Diploma @ the Academy of Fine Arts, Vienna 
October 2015.

The work is a visual and interactive adaptation of Dimitris Dimitriadis’ theatre play
Kenosis (gr: εκκένωση). According to the writer, this play approaches “the borderline
situation of today’s world, through the mythical Atredai family”.
 
 This installation is the orchestral percussion providing a rhythmic foundation to
the manic ensemble, emphasizing on the pulse, filling in for the missing punctuation.
When literature is turned into performance two chronotopes, world views and rhythms
are intertwining, conversing or clashing on site, that of the original literary resource and
that of the actual play, generating a third entity that can be seen as a composite.

  My visual translation of this notion was a composite of units functioning codependent
together in an endless loop. The audience choses when they begin their dance and how
and they have to follow. Without a choice and without a possible escape plan.
It’s a machine, whose function is representative of the intertwined beginnings
and endings as a repetitive ritual.The units are connected to each other and the whole
is a contraption with its ownchoreography. Each unit is  built to play the same tune and
make the same elliptical movement. The only thing that can be influenced is the tempo.
The performance only exists once the crank is set into motion and this is dictated by
the presence of an audience.

...a contraption with its own choreography,
a theatre machine
an assembly line,
a printer,
a puppet master,
a potential.