UN.PROCESSED
MATERIAL :


LOCATION :
MARBLE & ROCK FRAGMENTS
INOX PIPES LED STRIPS

TINOS 2018
The ‘Un[processed]’ pieces are conscious reflections around established norms. They mirror the aggressive intervention of man on nature and the general deterioration due to the effect of uncontrollable industrialisation. The maker- designer is a victim of the tragic circumstances that he inevitably is party to, since it is almost impossible to create, without altering or destroying elements of nature.

The solid and realistic assemblages, were born through a dystopian environment forming a spatial relationship, exhibiting a scene of violence. The inox pipe literally rapes the raw and unprocessed marble. This collision highlights the strong antitheses between man and nature, geometrical and organic forms, mass production and naturally occurring configurations.
The inox symbolizes industry, technology and alienation. It is the material used in the production of weaponry and sophisticated, modern machinery. It indicates brute force and strength, immortality and utter perfection, it cannot be destroyed and it never disappoints. These are the ideals of a modern industrialised society. In contrast to this, the unprocessed mass of rock represents nature and eternity. It expresses archetypal emotion and the strength of nature which formed it. The rock is still ‘alive’ as it continues to change, to transform. It has no finalised form, it breaks and crumbles even as it is being handled and transported. Perishability and loss are both in the nature of the rock, as it is enveloped in a poetic weakness.

The origin of the materials is also contradictory. On the one hand the inox and the LED mechanisms are industrialized products, while on the other, remnants of marble masses were selected from the abandoned mines of Tinos.
At the end of the object’s life all its parts are disassembled easily and can then be reused. The rock can be returned to us or its original site following the coordinates etched on the pipe.

The pieces created are not “eco”, they don’t suggest solutions nor do they solve the issues that they wish to raise awareness about. Their aim is to activate the reevaluation of the established methods of production.



CARGO
MATERIAL:


LOCATION:
BLACK PORCELAIN
INOX BASE +STRIPE


TINOS 2019
Cargo porcelain collection is the result of a symbolic and actual journey that explores the relationship between humans, natural resources, places and processes of creation. The symbolic journey is related on one hand to the natural course of the stone in space and time, that is captured into ceramic forms. Then, to the continuation of this journey, in the contemporary age, where the stone as a natural resource is stacked and transported as forms of goods.
The result of this porcelain utensil is a replica of the physical object. The aim of the project is to create a memory object that

brings this journey to the user without causing distortion and

damage to the natural environment.
The actual journey concerns on one side the trip of the working team to Aghios Dimitrios beach in Tinos, where the molds were made “in situ” from basalt and slate stones. And on the other sid the team’s return trip to Athens with the molds in 01/2019. GPS coordinates of the beach [37°34'04.0"N 25°14'22.9"E].
The materials that were used (plaster, clay, glass, porcelain) throughout the journey of creation from the mold to the production of the ceramics, are creations of natural processes. The ceramics were transferred from Tinos to Athens and from the workshop to the exhibition inside crakters which were also used as interior supports for the inox surfaces. These surfaces will be reused in the next work of the team informed by the same philosophy.@un.processedrealities








LIVESTOCK
MATERIAL:




LOCATION:
STEEL TUBES, STEEL SHEETS, WOOL, MAGNETS, COTTON FABRIC, FURS



ATHENS 2020
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


*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

KRAMA
MATERIAL :



LOCATION :
inox, ceramic, plaster, paper clay, wood clay, wood, bioplastic, recycled polystyrene

KEIV ATHENS 17-19 SEPTEMBER
Krama Festival

Krama is a music festival aiming to present a new outlook within the Athenian independent music scene, bringing together free improvisation with experimental electronic and contemporary classical music. To realise this idea, Krama invites music acts across borders to perform and explore their commonalities through an alternative aesthetic discourse. Krama activates new resonances between independent artists and groups from across Athens and Europe. This year, in the light of the current circumstances, Krama Festival will take the form of a 3-day sound installation exhibition in collaboration with UN P R 18T (Un.Processed Realities). ‘Krama’ sound system designed especially for Krama Festival 2020. It visualizes the values and ideas of the festival. The sculpture appears as a dyadic operator. The minimalist metal structure as a divine, totemic form is immobilized and frozen in time. Geometric and strict it reflects the stability and robustness found in a work based on rules and structures. On the contrary, its organic form is in constant movement, and seems to transform in time and space. Its need is to enter dynamically, and transfigure the archaic structure with intuition as its guide. This hybrid being out of these two principles will express its existence through speech and music.

Agatha ft Riri - Spirit Breeze Andreas Kavvadias - Cold Pressed 9:09 Bill Anagnos - Still Racing Since 1984 5:26 Dimos Vryzas - Symphonia 2:34 Elias P Brown - Teach My Cells A Gentler Fire 9:08 Ioannis Kotsonis - Ears Under The Blackstuff 8:29 Ioannis Savvaidis- Τανυστής Παραµορφώσεων (Tanistis Paramorfoseon) 9:38 James L. Malone - Nexustition 7:49 Kostadis - Vague Ritual 5:31 Costis Drygianakis Ανοιχτοί λογαριασµοί (απόσπασµα) - Unresolved issues (excerpt)-8:16 Lucia H. Chang - Earthrise 8:25 MIZI - Watch Paint Dry Preliminary Findings of a Study for 256 Τone-Generator 10:38 NatCase - Books on Nihilism 10:10 Panos Alexiadis - Retrieval Failure 8:55 Ramdat - Into Storm 13:04 Rooms In Negative - Zecei Swarswonal 10:08 Savvas Metaxas - Naf 13:37 Turbo Teeth - Sharp horns of a trilemma 10:16 Venus Volcanism - The Eagle 8:27 Veronica Moser - Orthostatic Hypotension 6:30
Agatha ft Riri - Spirit Breeze Andreas Kavvadias - Cold Pressed 9:09 Bill Anagnos - Still Racing Since 1984 5:26 Dimos Vryzas - Symphonia 2:34 Elias P Brown - Teach My Cells A Gentler Fire 9:08 Ioannis Kotsonis - Ears Under The Blackstuff 8:29 Ioannis Savvaidis- Τανυστής Παραµορφώσεων (Tanistis Paramorfoseon) 9:38 James L. Malone - Nexustition 7:49 Kostadis - Vague Ritual 5:31 Costis Drygianakis Ανοιχτοί λογαριασµοί (απόσπασµα) - Unresolved issues (excerpt)-8:16 Lucia H. Chang - Earthrise 8:25 MIZI - Watch Paint Dry Preliminary Findings of a Study for 256 Τone-Generator 10:38 NatCase - Books on Nihilism 10:10 Panos Alexiadis - Retrieval Failure 8:55 Ramdat - Into Storm 13:04 Rooms In Negative - Zecei Swarswonal 10:08 Savvas Metaxas - Naf 13:37 Turbo Teeth - Sharp horns of a trilemma 10:16 Venus Volcanism - The Eagle 8:27 Veronica Moser - Orthostatic Hypotension 6:30



POST EUROPEAN RAGEROOM TM
MATERIAL :



LOCATION :
plaster, guliform, alumium pole and recycled polystyrene 


Centrum Berlin 14 -17 October 2021
Performance & pop-up exhibition
in collaboration with Filippos Raskovic

The various narratives of European philosophy and Reason, as well as, the overwhelming efforts of constructing a geographically based European identity, are crumbling down. Our generation is facing the end of Ratio-Reason and Europe has missed its chance of creating the foundations for a better living. Closed borders, walls, a collapsing European Union, the targeting and marginalisation of states and social groups, with the outbreak of the pandemic as the peak: a rise in the utilisation of science for political reasons, encroachment of human rights, a culture in a coma are some of the examples of the political, economical and humanitarian crisis that Europe is experiencing. Furthermore, a crisis of collective fantasy and of our ability to think of a different future is unfolding. The fossilised classic symbols of Europe remain unchanged, untouchable taboos carrying a stagnant meaning. Their historical legitimisation, resting on a pedestal that rises high above and far away from the present, obstructs any kind of dialogue with the present and the future. Post-European Rage Room is a sculptural and sound installation that will be activated through a performative event on 14 October , and will remain on display until October 17. The installation functions as a representation of a structural element; a pillar with monumental aesthetics, historical references and transmutations. This element will be gradually transformed into archaeological debris, after the destruction of the pillar with the help of the visitors/participants. Music is being placed between two continuous elements. The one is a constant layer of a string quartet. String quartets, ensembles of classical and contemporary western European music and have embodied the principles and the symbolisms of 18th century Enlightenment. The second layer ,on the contrary, consists of continuous, estranged, electronic sounds that are created through a self generative process. This layer tend to destroy the permanence. On top of these two elements one can hear the fragments of a mourning song of Nothern Epirus, a mourning for the lost values. After taking a short quiz, tokens in the shape of EU stars will be given to each visitor, which can be then exchanged for the amount of time and the tool that they want to use in order to destroy the pillar and the symbols which lay hidden inside of it. The design of the objects-symbols that constitute the installation, is the result of an automatic process of production of signified symbols without meaning, thus rendering design into a tool for the reproduction of stereotypical predetermined copies. The destruction of the objects-symbols becomes an organic procedure, as it takes place inside a space that is transformed into a “rage room”.