2006 - 2005

2005 - 2004

2004 - 2003

2003 - 2002

2002 - 2001

2001 - 2000

Adam Chodzko
Design for a Carnival
9/9/2004 - 9/10/2004

Hito Steyerl
Vangelis Vlahos
Group exhibition
21/10/2004 - 20/11/2004

Corrina Peipon
Nina Papaconstantinou
and a presentation of the publication Gagarin
9/12/2004 - 13/1/2005

Despina Isaïa
Hatice Güleryüz
Group exhibition
20/1/2005 - 19/2/2005

Adam Chodzko, Alan Michael,
Corrina Peipon, Jason Middlebrook, Katja Strunz, Nayia Frangouli,
Vangelis Vlahos
The Armory Show
Piers 90 & 92, booth 92-132
New York

Accrochage with the gallery artists
23/3/2005 - 23/4/2005

Nayia Frangouli
The Misuse of Plans
21/5/2005 - 25/6/2005

Despina Isaïa will be showing a new installation, in the line of previous work. Often relying on traditional crafts, associated with women and the home, and the body as a source of materials but also as a standard of measurement, the installation is created dispending completely knitted and hybrid forms from the ceiling. A variety of colours in seemingly random patterns express the time schedule at which the artist worked, each colour representing a separate knitting session. The shapes are irregular but start out from the body, as appendages that can actually be worn. Basic concern of the artist is the idea of time as a major coordinator of life and the rational but disturbing division between 'wasted' and 'useful' time


Hatice Güleryüz has been making a series films or video works in which memory as image or as a series of images plays a central role. The artist herself comments: 'In my work I tend to adopt a very photographic approach to moving images. This allows me to imbue my work with a more intimate atmosphere that is closely related to photography, and to snapshots in particular. Each film could be seen as a photograph extended through time, […] I tried to capture images that are slow and mesmerising. In my work nothing spectacular takes place in the images themselves, but I try to create the sense that there is something that underlies the image. […] My films are not a direct representation or documentation of an objective reality but more the product of my subjective way of binding pictures together. There are images that keep returning to my mind without revealing a clear meaning. […] I have come to see them as after-images.'