{"id":70428,"date":"2025-04-03T13:53:02","date_gmt":"2025-04-03T10:53:02","guid":{"rendered":"https:\/\/cycladic.gr\/?post_type=exhibition&p=70428"},"modified":"2025-05-13T10:19:02","modified_gmt":"2025-05-13T07:19:02","slug":"katerina-komianou","status":"publish","type":"exhibition","link":"https:\/\/cycladic.gr\/en\/ektheseis\/katerina-komianou\/","title":{"rendered":"Katerina Komianou"},"content":{"rendered":"
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Katerina Komianou <\/h1>

CYCLADIC CAFE ART PROJECT<\/p>

\u0391PRIIL 2, UNTIL MAY 20, 2025<\/p><\/header>

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\n Katerina Komianou uses Super 8 film or analog camera. She explores urban topography and records political realities through public sculptures and objects in the center of Athens. \n <\/div>\n \n \n<\/div>\n\n <\/div>\n
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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\u2014just 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.<\/p>\n

According to Komianou, documentation is always a deliberate act\u2014it 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.<\/p>\n

By documenting the imprint of these moments of protest on space and objects\u2014traces of performances and acts of transformation and mutation of memory\u2014her amateur black-and-white footage, much like in Katerina Gogou\u2019s poem \u201cThe film in movies is colored. In life, black and white\u201d, challenges dominant narratives and disrupts the normative understanding of gender, power, and space. Through this practice\u2014using a low-cost, amateur Super 8 camera to document historically charged spaces\u2014she seeks to reveal new forms that resist prevailing structures.<\/p>\n\n \n <\/div>\n\n <\/div>\n <\/div>\n<\/section>\n\n

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THE ARTWORK<\/h2> <\/header>\n\n
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Katerina Komianou
\r\nraveparty<\/i>, 2018
\r\nInkjet, box frame, 72 x 52 cm
\r\nPrivate collection
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\r\nKaterina Komianou
\r\ngreececrownsbyronagain<\/i>, 2018
\r\nInkjet, box frame, 72 x 52 cm
\r\nPrivate collection<\/div>\n
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01<\/div>
Photo. Giorgos Labropoulos<\/div>
\u00a9 Museum of Cycladic Art<\/div><\/div>\n\n <\/div>\n\n
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02<\/div>
Photo. Giorgos Labropoulos<\/div>
\u00a9 Museum of Cycladic Art<\/div><\/div>\n\n <\/div>\n\n
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03<\/div>
Photo. Giorgos Labropoulos<\/div>
\u00a9 Museum of Cycladic Art<\/div><\/div>\n\n <\/div>\n\n
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04<\/div>
Photo. Giorgos Labropoulos<\/div>
\u00a9 Museum of Cycladic Art<\/div><\/div>\n\n <\/div>\n\n
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05<\/div>
Photo. Giorgos Labropoulos<\/div>
\u00a9 Museum of Cycladic Art<\/div><\/div>\n\n <\/div>\n\n <\/div>\n <\/div>\n
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01<\/div>
Photo. Giorgos Labropoulos<\/div>
\u00a9 Museum of Cycladic Art<\/div><\/div>\n\n <\/div>\n\n
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02<\/div>
Photo. Giorgos Labropoulos<\/div>
\u00a9 Museum of Cycladic Art<\/div><\/div>\n\n <\/div>\n\n
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03<\/div>
Photo. Giorgos Labropoulos<\/div>
\u00a9 Museum of Cycladic Art<\/div><\/div>\n\n <\/div>\n\n
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04<\/div>
Photo. Giorgos Labropoulos<\/div>
\u00a9 Museum of Cycladic Art<\/div><\/div>\n\n <\/div>\n\n
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05<\/div>
Photo. Giorgos Labropoulos<\/div>
\u00a9 Museum of Cycladic Art<\/div><\/div>\n\n <\/div>\n\n <\/div>\n
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