Speciesism – like sexism, racism, and other forms of discrimination – is an oppressive belief system in which those with power draw boundaries to justify using or excluding their fellow beings who are less powerful. A human-supremacist line of “reasoning” is used to defend treating other living, feeling beings like research tools, fabric, toys, or even food ingredients – even though they share our capacity for pain, hunger, fear, thirst, love, joy, and loneliness and have as much interest in freedom and staying alive as humans do.’1

Αnimal Kingdom as

Τhis abundance, characterising modern western civilization, has been traditionally founded on the subjection and vassalage of other beings. The exploitation of animals and humans (assuming its cruelest form in slavery), both of which still survive today, serve as illustruous examples.2 As Baudrillard stresses, ‘‘We have made of them [that is, of animals] a racially inferior world, no longer even worthy of our justice, but only of our affection and social charity, no longer worthy of punishment and of death, but only of experimentation and extermination.’3 

Given this theoretical framework, the project consists of three chapters regarding animal abuse, visually translated into three objects. The visual representations of these objects and the gesturing in which they invite, formulate an imitation of the processes of human cruelty against animals.

The factory:

The factory incarnates in the clearest way the human abuse over animals. According to the United Nations, 77 billion land animals are slaughtered each year in intensive animal farming as being part of the expendable industrial livestock.4

Animals are turned into machines producing more meat, milk or eggs than they naturally would. In order to achieve that, we even genetically manipulate them. The case of pigs, genetically engineered to grow faster and produce more meat with less feed, is exemplary.5 The full effect of similar genetic modifications in large-scale breeding programs cannot be predicted.6  We have downscaled animals in the category of an object: we produce them in factories, thus rendering impossible their physical reproduction. We call them by numbers (similar to inmates of concentration camps), force them to live under horrible circumstances and consider them as inputs and outputs of an assembly line, where everything must come out as a product.

The effect of the above is detrimental on the mental health of animals. Animals on factory farms have been observed to suffer from severe stress and depression because of the conditions they are forced to live in. They get severe diseases connected to stress and eventually develop self-injurious behavior.7  

Τhe Vault:

The vault refers to the exploitation of animal species bluntly for social status. This often translates into expensive clothing and accessories (exotic skin, fur, feathers), with this trade being illegal and the animals suffering abuse or growing in captivity only to be killed.  

Animals are seen as trophies, on the one hand carrying economic value, on the other serving for social or entertainment purposes. Hunting and collecting wild animals partakes in this kind of exploitation . This cruelty is practiced even (or especially) by people with great social influence. Suffice to mention that Trump’s son habitually hunts endangered species.10

The slaughterhouse:

The slaughterhouse points to the raw violence that we knowingly exert on animals, namely torturing and abusing. Simple or gross neglect, intentional abuse, animal hoarding, organized or sexual assault are manifestations of that violence.11

In the case of experiments including them, animals are legally poisoned, deprived of food, water, or sleep, subjected to psychological distress, deliberately infected with diseases, subjected to brain damage, paralysed, exposed to skin or eye irritants, burned, gassed, force-fed, electrocuted and killed.12
It is also to be mentioned that this kind of violence is used as well in the entertainment industry (angling, bullfighting, circuses, zoos, horse racing, to name a few).

Research and writing by Un.Processed Realities

Text editing by John Sklavounos

Materials: steel tubes, metal sheets, wool, magnets, cotton fabric, furs

*All the furs were donated especially for this project / Non toxic substances or glues were used for the construction / All the materials will be re-used in next project

1.  “End Speciesism” project, Peta.org.uk
2.  “Contemporary forms of slavery”,European Parliament's Subcommittee on Human Rights, December 2018
3.   Jean Baudrillard, “Simulacra and Simulation”, 1981
4.  Alex Thornton, “This is how many animals we eat each year”, World Economic Forum, 08 Feb 2019
5.  F. Foraboscoa, M.Löhmusb, L.Rydhmer LF.Sundström, “Genetically modified farm animals and fish in agriculture: A review”,  Livestock Science Volume 153, Issues 1–3, May 2013
6.  “Invited review: Breeding and ethical perspectives on genetically modified and genome edited cattle”, American Dairy Science Association, 2018
7.   Kathleen N. Morgana,, Chris T. Tromborg, “Sources of stress in captivity”, Applied Animal Behaviour Science, July 2006
8.  Lesley A. Peterson, “Detailed Discussion of Fur Animals and Fur Production”, Michigan State University College of Law, 2010
9.  Michael Paterniti, “Trophy Hunting: Should We Kill Animals to Save Them?”, National Geographic magazine, issue October 2017
10.Tommy Beer,  “Donald Trump Jr.’s Hunting Trip To Kill Endangered Sheep In Mongolia Cost Taxpayers More Than $75,000”, Forbes,  Jun 10 2020
11. Mogbo, Oduah, Okeke, J. Ufele, A.Nwankwo “Animal Cruelty: A Review”, Journal of Natural Sciences Research, Vol.3, No.8, 2013
12. “Animals Are Not Ours to Experiment On”, https://www.peta.org.uk/

UN P R 18T (Un.Processed Realities) were founded in Tinos during the summer of 2018. Their motivation derives from common questions about the operation of the established system of production and exploitation of matter, around the culture of design, the consumer habits, the perception of reality, creation and destruction.

Each of UN P R 18T work emerges as a ‘side effect’ of the process and not as an end in itself. It is a result of anthropological, sociological and geographical observation. Its creation is based on experimentation, self-production, on minimal consumption of matter and energy, re-use, and on the management of available local resources. The place of creation plays a very important role in the development of the project; it functions as a context of new considerations and data and at the same time it determines the construction methods.

Each of UN P R 18T work is a hybrid of nature and industry. Through the interdependent and contrasted natural and industrial materials and their way of process is highlighted the existence of one material in relation to the other; also the conceptual dipoles: man vs nature, paradox vs logical, rationalism vs mystical-spiritual, real-imaginary are reflected.

Each of UN P R 18T work functions as a motive for attitude change in which initiates from us and ends to the viewer. Through the research, the subject and the visual communication, our goal is to strengthen the critical tools, both ours and each person’s engaged in the project.
NIKI DANAI CHANIA co-founder/designer
DIMITRIS TAMPAKIS co-founder/visual artist/designer
GIANNIS DELATOLAS collaborator/sculptor

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