Katerina Neofytidou

INACCESSIBLE

Katerina Neofytidou contemplates on the experience of psychological mutation in the chaotic whirlpool of contemporary life. In particular, she focuses on the relationship between a dysfunctional architecture and the presence (or absence) of a body. Their interaction creates what the artist calls Spaces of Transformation, in which existing forms become de-constructed and re-adapted as new models of 'being in the world'. According to Merleau-Ponty, the body acts as the primary site of knowing the world and the artist, acknowledging the body's interdependence with its surroundings, asks questions about the future of our relationship with the constructed space (physical or mental).

In her installation ‘Edifice', consisting of sculpture and silkscreen prints, the artist invites the viewer into her world of architectural fragments and entropy. Her aim is to reveal how the invisible forces of gravity, tension and violence, inherent in the existing environment, initiate splits and rifts upon our inner space, which, in turn, affect our stories and myths. According to Joseph Campbell, a certain function of myths is to act as guiding tools for the psyche' s maturation process. Shouldn’t we consider what kind of symptoms their mutation causes, on a personal and collective level? As sociologist Alain Ehrenberg says, the frontier separating psychical suffering and social suffering is thin. The balance is very delicate.

By using images and themes from her psychoanalytic setting and by doing psychosomatic practices in her daily routine to achieve balance, the artist consciously performs a self- developed ritualistic method: She internalizes both the architectural fragments and the mutated bodies. The fragments constantly shift, whilst the bodies balance in angst or are in a state of falling forever (defined by D. W. Winnicott as one of the primitive fears). In doing this 'ritual', the artist rearranges such forces of tension into silkscreen compositions and then into sculptural forms. Sometimes, in the absence of a body, other natural elements, such as a rock or a cloud, come into play.

According to the artist, this ‘naive attempt to restore a sense of balance of the place systematically fails', but instead Katerina manages to combine all the elements into a kind of modern mythology of the current human condition and its mutational processes. Here, the artist imagines a contemporary geo-myth about a giantess, who, upon waking up everyday in a reality without a mythological dimension, she cries. And when her tears fall onto the earth, they turn into cracked concrete creating irreversibly broken landscapes.

In the end she asks: Is it possible that these transformations cause a reversal of the heroine's journey and subsequently social dysfunction? Can we talk about this, can we heal it? Or do we desire to efface it entirely?

EMBEDDED GODS

In ‘Embedded Gods’, the Chalcolithic cruciform figurine and Venus de Milo are digitally abstracted and dissected to produce fragments of dysfunctional architecture, which appear immobilized and floating in space, some holding captive the dynamic bodies of Zeus of Artemision, while the modernist monuments of a church and a olympic diving board surveil the skies waiting for the humans to come back.

Silkscreen, 42 x 29.7cm.

The work presented in the first solo exhibition of Katerina Neofytidou, has an observation as a starting point; the presence of faded advertising posters and billboards in public (usually open) spaces. Com-modified images that take advantage of the mechanisms of promise and desire, create an artificial landscape that spreads through, seemingly, random processes. Imagining the posters as abandoned objects, similar to the flow of time and the fending off natural elements, she started a photographic documentation, with the aim of exploring the changes of the sociopolitical motifs which act as the natural environment of this landscaping.

In Nigredo, Neofytidou worked with form as the living ecology of the object, withdrawing logs from fire and then, allowing crystals to grow on them, through chemical processes. In the series of sculptures and plaster surfaces, upon which she transfers photographs from her archive, that are presented here under the constellation of an installation, she turns her attention to the process of personal and social transformation, stylistically rendering an in-between space, in which old beliefs fade away in order to make room for new, purified landscapes. The title Albedo Cursum refers to the second stage of the alchemical process (albedo), which the artist connects conceptually with ‘Cursum’, that is, a continuous path towards brightness. Utilizing the fluidity of plaster in order to emphasize the changing nature of the landscape she examines, she prints cracks that bring to the surface the dynamic of a future architecture.

[text by Evagoras Vanezis]

Dematerialized by Light (I-XX) – gypsum board, calcium sulphate, photographic transfer.

White Queen/ White Ashes – calcium sulphate, ash, charcoal.

Nigredo – charcoal, copper sulphate.

Threshold – calcium sulphate, copper sulphate, ash, charcoal. 

Sanctum – calcium sulphate, copper sulphate, ash, charcoal.

Ablutio – calcium sulphate, ash, charcoal.

Summit – calcium sulphate, charcoal.

Devotional – calcium sulphate, ash, charcoal.

Rites of Passage – calcium sulphate, copper sulphate, ash, charcoal.

Inception – wood, gold leaf.

VOLKS ART SPACE, 2015

Burned wood, copper sulphate crystals, dimensions: variable

Nigredo is the first stage of the alchemical work. It is an encountering with the shadow and its transmutation and purification by fire. As it produces “blacker than black”, it can be a dark and disorienting phase of major life transitions and new beginnings, a form of dying. As a turbulent dissolution of the Nigredo, the Blue transition towards the next stage, the Albedo or the Whitening, is “like that sadness which emerges from despair as it proceeds towards reflection." A bluish hue shadow moving in the darkness, announcing the arrival of something real.

Chance and change, the transformation of energy and matter, natural cycles of creation/destruction towards form or the formless, the temporality of things and the aesthetic axis of order & disorder(entropy) andis in the heart of Nigredo.

Material such as burned wood is taken from entropic event spaces, such as fire ceremonies (the burning of Judah or Lampratzia). These are overlapped with low entropy processes, such as crystal growing from a chemical solution- a constantly shifting system. I then focus on a specific moment in the growth of the crystals and in a time-freezing act I pull the wood out of the chemical solution. The same applies when I pull the wood out of the fire. Both processes are natural and self- changing and enable a living materiality which brings out the inner dynamics of things, in terms of their processes of creation and their 'material wisdom'. As such, their form is not the mere imposition of a shape but is ecology, the emergence of latent forces that are made visible in form itself. It relieves me of most control of the final outcome, and allows the sculpture to form its own conclusion. Accident, chance, and change hence become the decisive elements. The outcome is familiar objects that are charged with elements of the alien or the unknown.

First price, Art Competition for the Famagusta District Court in Paralimni.

Team: Katerina Neofytidou, Nikos Kouroushis.

Stainless steel, aluminum, black granite, plexiglass

POLYPHONIZE is a cross between a virtual sound instrument, an online archive of site-specific and site-speculative sounds, as well as a soundzine – a group show based on the results of the residency (Cyprus). The Project aims to inspire an intimate knowledge of the place, and to create pleasures of listening to alternative stories, rendering homage to the significance of the sensitivities. One of the main goals is to activate the place through a kind of sound adventures in order to vocalize and amplify muted or muffled voices. And also to discover the opportunity to challenge imagination through sensory engagement, translating often subtle and obscure nuances, over-and-undertones into another language of perception. After all, what is the voice of contemporaneity in a particular place? Certainly, it is not a single voice, the loudest and most frequently heard one, and not even somehow harmonious group of consonant voices, but a whole polyphony/cacophony of voices at different formats, pitches and tunes. POLYPHONIZE acts as a nuance noticing and noting tool that translates events, situations, phenomena, lives, historical facts, and etc., associated with a place into sound form. With the help of this tool, it is possible to clarify elusive and faint discourses and to suggest more ways of listening to our environment.

Organizer- E.KA.TE (Cyprus Chamber of Fine Arts) Curating- Ilina Chervonnaya & Katerina Neofytidou Website and Technical Support- Serghei Dedkov

https://www.polyphonize.space/

Collaborative project with Ilina Chervonnaya and Marcus Papageorgiou, curated by Maria Stepkina, Helsinki, Finnland.

Over the past decades the world was consumed with wellness industry boom. An increasing number of travellers seek to relieve stress and temporary recover from the after-effects of modern life. Spa treatment has become an omnipresent service and main tourist attraction. In nordic countries it is especially popular as a compensation for the small number of days with favorable weather conditions. Health, beauty and youth are the most promising luxury products in a scarce market of ecological purity.

But what is the meaning of such a wellness boom? How does it relate to ecological anxiety? Is it an attempt to doze off, washing one’s hands and minds of the traumatic real? Or is it an effort to calm down and to soothe irritated, annoyed and nervous bodies? Even if an extreme and unpredictable climate is here for everyone there still exists a common fantasy about the gentle, mild-tempered and affectionate chimerical Nature serving the chosen ones whose bodies are spinning in the foamy whirlpool of self-contained escapism.

Cyprus Amber Incubation Spa~ce is a strange phantasmagoric treatment place resembling a spa salon. It is a space where mutation and transformation become possible by the agency of ‘therapeutic’ devices/tools/elements and with the help of ridiculous healing procedures based on the Cyprus Amber properties. While the usual amber is a fossilized derivative of extinct trees, Cyprus Amber is a substance of the modern age, some weird, fantastic, mystical derivative of plastic, ultraviolet light, increased salinity, extreme temperature fluctuations, electrostatic stress, ionizing radiation and more. Cyprus Amber together with its associates are agents of influence, they bewitche highly mobile individuals, penetrate into consumer goods, disperse themselves in the air, dust and water.

You are welcome to meet the Cyprus Amber, its ancestor the Umbrella Pine and the guiding Millipede and indulge your senses in Cyprus Amber healing sessions with unpredictable outcome.

Cyprus Amber Healing Sessions with Katerina Neofytidou will be held on 14.09 (Sat) at 16:00, 17.09 (Tue) at 17:00 and 20.09 (Fri) at 17:00

[text by Maria Stepnika]

Ongoing Project

Mixed Media: slide show (36 slides), colored pencil on paper, photographs

Chance and change, transformation, natural cycles of creation/destruction towards form or the formless, entropy and the temporality of things is in the heart of my work. 

My preoccupation with these processes has driven me to observe this constant game of change. I have been mainly focusing on light and the transformational effect it has on matter and/or space. I work with photographs of commercial posters and street signs that have been naturally faded, decayed and transformed by the sun- signs of an entropic society that consumes and it is being consumed.  The light is what creates the image and the light is what destroys it. Change is inevitable and where and when it happens, a Space of Transformation is at work. Through these interactions of universal forces and sociopolitical transformations, old patterns die and new ones are born. Creative destruction (or destructive creativity) is the primary way to achieve this status and to estrange us from our thinking habits so as to form new ones. 

Referencing Jean Arp’s poetry- “The light fades the colors. Sun and heat make blisters, disintegrate the paper, crack the paint, disintegrate the paint. … The dying of a picture no longer brought me to despair...” – Jean Arp, On my way. Poetry and essays 1912-1947- and Joseph Beuys’s Arena photographs that were bleached, solarized, or otherwise manipulated to become imbued with an aura of use and decay, I roam the city photographing advertising posters from the cityscape’s mass and popular culture, which tends to reproduce the liberal value of individualism and to foster a view of the citizen as a consumer. These instances have been selected for my work due to their entropic state; they are faded, torn and solarized by the natural elements. They have become something else which is both familiar, yet alien. These posters reveal another layer or another site, hidden in plain sight. They narrate a different story about the everyday cityscape, time and world. I manipulate a reproduction of a reproduction of a reproduction, into a 2 channel slideshow.

The collection and juxtaposition of images of architectural and other elements become their own story fragments and they steer towards a threshold. Like Smithson wrote-‘Only when art is fragmented, discontinuous and incomplete can we know about that vacant eternity that excludes objects and determined meanings.’  -- The Shape of Future and Memory. (1966). Robert Smithson: The Collected Writings. pp.333

DRAW COLLECTIVA, 2014

Video installation – loop- Archival photograph, October 13th, 1917, Fatima, Portugal and photographic print of the Sun, Cyprus, October 13th, 2014.  Sound: Low-frequency vibrations from the Sun recorded by the ESA/NASA SOHO spacecraft. Dimensions: 220cm x 120cm and 220cm x 120cm

The miracles Of Fatima - an estimated 70,000 people were in attendance at the site of the Miracles of the Sun.

This ongoing project focuses on a research field of relations and probabilities, as derived through the interaction of cosmic patterns and sociopolitical transformations.  In this peculiar and liminal space, new patterns are born, through which, I renegotiate the ritualistic, alchemical acts of the cycle of life: birth, death and rebirth via a peculiar personal mythology. Using an almost alchemical, visual process of mixing collective and archetypal memories, satellite images, dreams, historical events and patterns of nature, and through what is essentially part of a ritual act, I revisit fundamental questions about the nature of reality.

Year: 2014

burned paper, Cellophane Photo Display Bags,  2014-2015. Dimensions: 126cm x 59.4cm

Video 1 - Solar flares, 4:44, Video 2 - The Sacred Garden, 1: 13

Everyday ritual, for 12 months, of burning tree ring section images with a lens and the light of the sun, while simultaneously collecting daily videos and images of solar flares form NASA's SOHO satellite.

Silkscreen 14.85 x 21 cm on paper and silkscreen on old posters xerox collected from Pallas theater before it’s renovation, a landmark in Nicosia of the 80’s.

Action Field Kodra - Kodra former military facilities, September 2016, Thessaloniki, Greece.  

Suncheon bay international eco-enviromental art festival 2016, Paradise in our Namdo, Sunceon bay National Garden, November 2016, Suncheon city, South Korea.

EFE public art festival, Plateia Iroon, July 2016, Limassol, Cyprus.  

The shadows are like life: transient and fleeting. They are formed and transformed by the movement of our sun and the flow of time, but yet, in the course of the day, they fade away like memory does. Because of our trivial reality, the vastness and the transience of life - the law of entropy – escapes us. Through this installation, I engage with public and/or private spaces, by creating disturbances in the everyday, familiar environment, something which serves to disrupt what we call reality, or, at least what we expect to be the ‘true’ reality. Shadows appear in the space, that are, however, paradoxical. During a shift in perspective, they don't correspond to reality. The surprise creates an unexpected moment in the viewer's path and stops their usual flow of perception, momentarily. The installation negotiates our relationship with time and space and it is intended, for a brief moment, to cause curiosity about what and how it exists, thus, shifting the viewer’s consciousness to a wider perception framework. Breaking the formalities and intimacies of what surrounds us and what we know about it, we realize that we are transient beings, whose life and actions are a very important part of a broader, collective system. At the end, these are the things that will remain, even in somebody’s memory.

“I sense a Threshold: Light to Silence, Silence to Light – an ambiance of inspiration, in which the desire to be, to express, crosses with the possible … Light to Silence, Silence to Light crosses in the sanctuary of art.” Louis Khan, ‘Silence and Light’ lecture, School of Architecture at the Swiss Federal Institute of Technology in Zürich in 1969

http://www.seeaf.org/index.php?mid=board_lgnU73&category=791&document_srl=4523

E.KA.TE - exhibition for the inauguration of Strovolos Municipality building, 2012. 

CYPRISLANDIA artists’ exchange program, Reykjavik Art gallery, Reykjavik, Iceland, 2011.

Mixed media installation: collages, video, map. Dimensions: variable

After a considerable amount of research and time spent in museums, temples, settlements and libraries, studying structures, pottery, burial practices, ways of life, old manuscripts, books and original excavations reports, an argument is made, mainly with reference to the Western mode of historiography which conforms to scientific criteria. The work contrasts this form of objective history with alternative ways of recuperating the past, such as legend and myth. Its aim is to re-address the balance between mythos and logos and reinstate imagination as a valid way of understanding the world.

Interpretations of the world that are incompatible with modern science belong to the category of magical thought. Magical thought can be defined as the belief in, or the construction of, causal connections between particular events that are due to mystical forces beyond the human sphere.

By recreating visually such connections, surreal and ambiguous juxtapositions of time and space are set up, creating discrepancies, altered perception and thereby suggesting possible realities and alternative ways of thought or modes of knowledge.

LA MEDITERRANEE - Evagoras and Kathleen Lanitis Foundation, under the auspices of the Cyprus Presidency of the Council of the EU, Limassol, Cyprus, 2012

Mixed media installation: slide show, found objects, pencil on engravings, maps, archival material, print on vellum, print on papyrus, video, 4:25, museum cases, maps, books. Dimensions: variable

This interdisciplinary hypothesis is a soft scientific model composed of historical data, including human artefacts and writings, of how the eastern Mediterranean of the Old World suffered one of the greatest disasters in history.

"There have been and there will be many destructions of mankind, of which the greatest are by fire and water, and lesser ones by countless other means. the truth of it lies in the occurrence of a shifting of the bodies in the heavens which move around the earth, and a destruction of the things on the earth by fierce fire, which recurs at long intervals." Plato, Timaeus, 22 C-D.

"There is a period, called the supreme year by Aristotle, at the end of which the sun, moon, and all the planets return to their original position. This 'supreme year' has a great winter, called by the Greeks kata-klysmos, which means deluge, and a great summer, called by the Greeks ekpyrosis, or combustion of the world. Censorinus, Liber de die natali xviii.

The discovery that objects from the Neolithic and Early Bronze Age, carry patterns associated with spectacular shapes caused by plasma column instabilities - that have only recently been studied through experiments-  provides a possible insight into the origin and meaning of these ancient symbols produced by man. The following presentation directly compares these patterns, focusing primarily on pictograms and petroglyphs from Malta and Cyprus, with the graphical and radiation data derived from plasma experiments, conducted by Dr. Antony Perrat in Los Alamos laboratories.

It is found that from millions of archaic petroglyphs, about 40% can be classified according to plasma stability and instability data. As the same morphological types are found worldwide, the comparisons suggest the occurrence of a high-energy-density auroral storm, with a possible peak around 3100 BC, as might be produced by a solar wind of increased magnitude or other plasma interactions with earth's ionosphere

The scientific possibility that such an auroral pillar, which was assuming different shapes at various times and was reaching from the horizon to the highest region of the sky , was observed at some time during the Holocene, implies an explanation for the 'protomyth' derived from the comparative study of a near-universal template of creation mythology and ancient cosmologies. To date, an abundance of palaeo-climatological evidence points at environmental disasters that took place at various times during the Holocene, while archaeological evidence suggests that human societies suffered heavily from these. Physical and other effects of such an enhanced aurora, such as an excessive influx of cosmic debris or geological , biological and psychic responses to increased cosmic radiation might be traceable.

"There is a period, called the supreme year by Aristotle, at the end of which the sun, moon, and all the planets return to their original position. This 'supreme year' has a great winter, called by the Greeks kata-klysmos, which means deluge, and a great summer, called by the Greeks ekpyrosis, or combustion of the world. Censorinus, Liber de die natali xviii.

"The huge earth groaned. … A great part of the huge earth was scorched by the terrible vapor and melted as tin melts when heated by man's art . . . or as iron, which is hardest of all things, is softened by glowing fire in mountain glens". Hesiod, Theogony

"At a later time there occurred portentous earthquakes and floods, and one grievous day and night befell them, when the whole body of your warriors was swallowed up by the earth, and the island of Atlantis in like manner was swallowed up by the sea and vanished; wherefore also the ocean at that spot has now become impassable and unsearchable, being blocked up by the shoal mud which the island created as it settled down." Plato, Timaeus, 25 C-D

"Four times in this period (so they told me) the sun rose contrary to his wont; twice he rose where he now sets, and twice he set where he now rises."

In the second book of his history, Herodotus relates his conversations with Egyptian priests

International Artists Residency with Franco BifoBerardi, Lia Haraki, Ragnar Kjartansson . Curated by Maria Stepkina and Katerina Neofytidou, and hosted by the Chamber of Fine Arts Cyprus, Nicosia, Cyprus.

A two-week interdisciplinary artistic residency with a specific focus on Sound and Touch. The academy launched for its 3rd edition with workshops, lectures, discussions, presentations and events. With an aim to challenge and expand our perception and understanding of what body and environment are, a body of work developed that explores their relationship and interconnection.

The goal of the workshops is to enhance our sonic perception, investigate the source and physicality of sound, and test the power of voice and music to unite sounding bodies. An inward journey is undertaken to find physical support for our voices, deepen sonic awareness and open sensibilities. The practice flow then reverses, in order to go from the deep source outwards, to resonate with the world, to sing the time we live in. An important question is asked whether there are ways to cure the wounded social body through the touch of sound.

Perceiving Academy 2020 Sound and Touch includes an intensive 5-day workshop by Cypriot artist Lia Haraki and a workshop with Michael Reiley McDermott of the Deep Listening Institute (DLI) of Pauline Oliveros, as well as lectures by the philosopher Franco "Bifo" Berardi, the Icelandic artist Ragnar Kjartansson, the independent researcher Katerina Nikitina, discussions, film screenings, readings and exploration around Nicosia.Participants were given time and support to develop their ideas, that emerging in the course of the residency or stemming from their artistic practice.

This residency is kindly funded by the Cultural Services of the ministry of education, culture, sport and youth.

International Artists Residency Curated and organized by Katerina Neofytidou and hosted by the Chamber of Fine Arts Cyprus, Nicosia, Cyprus.

Two weeks of an alternative exploration of the coastline of Cyprus, with lectures and discussions, workshops, events and performances with participating educators Grace Schwindt, Kat Austen, Petri Brerndson and Bartaku.

The coast of Cyprus is a constantly changing, ‘living’ boundary, which serves mainly as an industrial, military and tourist industry resource The academy program included travelling around the entire coastline, creating self-organized forms of learning and research in public coastal areas. By using unconventional methods, the participants learned how to connect with our environment and topos, in an effort to understand the deeper transformations taking place.

During the first week, the Academy travelled from Nicosia to Kerynia, Morphou, Pyrgos, Akamas, Paphos, arriving to Limassol. In a workshop by Grace Schwindt, the participants paired with refugees from Cyprus and Syria. Through a process of drawing their lost homes, there was an open conversation about their personal experience in order to find ways to communicate memories. A space relating to their home was created, recorded and performed in a nonverbal communication: dance, gestures, silence, song, text. Part of the work by Grace was exhibited in the Imperial War Museum. Parallel to the above Dr. Kat Austen was remotely running a workshop giving the participants audio walks and teaching them how to use adapted scientific sensors, hydrophones, to listen to the chemical changes in constant flux in the bodies of water that surrounds the entire island and us.

Continuing into the second week the Academy travelled from Nicosia to Larnaca, Protaras, Famagusta, Karpaz, Ayios Andreas. The participants went on with experiments and lectures by Petri Brerndson about perceiving the topos through the senses and through the breath and about how place inhabits us within the respiratory atmosphere of air, which are paths to travel toward becoming a “great listener” and a “great breather”. And also by Bartaku on a daily dialogue protocol of walking meditation and communicating with plants, group mediations with focus on self-gut, Leaky Methods for connecting with the ineffable (of the) other.

There were parallel talks talks by: Vasia Markides on Famagusta Eco project and Anne Meiber, physicist (Cyprus Institude), on Dust, Fungi and Bacteria migration in Cyprus. The work and documentation resulted in an online alternative travelogue.

Katerina Neofytidou in partnership with Eric Ellingsen and Lynn Peemoeller, E.KA.TE and a community of young professionals, co-produced

PERCEIVING ACADEMY CYPRUS: ON RECORD.

https://soundcloud.com/katerinaneophytidou/sets/delight-perceiving-academy-cyprus-2018-2020

Perceiving Academy, is an artwork based on a heutagogic approach of learning how to learn. A learner centered self-determined learning environment extends the pedagogical process into the realm of action-based research and action-oriented learning. Vulnerability and uncertainty are embraced as critical opportunities to problematize local contexts, recognize the complex nature of place, and experience an acted dialogue of responses. Directors of Perceiving Academy work with curatorial teams and institutional partners to choreograph an interdependence of learning situations as tool kits specific to the perception of place. Through those toolkits, participants are guided to do things together in public spaces that draw out traces of personal stories within a phenomenology of place specificity. Through these traces, place specific templates for final events and public productions emerge and materialize as public platforms, shared spatial narratives co-produced by participants. In Cyprus, the Perceiving Academy focused on the environmental relationship between water, cities, bodies and microbial companionship as a cross-cultural dialogue that takes guts to conduct.

With its starting point in Institut fur Raumexperimente, this was the 2nd iteration of the project, designed to cover the entire island of Cyprus, seeking to make explicit those things that are in common, the things that do not divide but unite. The goal was to design new languages to think-in, and techniques to translate those thoughts into action.

During the first week, amongst lectures and workshops the participants employed perception-based walks and actions in a Public-Loop that extended beyond the North and South sides of the UN Buffer Zone, Nicosia*. They experimented in translation, notational systems and sound mappings, collecting discarded things and fragments of language, sounds, found objects, to make the Union of the Found : constructed ‘sound objects’, assembled and performed in a collectively way. In another effort to find the common things, the Academy visited the new Nicosia Wastewater Treatment Plant (WWTP), in Mia Milia, shared by both sides to recycle their bodily waste, while the city of Nicosia still remains geographically and politically divided. The participants also collected fresh drinking water samples from both sides Nicosia, to prepare trahana soup to be served as part of a final performance involving sound and food experiments in public space.

During the second week the program addressed themes of national and transnational food identity and peace symbolism in the divided city of Nicosia by working on both sides of the city to articulate and represent a spatial narrative of Cyprus. The participants gathered food and stories and explored food identity through lenses of family, culture, tradition, geography, climate and nationalism. In a final public event and after sourcing ingredients from both sides of the island, a united and transformed bread dough became our peace bread in an open hearth.

The resulting work and publication is a vinyl record. The album name is DELIGHT and is a poetry/ music/ food stories compilation made from co-produced content. It consists of an A side: Cypriot Delight, an inner-sleeve catalogue with poetry, recipes, maps, scores and other documentation and a B side: Turkish Delight. Content is also hosted in on-line platforms.

https://www.facebook.com/events/909177725953504/permalink/944331149104828/

https://vimeo.com/278827728