Elpidos Mapping: Learning the Neighborhood of Victoria Square: Workshop on Participatory and Collective Mapping. Athens 6-12 March 2018.

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Emerging figures / The square of our homelands

Coordination: A.Z. Souliotou



Victory Square Museum

Coordination: A.Z. Souliotou



Art study of the complexity of the city through personal narratives

Coordination, visual editing of the project: E. Tsakiris. Concept: Polis Painting. Tsakiri, E. (2015) Polis Painting: The Creation of a City Image Based on Narrative, Urban Analysis and Fine Art Principles.

Elpidos Mapping: Learning the Neighborhood of Victoria Square: Workshop on Participatory and Collective Mapping. Athens 6-12 March 2018.


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Artist: Stella Bolonaki

Associate Architect: Nikos Saperas


” La Lnea de la Vive” uses the labyrinth as a central organizing principle for the discussion of the massive exodus of the refugees and their knock at the European frontiers. The refugees issue is represented here as metaphor of a political maze with many different routes according the various political negotiations. La Line de la Vive proposed as an installation that distilled by space design, the physical appearance of the water and the steps sounds which implicitly involve the role of the society body in the process of exploration of a solution.

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Conceptual frame

 For the refugees, the Greek territory functions as a transitive stop-over, a non-existing place, a location of confinement and imprisonment, and simultaneously a passage towards a final destination. The journey of the refugees to Europe is neither predetermined nor liner. It is most charted by firm decisions, attitudes and unified directions. It is all about an Odyssey with no return which signals the dead end and the retractions of Europe’s political decisions. Based on the thoughts of the anthropologist Marc Augé, Greece has the role of an in-between situation for the refugees, which does not remain stable since the place and the time appear in a fluid and hydride form.

Looking back on the design of the mythical architect Daedalus, the project “La Linea de la Vive” translates the route of the refugees into a complex of routes within which everybody is exposed to exploration, confusion and surprise.

The project borrows its title from the Spanish phrase “La Linea de la Muertos” which refers to the crossing of the American-Mexican borders and refers to an in-situ installation that appropriates the space in which it is installed, for the creation of a new space within the frame of evolution of an experience.

The installation is transformed into a location which through action and perception joints the assumptions between what is in and what is out, between the open and enclosed space. As the center is configured a closed room with the floor to function as water tank that enables visitors to walk on water  creating  an apparition of the Aegean’s sea passage.The narration of the space does not have a stable reading, since even movement of the visitors is probable to lend new readings and yield new meanings.

Based on the approaches of the space, Bernard Tschumi uses the paradox of dualism of the Pyramid/Labyrinth to refer to the contrasts of the imaginary space: logic, abstraction and autonomy of which bodily experience and senses lay the foundations. Having as a main semantic axis the specific dialectics of space the work “La Linea de la Vive” is not founded by the natural limits of the space it creates, but having as a basis the void between the space that perceivable experience creates and the actual space that experience produces. Within this frame, the work does not propose itself as a constructed installation but as a bridge between rationalism and the irrational, land-planning limitation and perception coming from experience.

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Inside the labyrinth / photorealistic model

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Water room,  photorealistic model

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A version of the project «La Linea de la Vive» was proposed on May 2016 for the OPEN INVITATION FOR THE VENICE BIENNALE IN 2017 for the HELLENIC MINISTRY OF CULTURE.





In – situ lighting installation, 2015.
Location:  SAF (Santorini Arts Factory)

Time slot means an allocating of a period of time. «Time Slots» interprets the phenomena of space, time and their transformations through the rhythmic interpenetration of spectral colors of light. The installation works like an hourglass that counts the time and annihilate the static components of the industrial building. The installation hires the factory as a heritage item creating a living experience with tools of historical continuity and through its traces the rate of arrival and departure of memory.

The smokestack of the industrial complex stands as witness of the period in which tomato industry was the main activity of the island. The lighting installation Time Slots highlights the smokestack as a totem of the local industrial wealth, a reminder of the radical changes in economic, social and cultural structures of the island that signifies its transformation into a museum.


The installation is aligned with the structures of accent lighting. Thus, uses wash lighting, a spectral color cover which transforms the structural element in an immaterial entity, visible from quite a distance.

Lighting organizes a «theatrical» event, with the color of the light source to vary the scale C (Ciel) to M (Magenta) with intermediate stages of color change to take place every one minutes. The change from one color to another takes place as an hourglass which is filled and emptied with a color to get another. In this way, the installation creates a collective public event where the time period counted by the color of the structure. From the other hand, the octagonal base of the stack is illuminated with «frozen» white semicircular range with internal flow light beams.

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In – situ video installation, 2012
Location: Lembessi str, Acropolis, Athens
Event: Lembessiart 2012- Art in street. 
Organizer: Gallery Tecnichoros, & EL. MERNERI gallery.


Logos originally meant running. Here and there. Come  and go. Gestures and intrigues. Rollers Bart.

The words form a mental schema that marked the mind like an imprint code. This code can charge with the data of the personal history of the atoms. Language is the ticket of the mental world. The video «Lost in Words» is inspired from the linguistic code used by the Greek media. The language has been reduced to a monotone vocabulary that seems as machination against the linguistic scheme that captures images, melodies, desires and fantasies. These monologues broadcast entrapment and leveling. Inside the economic crisis, the dialect of the Greek media transmits envy, social hatred, national nihilism and suffocation.

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Link to video: https://vimeo.com/100878626




International Competition, 2009 
Memorial to honor the Victims of Slavery  and Transatlantic Slave Trade.
Location: In the grounds of the United Nations in New York City.
Commissioner: United Nations

The project «Cargo» refers to the experience of the abhorrence tragedy of Slavery. In general the project aptly described as an introduction to what is inside. The design follows the concept of  engraved texts in metallic surfaces of symbolic forms, creating «a lieux de memoir» intended to be a place of introspection, reflecting the territorial and timeless coordinates of recollection of the Slavery.

The title is inspired from the industry of Transatlantic Slave Trade and the slave ships where the slaves were arranged on the lower planking and poop deck, according a document plan of 1788.


The memorial proposes a sculptural synthesis in cast aluminum. The object that drives the project is the ball and the chain of Walter Quinn, an image that has shaped in the collective consciousness of humanity. This device that used to be attached to slaves ankles is generated by the sense of human submission. Indeed, the term of slavery seems to apply to the situation of a being in chains. The bounded slave is raising a power on an inanimate object or with a non-human animal. Thus the violence that synthesis contributes is still a reminder of any kind of racism that slavery spawned. The chain and the ball as memorial and monumental itself extract the identity of Slavery from its collective history of suffering.

According the function of a memorial, the work carried its owed monument, bringing the past into the present and preserving a collective narrative of shame, guilt and despair that are the ever present reminders of the world criminal industry of Transatlantic Slave Trade.

The proposal explains the device in sculptured terms in human dimensions deriving its influences from classicism on its formalistic simplification.

Using the form of a sphere that loses part of its spherical form, one quarter and one third from the next quarter, the work creates a void with four plain surfaces. The void is filled with the engraved text TO BE SOLD. The engraved text TO BE SOLD marks the plain floor surface of the void, along its cyclical edge. This text recorded from a document of a cargo on April of 1769. The cast aluminum sculptured objects appears with both: shiny and rough surfaces. This reflects the limits between the time and the timeless. The shiny surfaces as reflectors of the surroundings are alive when the rough texture corresponds to the frozen time. The memorial proposes to construct by cast aluminum that provides a sense of coolness as well as plastic and conceptual significance.

As location proposed the green area located along the southern façade of the General Assembly building with the shackle to the First Avenue, with the aim to transform this green island into a distinct « lieux de memoir».






Experimental video, 2009
Proposal for the Bauhaus Lab Marseille.  Arhitecture/Multimedia workshops.   

The project interferes in the film Laslo Moholy- Nagy «Impressionen vom Alten Marseiller Hafen» which was shot in August 1929, trying to captures the hum of commerce of Marseille, one of the largest and most populous port cities of Europe in the early of the last century. The project comprises film shots and sound recordings of modern life the impressions or signs of human activity of the port, squares and streets of the city, following the realistic lyricism and aesthetics qu’ébouriffante of Moholy-Nagy. Any new plan participates and dissolved into the old one follows the the Bauhaus’s editing techniques.







4th  International Symposium of Sculpture Paliani.
Duration: 20 July  – 4 Augoust, 2009
Location: Venerato, Iraklio of Crete
Organizer: Municipality of Palianis, Region of Crete.

The subject of the 4th Symposium was «Wine: Myth and Reality» which is directly connected with the wine-producing area in which the symposium takes place. The work Drop based on the reshaping of one cubic limestone in a smooth sphere. The stoned sphere was presented with red lighting (symbolizing the wine) during the opening of exhibition.


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