Katerina Komianou

This process takes place mostly at the end of the day and the beginning of the night, in a solitary way, without a film crew. She observes spaces associated with recollection—just before they cease to exist. Right before loss. Film provides her with the texture and indefinite time of a poetic narrative. At the same time, she thinks of the music that emerged from the Greek scene of the 1980s. When she shoots or photographs with film, there is no going back, no cutting, and no editing.

According to Komianou, documentation is always a deliberate act—it includes and excludes, sharpens and blurs, selects and cuts away. The intersection of amateur film culture, political resistance, feminism, and the body in public space provides a rich ground for research. Drawing from feminist theories of embodiment and spatial politics, such as those of Judith Butler and Henri Lefebvre, Komianou perceives photography as a mechanism of resistance. She does not see it merely as a form of recording but as a statement on bodily presence, visibility, and vulnerability in public space.

By documenting the imprint of these moments of protest on space and objects—traces of performances and acts of transformation and mutation of memory—her amateur black-and-white footage, much like in Katerina Gogou’s poem “The film in movies is colored. In life, black and white”, challenges dominant narratives and disrupts the normative understanding of gender, power, and space. Through this practice—using a low-cost, amateur Super 8 camera to document historically charged spaces—she seeks to reveal new forms that resist prevailing structures.