagoras Vanezis and artists Stelios Kallinikou and Korallia Stergides about the Cypriot participation in the Atlas of Mediterranean Liquidity.Goethe Institut-Zypern 2023 (Eng,Gr,De,Tr) 

The Disappearance of Things by Haris Pellapaisiotis 2022 (Eng)
Locations of Gaze by Misal Adnan Yıldızon the occasion of the exhibition hypersurfacing curated by Marina Christodoulidou at 
NiMAC, Nicosia, Cyprus, 2019 (Eng)

Nymphaeaceae, interview for Phileleftheros newsparer 2019 (Gr)
 
Politics of the landscape, interview for Urbanautica by Georges Salameh, 2018 (Eng)
Studies in
Geology, 2018, text by curator Kim
Knoppers, Foam
Museum, Amsterdam (Eng)

Over The Horizon, 2018 text : Dr. Yiannis Toumazis, Nimac, Nicosia (Eng)


Step firmly onto the earth, young man…2017. A reflection on Stelios Kallinikou’s photographs at Point Centre for Contemporary Art. Text: Haris Pellapaisiotis (Eng)

The Question Behind the Dream: Disrupting Cypriot Photography. Interview by Kiriakos Spyrou for Yatzer, 2016 (Eng)


	POLITICS OF THE LANDSCAPEInterview for Urbanauticaby Georges SalamehVisit link hereWhat was your first memory with photography? How did your interest start out? Tell us about your educational path. Did your studies impact on your narrative?Stelios Kallinikou (SK): My studies in History and Archaeology are essentially the reason why I ended up being preoccupied with photography. During my studies I attended a class on Art History which had a tremendous impact on me. I immediately understood that there was something there that concerned me deeply. Photography is the most direct medium that I could pick up immediately. It was easily accessible and one doesn’t need special training in order to produce a photograph.History and archaeology define my practice to a large extend. Even during the first years of my studies, I had trouble considering the two strictly as sciences. My outlook on historical narrative was always wider than that of the historical – scientific method. I understood history more abstractly, as a malleable material that takes form through images. My imagination had the tendency to impose itself on all the historical manuals I was reading. Even today I am having trouble reading because my mind gets stuck on words and paragraphs and very easily gets transported to other places. The relationship between history, archaeology and photography is naturally very strong. It is enough to keep in mind that when archaeologists discover something, the first thing they do probably is to photograph it. It is something like a baptism of fire!Tell us more about your first exhibitions Within Narratives, Anthem… How did your research evolve with respect to those early days? How was it to start your photographing endeavours, in troubled economic times and crisis for Cyprus and Europe?SK: The first group show I took part in was entitled Anthem and my first solo show had the title Within Narratives. Both exhibitions were curated by my dear friend and artist Polis Peslikas and took place in Penintaplinena Gallery in Limassol. Looking back at these exhibitions and juxtaposing the photographs with my current work, it is evident that the elements that make up my visual vocabulary remain almost the same. My interest in the natural world and phenomena (landscapes, flora and fauna) is already strong in these two shows. As my work has progressed, romanticism and impulsiveness gave some more way to thought and content. In the beginning, I was content with a good photograph; it offered me pleasure. From Flamingo Theatre onwards my practice has dwelled into more essential concerns. New elements entered my work at that point that are now at its core. Place and space, time and history as well as the meanings that arise at the crossings of these notions become conscious guiding lines upon which I unfold narratives, always in an ongoing dialogue with the act of seeing.It is true that the artists of my generation operate in particularly harsh conditions. On a personal note, it suffices to say that my first solo exhibition took place more or less a month after the collapse of Cyprus’ banking system in 2013. As you can understand, the years that followed were especially difficult for a small country like Cyprus, where the infrastructure is poor. The budgets for the arts had been slashed and private initiatives were almost non-existent. Despite this fact, we managed to find the strength to stand on our own two feet and fight for things that we believe are of value. Within this context, not only did we not give up but we created project spaces that remain especially active and have fed the progress of the art scene of the country. Me alongside my very good friend and artist Peter Eramian have created the project space ‘Thkio Ppalies’, which hosts visual art exhibitions and sound installations.How is your general research process for your projects? When you start a project you already have an idea of where you’re going, or do you let yourself be guided by experimentation, by the process itself?SK: In every project I work on, there is usually the seed for the next one. In general, I like this continuation -when one thing leads to another. It feels like a natural progression. I think by doing and vice versa. There are periods when I am working on location and other periods when I am in the studio thinking, printing and editing the works. I like working on different projects at the same time. Having to find a balance between them and to seek solutions for problems that arise is a way of creating new challenges! Every project brings with it its own demands. Some demand speed and tension whilst others must be handled with a subtler approach; some surrender themselves easily to me and some insist on concerning me for years. As I already mentioned, every project I work on creates the conditions for the next one. In this way, action leads to an idea and the idea demands more action. I trust this rhythm, I feel that it leads me to a good place.You where always based in Cyprus and your work has been exclusively produced within these National boundaries even if the titles of your work are mainly poetic. Why is that choice? When on your path, you first felt the need to start using Cyprus as the main character of your photographic narratives, tell us more about what you call "politics of the landscape”?SK: Cyprus is my extended studio in a way. Just as in my studio I can find this or that book even when chaos reigns, it is the same with Cyprus. I know which street to follow in order to get to a particular spot but even when I am lost, I almost intuitively know how to find my bearings. There is a certain ease and understanding that stems from the experience of living in one place for a long time. From Flamingo Theatre onwards, the natural progression of my work is such that Cyprus offers the material that matches my artistic interests -both formal and conceptual. Essentially Cyprus acts as a stage upon which my narratives unfold – ones that start with a local element but aspire to converse with the universal. The titles are poetic because my intention is such. As far as the "politics of the landscape" are concerned, a lot of times when you come from a place like Cyprus, things tend to take an overtly political tone even when this is not exactly in one’s intentions. I will give you an example. After a long searching process, I spotted recently a rare endemic wildflower –the Cyprus tulip- in the village of Mammari and decided to go photograph it. At some point, soldiers of the United Nations appeared and asked me to leave, as I was at a part of the village that falls within the ‘dead zone’, a demilitarised zone which is controlled by the U.N.. I ended up showing them the photographs of the flowers in order to prove that I wasn’t doing anything illegal and in the hopes that they would let me continue, but it proved impossible. They responded that they are aware that I am photographing the flowers, but nonetheless I am not allowed to be there. I view such situations as being imbued with a poetic element that is touching in a way. Because of this I thought of producing a series of works where I basically photograph the tulips until I am spotted and removed by the U.N.. In this manner the boundaries between photography and performance are blurred. History is engraved on the land and the landscape is the arena of our collective actions. Flamingo Theatre and Local studies, portray landscapes in their magnificence, seen through meticulous and intuitive eyes and a spirit of non-identification with your homeland. Tell us more about those series.SK: Flamingo Theatre (2014 –15) and Local Studies (2015-16) can be seen as the first works of a more mature period. They mark the moment when I place the historical and geopolitical implications of what ‘Cyprus’ means at the center of my interests. I will repeat though that despite this, the issues that concern me can only utilise the local element as a starting point, with the aim of confronting the universality of the human condition. This is the reason why the photographs from these projects are somewhat ‘neutral’ and escape the limits of ‘geography’ strictly understood. Descriptively, Flamingo Theatre deals with the relationship between the British sovereign military base and the natural habitat of the Akrotiri salt lake in Limassol, whilst Local Studies explores the topography and by extension the complexity that permeates the nature of the Cypriot identity, ignoring the division of the island, as this has been imposed by the ‘Green Line’. Slowly your interest shifted from landscapes to inner-landscapes with Where are you going young man, handsome like a legend sinking into nature and earth itself even more with in Studies in Geology. Tell us more about those series and how or why eventually that happened.SK: Gradually my work started to seek its center and to focus on the inside. I think this comes with experience and age. At 26, I was interested in wide frames, I was trying to fit the whole world in my photographs. Now, at 33, I have become more esoteric, I prefer looking inwards rather than outwards. In this way, I started to deal more with abstraction. Where are you going young man, handsome like a legend was presented last year at Point Centre for Contemporary Art in Nicosia. It presents enigmatic natural landscapes, in which one can, sometimes with ease and sometimes with great effort, locate caves. I think of these caves as examples of primal architecture or as doors to other dimensions. In reality we are witnessing my efforts to locate and photograph the hideouts that were build and used by the guerrilla organisation EOKA between 1955-1959, during the fight against the British rule. Most of these caves are located in the Troodos mountains, and this fact was decisive for my next project. Studies in Geology, presented at the FOAM museum in Amsterdam until the beginning of September, deals with the exciting geological heritage of Cyprus. Cyprus and the Troodos mountain range in particular, were created 90 million years ago through complicated geological processes at the bottom of an ancient ocean known as Tithys. In this first chapter of the project, I photograph the oldest copper mine in the country. Dated at around 600 B.C., it plays an important role in the history of the wider northern Mediterranean region with geological, environmental and archaeological importance, since it is part of Troodos ophiolite. Based on archaeological excavations, mining activity in Cyprus can be dated back to the 3rd century B.C. (the beginning of the Chalcolithic Period) and continued until the 20th Century.Any mentor, teacher or anybody else that has had an impact on how you understand your work? Is there any contemporary artist or photographer, even if young and emerging, that influenced you in any way recently?SK: Throughout the years, there were a lot of people with whom I shared the progress of my practice and in one way or another have played a part in shaping me as an artist. The photographic medium itself has taught and is teaching me a lot. It has taught me to observe and to move patiently around things and situations, to think and to seek solutions through experience and with my body. I give space and time to my work to educate me. Photography is growing on me.Three books of photography that you recommend? SK: 'Towards a philosophy of photography' by Vilém Flusser. 'The Nature of Photographs' by Stephen Shore. 'Camera Lucida' by Roland Barthes.Do you have any motivation for how you wish your work to be perceived? How do you deal with the exhibition of your works? Tell us more about the exhibition Over the horizon and how your gesture translates into an exhibition space. Also is there any show you’ve seen recently that you find inspiring?SK: Every work is open to interpretation and I thus have no specific way in which I want my work to be understood. In any way, us artists have certain things in mind when we do things but when a work is displayed, it is freed from the confines of the mind of its creator. My work is complete when it is exhibited in a space. Exhibitions for me mark the natural completion of a project. I pay great attention to a photograph as an object that exists in space and that comes into contact with a viewer. I make sure that all prints remain true to the quality of my images and render them seductive. I am very interested in the installation of my work, as I want it to be made in such a way so as to entice the viewers to be active and inspire them to search for a solution to a riddle.In the context of the program Drone Vision: Warfare, Surveillance and Protest (a collaboration between Hasselblad Centre (Sweden) NiMac (Cyprus) and Zahoor UI Akhlaq Gallery (National College of Arts, Lehore, Pakistan), I developed my project around the thematic of surveillance. The project expands upon my interest around issues that touch upon the history of my motherland and the nature and ontology of the photographic medium. The starting point of the project is the colonial past of the island. I climb to castles found in the Pentadaktylos mountains that were built by the Byzantines in 11th century, used by the Francs and destroyed by the Venetians. The position of authority is obtained by the body and the camera remains attached to the photographer, acting as an extension of the hand. From the top of the castles I cast my gaze in a manner similar to a guard during the middle ages, upon plains, mountain tops and seas. The difference is that I am not armed with a spear and an arrow but with a camera. In contrast, one of the fundamental characteristics of drone technology is the fact that they gain their position without having the limitations of the human body, and of course this has wide-ranging implications. At the same time I focus my attention on the HAARP surveillance equipment, located at the British sovereign bases in the areas of Akrotiri and Troodos. This equipment is prevalent in the Cypriot landscape as its colonial heritage, and create aerial webs for trapping information. These complicated mechanisms, whilst being geographically located in Cyprus, extend their operations to unknown lengths and breadths, defining new immaterial and abstract borders. I recently saw two shows that I really liked. The first is Adhocracy Vol. I: Books and Tools, at PARTY Contemporary, an artist-run gallery in Nicosia, and the second is At Bikini Bottom, at The Island Club gallery in Limassol. You told me that you are moving to Berlin? Any projects that you are working on now and plans for the future?SK: Beginning in August 2018, I will take part in the artists residency program of Künstlerhaus Bethanien in Berlin. It is something for which I am very excited about. I can’t wait to see how my work will be impacted and how it will develop in this new context. In September, I will take part in a symposium at Hasselblad Foundation, as part of the program Drone Vision: Warfare, Surveillance and Protest.


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		<title>Studies in Geology, 2018   Text by curator Kim Knoppers   Foam Museum,Amsterdam</title>
				
		<link>https://stelioskallinikou.com/Studies-in-Geology-2018-Text-by-curator-Kim-Knoppers-Foam-Museum</link>

		<pubDate>Sun, 29 Dec 2019 11:15:40 +0000</pubDate>

		<dc:creator>Stelios Kallinikou </dc:creator>

		<guid isPermaLink="true">https://stelioskallinikou.com/Studies-in-Geology-2018-Text-by-curator-Kim-Knoppers-Foam-Museum</guid>

		<description>


	Liquid Landscapes: Water Tunnels, Flamingos, and Radar Sounds in Contemporary Photography From Cyprusby Dr Elena Stylianou, 2026, (Eng)

Chance, Trespass and political geography 
in the artwork of Stelios Kallinikou 
by Gervaise Alexis Savvias, &#38;nbsp;2025, (Eng)

Politics of the Landscape in the Work of Stelios Kallinikou by Adela Lovric 2024 (Eng)

Calls and Songsan intimate responseGervaise Alexis Savvias, 2024 (Eng)

Calls and Songsby Andrés Valtierra, 2024 (Eng)

Exploring the liquidity of Cyprus: Maria Hadjimichael talks with curator Evagoras Vanezis and artists Stelios Kallinikou and Korallia Stergides about the Cypriot participation in the Atlas of Mediterranean Liquidity.Goethe Institut-Zypern 2023 (Eng,Gr,De,Tr) 

The Disappearance of Things by Haris Pellapaisiotis 2022 (Eng)
Locations of Gaze by Misal Adnan Yıldızon the occasion of the exhibition hypersurfacing curated by Marina Christodoulidou at 
NiMAC, Nicosia, Cyprus, 2019 (Eng)

Nymphaeaceae, interview for Phileleftheros newsparer 2019 (Gr)
 
Politics of the landscape, interview for Urbanautica by Georges Salameh, 2018 (Eng)
Studies in
Geology, 2018, text by curator Kim
Knoppers, Foam
Museum, Amsterdam (Eng)

Over The Horizon, 2018 text : Dr. Yiannis Toumazis, Nimac, Nicosia (Eng)


Step firmly onto the earth, young man…2017. A reflection on Stelios Kallinikou’s photographs at Point Centre for Contemporary Art. Text: Haris Pellapaisiotis (Eng)

The Question Behind the Dream: Disrupting Cypriot Photography. Interview by Kiriakos Spyrou for Yatzer, 2016 (Eng)


	Studies in
Geology, 2018Text by curator Kim
KnoppersFoam
Museum, Amsterdam


Last March The Guardian described Turkey’s President Erdogan once again
flexing his muscles over Cyprus. Turkish warships were on their way to the
island to prevent any drilling for gas. Erdogan explained that he would not
allow the island’s natural reserves to be exploited by Greek Cypriots. The
northern part of the island has been occupied by Turkey since 1974. Its
location, in the Mediterranean Sea seventy kilometres south of Turkey and just
over a hundred kilometres off the coasts of Syria and Lebanon, makes its
situation complex. Geographically the island is part of Asia, but for
historical, political and cultural reasons it is also regarded as European.
Over the centuries Cyprus has been ruled by the Ancient Greeks, the Egyptians,
the Persians, the Romans, the Byzantines, the crusaders, the Venetians, the
Ottomans and the British. Since 2004 it has been a member of the European
Union. 
Cyprus has always been troubled by foreign powers eager to dominate the
island and the seas around it. Its geology has been crucial, shaping not just
the island but its history. The presence of large quantities of valuable
minerals and useful raw materials has made mining, digging and drilling in the
area attractive throughout the ages. Most valuable now are gas and oil, but in
earlier times people were drawn to its huge reserves of copper. 


The birth and emergence of the island of Cyprus and its largest mountain
range, Troodos, were the result of unique and complex geographical processes
lasting millions of years. The area is regarded by earth scientists as a
geological model, as it was created by volcanic activity in the sea bed ninety
million years ago. Lava cast up from the depths of the earth set off chemical
reactions with the surroundings, producing not just undulating rock formations
but spectacular shapes and colours in the landscape. It was in this distant
past that the rich deposits of copper were laid down. Archaeological
excavations have shown that mining activity in Cyprus dates back to the third
century BC. 


The various theories about the meaning of the Classical Greek name for
the island, Kypros, are speculative, but its current name seems to be derived
from the Latin word for copper, Cyprium, later shortened to Cuprum. Roman
writer and proto-scientist Pliny the Elder writes about copper on Cyprus in his
extensive work Naturalis Historia, in which he also criticizes the
disrespectful way humans treat the earth. The copper mines closed with the
Turkish invasion of 1974. 


The ongoing series Studies in Geology by Stelios Kallinikou (b. 1985,
Limassol, Cyprus) presents a group of photographs taken in an ancient copper
mine hidden in the pine forests of the Troodos Mountains. With his camera he
enters the crater of the mine and the resulting lake to observe the earth as an
open body. His photographs seek to reveal the secrets of the rocks now
submerged in the endless game of collusion between matter and time. This is one
reason why Kallinikou takes several photographs of the same material at the
same place but at different moments. Enthralled by the geological narrative of
Cyprus, he meticulously examines the ground and the surface of the lake,
looking for traces of the origins of the earth. The importance of water at the
moment of the earth’s creation and for the origin of all life is unmistakable,
and stressed by Kallinikou. Studies in Geology plays upon the theme of geology
by exploring a unique sense that standing in the natural world means embracing
the simultaneity of extremes and primal forces. By taking an ancient mine as
his starting point, Kallinikou is also searching for human gestures and
interventions that have left their mark down through time. 


The result is a fascinating series at the edges of photography and
painting. Kallinikou is in constant dialogue with the act of seeing. In a
visual sense you could compare his Studies in Geology with some of Jackson
Pollock’s Action Paintings. The American painter of the first half of the
twentieth century laid blank white canvases flat on the floor and dripped
pigments onto them from swinging brushes. In doing so he used his body almost like
a dancer. The result was a full, abstract painting without perspective. The
flat canvas was transformed into a continuum of matter, in which rhythm is of
crucial importance. In looking at Pollock’s paintings, the eye has no purchase
on depth but has to make its way across the particles on the surface. Most of
Kallinikou’s photographs have an abstract quality because of the way he zooms
in on details isolated from the surrounding landscape. This turns his
photographs into flat planes, stripped of any sense of perspective, which makes
it difficult for the eye to determine exactly what it is looking at. This could
be described as the opacity of the photographic image. 


The aspect of the moving body is of great importance in Kallinikou’s
work, just as it is in Pollack’s. He wanders across the area he intends to
photograph and approaches his future image from various sides. He then circles
around it until he is almost inside the photograph he is about to make and
cannot possibly penetrate the landscape any further. Finally, the mechanical
act of pressing the button on the camera captures the patterns of the universe.
Sometimes it almost seems as if he has scattered natural mineral pigments
around, such as ochre, amber, cyan and terra verde. The boundary between natural
and artificial, found and made, sometimes seems thin. Yet Kallinikou does not
manipulate his landscapes, or at least not in the way the physical landscape
has been manipulated by humans for the extraction of copper. 
Kallinikou’s background in archaeology has undoubtedly been a major
influence on the unearthing of new narratives that can be orientated towards
the becoming of a place. He is in search of traces of the origins of the earth,
and more specifically the origins of Cyprus. A sense of continual exploration
of the Cypriot national identity as revealed by the landscape typifies his
work. The starting point for his recent series Over the Horizon (2018),
commissioned by NiMAC, is the island’s colonial past. With his camera,
Kallinikou climbs to the top of the Castles of Pentadaktylos, built by the
Byzantines in the eleventh century. They were later used by the Franks and
destroyed by the Venetians. Through the lens he looks out across the plains,
the mountain peaks and the sea just as a mediaeval watchman would have done. He
combines these images with photographs of surveillance equipment on the British
sovereign bases in Troodos. These colonial traces in the Cypriot landscape,
taken together, form an advanced web of data-collection that reaches well
beyond the country’s borders. Where are you going young man, handsome like a
legend (2017) portrays the hideouts in the natural landscape used by the EOKA
(National Organisation of Cypriot Fighters), a Greek-Cypriot nationalist
organisation founded in 1954 that fought against British troops and for union
with Greece. Their hideouts are now regarded by many Greek Cypriots as national
monuments. Kallinikou combines them with photographs of the surrounding
landscape. In his book Flamingo Theatre (2016) he investigates the Lady’s Mile,
a five-kilometre stretch of coast named after the mare ridden along the beach
by the British governor during British rule. 


‘I have always been interested in landscape and in those subtle shades
that transform a space into a specific topos,’ Kallinikou says. One of the most
important themes in his work is the exploration of locality, not from an
inward-looking, narrow-minded viewpoint but in relation to the world around.
His work has been described as ‘local poetry’. He aims to conjure up a space
that is beyond words, and his appealing and technically skilled body of work
circles around the politics of the landscape. By adopting the strategies of
documentary photography at an introspective, meditative pace, he constructs a
world that serves as a speculative scenario through which he can better
envisage his relationship to territorial and ideological notions of the
landscape, such as birthplace, motherland and national identity. 
This text is based on face-to-face, skype and email conversations
between Stelios Kallinikou and curator Kim Knoppers.


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