In Site Compression, 2007
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In Site Compression, 2007, drawing of main room, colored pencil and ink on paper, 35 x 40 cm

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The Void and the Full, 2007, digital print on photographic paper, 25 x 30 cm

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The corridor part of the installation ‘In Site Compression’ 2007, PP Sheets (50 x70 cm each), adhesive tape,
dimensions variable. Gallery 7, Athens


In Site Compression, 2007, corridor, detail of pasted PP Sheets. Gallery 7, Athens

Together with their experience of the present, viewers in the corridor were also prompted to experience the past through the printed sheets, which were not neutral. The sheets’ successive layers stressed their different textures and provoked visual oscillations that revealed indirectly to the observer the various stages of the production process, which was close to handicraft, and suggested that the time and energy spent in constructing the ‘wallpaper’ had been captured and packed between its layers.

In Site Compression, 2007, video still, destruction of the corridor part of the installation. Gallery 7, Athens

In Site Compression, 2007, The following images depict views of the main room installation, metal frames,
voile (trevira), 4,9 x 7 m x 60cm overall. Gallery 7, Athens

The two volumes of In Site Compression installed in the main gallery gave shape to what was the indeterminate and abstract nature of the empty gallery space, and transformed it into some kind of stabilised void. The two forms constituted not only a positive form within the negative space of the room, but also a negative space in themselves, as their shape was designed to correspond exactly with and echo that of the gallery.

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In Site Compression created paths in the space of the gallery, a kind of labyrinth. Hence it functioned as a kind of ‘landscape’, meaning a site, the impression of which appeared to reach beyond the spatial limits of the gallery. The spatiality opened up by it resembled the experience of the spatiality of the horizon, which is neither spatially nor temporally located in the usual sense, but instead is what delimits the totality of the objects between the viewer and itself. A similar experience of spatiality occurs at night.

The space inside the hollow structure of the two volumes, seen as a physically real form, attested to some kind of indeterminate and non-static ‘site’, though, for me, this did not exist as a permanent, knowable whole. The space of the installation was not just the one it inhabited as a physical object and construction; its spatiality was like a tunnel leading somewhere else, a space associated with the viewer’s memory of other spaces in empty buildings all over the city.

Next Project
Stasi, 2018