CHRISTINA MARIDAKI,
female protest artist.
SOUNDS I HEAR AT 27 - THE SOUND OF HAVING AN EATING DISORDER
A shared auditory experience to make us aware of our belonging in nature and in body politics. An idea born on a walk, after the realization that I could not hear a high frequency alarm ringing, while my younger friends could. This led me to think about sounds that are unavailable to certain people, just like ideas that are not ripe enough to be realized at a certain stage. Coming to terms with my own struggle with eating diversities, I started recording myself performing everyday acts related to food. Eating, cooking, avoiding others in the kitchen to binge freely.
The sounds of eating produce in a state of rawness/ripeness/processing are used as a rhetorical trigger: what is (un)natural in our diet and, in turn, our body? What does it mean to be natural?
Let us eat together, aware and mindful of the reality that pushes unattainable images, while abusing produce and marketing products w/o any nutritional value. Let us reiterate once again that the personal is the political, while we help each other through the hurtful influence of authority on our bodies.
TIME
the question in her mind remains: how much of this time do you have left before you, too, become a product of your surroundings?
INSANE
In presented itself as yet another gendered tool. *Female* patients appear to have tendencies, commonalities, as well as shared diagnoses and even medication. Was Foucault right in dismissing this medical field? Are our r
The sculpted stones were the stepping stone for this work. Imagined as medusa's oppressors/victims, these rocks are binding women to an infinite routine of domestication and free labour. Unable to stop, unable to justify, this everyday woman is counting down the time to snap. The audio of the counting female is representative of my personal subtle compulsions and is used to intensify the feeling of the trigger. The unease of eternal blame and exploitation, a sisyphean task, the act of surrendering and being rebellious at the same time. And the question in her mind remains: How much of this time do you have left before you, too, become a product of your surroundings?
TO
Is there ever a time to go *insane*? The real story of Medusa, a victim turned perpetrator, as known by mythology enthusiasts and brought to popularity by L. Garbati, is once again used as inspiration through this exploration of mental "normalcy". What is a functioning brain? What is trauma and what is it to be stable and productive? In researching the history, science and cultural interests of psychiatry, it soon presented itself as yet another gendered tool. *Female* patients appear to have tendencies, commonalities, as well as shared diagnoses and even medication. Was Foucault right in dismissing this medical field? Are our reactions to the system being drowned out by the system's care-givers?
A young woman is recalling a night out somewhere in downtown Athens. She is on her way to the square, but going to any square is forbidden by law. Multiple stories unravel after her memories of the eventful night get shattered and intercepted by bits and pieces of her gendered reality as a protester, a consumer, a mother, a landlady, a prisoner, a partner. This recollection is meant to put back together the puzzle of her disappearance, while facing the audience with serious anthropological conundrums, such as getting with a lover that is too big, your favorite soda facing a serious shortage, and rape being weaponized in the political warfare led by the Greek authorities.
A young woman is recalling a night out somewhere in downtown Athens. She is on her way to the square, but going to any square is forbidden by law. Multiple stories unravel after her memories of the eventful night get shattered and intercepted by bits and pieces of her gendered reality as a protester, a consumer, a mother, a landlady, a prisoner, a partner. This recollection is meant to put back together the puzzle of her disappearance, while facing the audience with serious anthropological conundrums, such as getting with a lover that is too big, your favorite soda facing a serious shortage, and rape being weaponized in the political warfare led by the Greek authorities.
IF YOU ARE OF NO MORE USE TO US, ARE YOU EVEN?
Waking up barefoot in deep slumber, 8 in the evening, sliding my skin on the Athenian modernism tiles, standing short of breath in front of my closet:
Inspired by K. Gogou's A time will come. Ignited by the vile rape and murder of E. Topaloudi by two men in Rhodes, and the media circus that followed it including the families protecting the rapists and the media portraying them as having repented. Its title, Kronos, holds a dual meaning. The planet named after the titan in Greek mythology who ate his children and the word "chronos", English for the Greek word for time -χρόνος.
Inspired by K. Gogou's A time will come. Ignited by the vile rape and murder of E. Topaloudi by two men in Rhodes, and the media circus that followed it including the families protecting the rapists and the media portraying them as having repented. Its title, Kronos, holds a dual meaning. The planet named after the titan in Greek mythology who ate his children and the word "chronos", English for the Greek word for time -χρόνος.
"Θ' ανοίξουν τα χέρια.
Ψηλά
τεντωμένα, στην
ανάταση. Όχι όμως σαν να παραδίνονται.
Πιο πολύ
σαν να τους ρουφάει το χώμα."
"Θ' ανοίξουν τα χέρια.
Ψηλά
τεντωμένα, στην
ανάταση. Όχι όμως σαν να παραδίνονται.
Πιο πολύ
σαν να τους ρουφάει το χώμα."
"Θ' ανοίξουν τα χέρια.
Ψηλά
τεντωμένα, στην
ανάταση. Όχι όμως σαν να παραδίνονται.
Πιο πολύ
σαν να τους ρουφάει το χώμα."
Inspired by K. Gogou's A time will come. Ignited by the vile rape and murder of E. Topaloudi by two men in Rhodes, and the media circus that followed it including the families protecting the rapists and the media portraying them as having repented. Its title, Kronos, holds a dual meaning. The planet named after the titan in Greek mythology who ate his children and the word "chronos", English for the Greek word for time -χρόνος.
"At the Aristotle University of Thessaloniki they're beating students. At the National Theatre of Greece they're raping teenagers. But the Greek media point ME out as the nation's number 1 enemy!"
"I saw a lot more possibilities in using sexuality and femininity as a weapon and an act of disobedience. Combining my new-found knowledge on sex -or the absence of it (Fahs)- as rebellion and considering that the greatest statement can be made within the everyday, I found my common ground in heritage. Challenging the simple, the given, the historical and its everlasting impact on women who refuse to exist as reproducers. I played around with the notion of pride and offense, and tickled the connection between my traditional Greek island and the male culture. What could possibly upset the rugged, archaic residents of Creta? What lies in the core of their individual and collective identity? Obsolescence. Defying the patriarch, taunting the given roles and provoking this tightly-knit society with change."