2006 - 2005

2005 - 2004

2004 - 2003

2003 -2002

2002 - 2001

2001 - 2000

Peter Downsbrough,
Kurt D'Haeseleer, and Ken Kobland Argos
video projection introducing three
short films - program 1h10'
25/9/2002, 9:00 pm

Alex Slade
The paintings of Mrs. Margaret
C. Wellington, Mansett, me

26/9/2002 - 19/10/2002

Art Cologne
30/10/2002 - 3/11/2002

Vangelis Vlahos

Barbara Visser
The World belongs to Early Risers
22/11/2002 - 11/1/2003
Text by Alexandra Koroxenidis

Apostolos Karastergiou
Despina Isaïa
23/1/2003 - 22/2/2003

Jason Meadows
Story Book Medicine Levels
26/2/2003 - 5/3/2003

Hayley Tompkins
Katja Stunz
Valerie Mannaerts
4/2003 - 7/2003
Text by Katerina Gregos

Apostolos Karastergiou: 'I record the floral elements I find on cleaning products' boxes in a realistic way, in order to define an alternative natural environment for them to develop.
The reason I use this realistic process of describing those elements, - which is not in itself something wholesome but just a nourishing staple of my intention - is in order to obtain a picturesque description of an unreal nature's domestic stylisation. I seek for ways to create landscapes made out
of packaging design ideas without any intention of making a decorative illustration.


Despina Isaia: 'Critically observing my immediate surroundings, that is, my family, and the relationships between us, the members, I noticed that we had created a very intimate, closed unity and reality, which allows us to live in a very comfortable but basically placid happiness. Everything seems lovely and gentle but nothing is supposed to upset the balance and nobody is allowed to hurt or to challenge this environment. The relationships seldom reach a climax, and when that occurs, it inevitably leads to the death of their myth and their aura. I portray myself within film stills taken from classical musicals. In that way, I confirm somehow the limited reality that these musicals project, either in an exaggerated graphic or surreal way, or in an over typified romantic style. By replacing my surroundings with these 'sacred' cinematic models of morality, I advocate a shiny, innocent reality.'