GT5-46474-005_G05-U, 2024
Giclee print on 308gr Photo Rag mounted on cardboard, FDM 3D print, paper, glue, acrylics, plexiglass box.
61 x 91 x 12,5 cm

MA-6-40452-033, 2024.
Giclee print on 308gr Photo Rag mounted on cardboard, FDM 3D print, glue, acrylics, UV print on plexiglass, plexiglass box.
61 x 91 x 12,5 cm

MA-6-40452-075, 2024
Giclee print on 308gr Photo Rag mounted on cardboard, FDM 3D print, glue, acrylics, UV print on plexiglass, plexiglass box.
61 x 91 x 12,5 cm

AS04-01-0000, 2024
Giclee print on 308gr Photo Rag mounted on cardboard, FDM 3D print, wood, paper, glue, acrylics, plexiglass box.
61 x 51 x 12,5 cm

AS06-02-1287, 2024
Giclee print on 308gr Photo Rag mounted on cardboard, FDM 3D print, wood, paper, glue, acrylics, plexiglass box.
61 x 51 x 12,5 cm

AS07-04-1598, 2024
Giclee print on 308gr Photo Rag mounted on cardboard, FDM 3D print, paper, glue, acrylics, plexiglass box.
61 x 51 x 12,5cm

MA-6-40452-031, 2024
Giclee print on 308gr Photo Rag mounted on cardboard, FDM 3D print, paper, glue, acrylics, spray paint, plexiglass box.
61 x 91 x 12,5 cm

MA-6-40452-032, 2024
Giclee print on 308gr Photo Rag mounted on cardboard, FDM 3D print, wood, paper, glue, acrylics, plexiglass box.
61 x 91 x 12,5 cm

AS12-52-7762, 2024
Giclee print on 308gr Photo Rag mounted on cardboard, FDM 3D print, wood, cardboard paper, glue, acrylics, plexiglass box.
61 x 71 x 12,5 cm

GT5-50602-002_G05-U, 2024
Giclee print on 308gr Photo Rag mounted on cardboard, FDM 3D print, paper, glue, acrylics, plexiglass box.
61 x 91 x 12,5 cm

AS08-14-2468, 2024
Giclee print on 308gr cotton paper mounted on cardboard, wood, glue, acrylics, found TV box.
27 x 29 x 25 cm

S66-63639_G12-U, 2024
Giclee print on 308gr cotton paper mounted on cardboard, wood, glue, acrylics, found TV box..
49 x 56 x 40cm

The Self Behind the Window, Ileana Tounda Contemporary Art Center, Athens, 2024.

In the space of linear perspective the viewer is imagined to be looking at the world
as if through a window. This window has become our habit of mind and through it
we have become a self which has learned to keep its eye upon the world.
 Behind the window we have become distant and detached, a self separated and
isolated from the world, a neutral observer and recorder of the world’s events.
Robert Romanyshyn, Technology as Symptom and Dream (1989).

American psychologist Robert Romanyshyn, in his 1989 book Technology as Symptom and Dream - published at the dawn of the Digital Revolution - explores technology as a cultural and historical dream that has, since the fifteenth century, shaped our understanding of the material world and the human body. Within this collective dream, the “self behind the window” describes a state of detached observation: the individual becomes a spectator rather than an active participant, experiencing life through technological mediators such as cameras, screens, microscopes, telescopes, etc. Α spectator that has withdrawn from the body’s sensuous ties with the world, reducing reality to a spectacle to be measured, mapped, and coded. Romanyshyn argues that progress is rooted in a specific mode of vision: linear perspective vision, which has become a cultural "habit of the mind” and has been a driving force for the emergence of a rigid yet fragmented, highly controlled, and productivity driven technological world.
The works consist of three elements:
1. Photographs: Sourced from NASA’s public digital archive, these images were captured by astronauts on missions orbiting Earth and traveling to the Moon between 1961 and 1972. These abstract photographs may appear enigmatic to an untrained eye - some of them have been damaged during the process of uploading or unloading the analog film on to the camera. They depict the cosmos, symbolizing a vast and compelling frontier to be explored. Each work is titled according to NASA’s archival names for the photographs, accessible at:
2. Space Frames: These lightweight, three-dimentional structures consist of several struts, interlocked in geometric patterns. Designed to span large spaces with minimal interior supports (therefore a key element for the development of megastructures), space frames were originally invented by Alexander Graham Bell during his early 20th-century aeronautical experiments. They serve are a means to measure and organize the world, a modular unit, a rational construction of knowledge that stands between us and the cosmos. 
3. Song Lyrics: Expressing vulnerability through themes such as space, time, travel, vision, and technology, these lyrics float in the foreground. Often reflecting personal memories of my own, they offer an intimate, focused gaze into the self. The font chosen for all text is Ed Ruscha’s Boy Scout Utility Modern, a nod to an enduring artistic influence.

Curated by Galini Lazani. Photographs by Dimitris Foutris.
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