The Violence Code

Lefteris Tastsoglou – Contact Point, 2021, 8.22

The project .Contact Point comments on human relations, but also on the social and human condition in general, through a symbolic performance based on a choreographed repeated act of
mediation between two people. The escalating tension and the gradual dramatic climax of the action gradually lead to a rupture of balances. The video is a commentary on human behaviors with direct
and indirect symbolic references to all kinds of conflicts that plague human history and existence.

Olga Papadima
Man is having the worst day of his life, 2022, 0.34

Olga Papadima works with mixed applications to create weird, symbolic & dream-like (or, more accurately, nightmarish) videoclips, where 3D animation, AI generated images and her sampling
music have a dynamic role. Alienated and distorted figures that seem to have come from another planet or from a distant future create a decadent, dystopian and threatening atmosphere.

Tania Foustana –
What do termites sound like? 2020, 2.33

A humorous juxtaposition of a narration about termites is combined with details of human life in a sarcastic documentary-style video about the catastrophic impact of humans on the environment
around them. “It is a very dangerous type of insect”. “There needs to be taken acts against them in order to prevent the infection that they cause”.

Thomas Michael Alves Nogkoueira –
Around my face, 2022, 4.10

“Why?”
Glitched images and a repetitive painful sound transform ordinary movements into a threatening thriller-like experience.

Nefeli Morogianni – Untitled, 2021, 2.00

Does it rain inside a house? Nefeli Morogianni creates unexpected and poetic visual metaphors for loneliness, absence, abandonment and deterioration, where forces from “outside” flood the “inside”
and vice versa.

Eleni Iatropoulou – Untitled, 2020, 1.26

Details of ordinary house items are used to create an estranged environment and an uncanny trip of emotions.

Yiannis Katranitsas – Variety theater, 2022, 5.46

A stop-motion animation which deals with the concept of migration, caused either by human- enforced situations such as wars, authoritarian regimes and state bankruptcies or by natural disasters and changes of the natural environment. I chose symbolically to work not with human figures as protagonists but with birds, specifically the European Robin, a species that migrates every year from the North to the South and vice versa. I chose that the birds walk in the video instead of flying. All scenes should create a dystopian sense and to achieve this I included many scenes with cut and falling heads. I wanted the little stories to have an ironic humor and sarcasm. Completing the creative process, the scenes reminded little parts of a “variety show”, hence the title of the video.

Georgios Othonos – Untitled, 2020, 2.45

Details of an abandoned windy balcony with torn up tents become a metaphor for all types of destructions, physical or psychological.

Manolis Kotrotsios
The light alienates the senses, 2021, 1.00

The video is part of a group assignment, under the project title “The light alienates the senses”. Manolis Kotrotsios creates a video composition of claustrophobic scenes and nightmarish situations.

Despina Douzi – State of forgetting, 2022, 1.30

Identifying with an image outside of ourselves in the present moment, independent of our entity as a being created by memories. Perfomer: George Konstantopoulos.

Dimitra Tzalavreta
The light alienates the senses 2021, 2.18

The video is part of a group assignment, under the project title “The light alienates the senses”. Dimitra Tzalavreta creates a claustrophobic video-dance piece with stroboscopic light, where the
performers seem to be confined and trapped, condemned to a repetitive neurotic movement forever.

Natasha Mavromatidou & Lefteris Tastsoglou
Miss Balloon, 2022, 6.40 , 1.30

[ Ἵσταμαι: αμεταβ. (μεσ. ενεστ. και μελλ. αορ. 3 ἔστην, πρκ. ἕστηκα, παθ. αορ): στέκομαι (όρθιος), ορθώνομαι, σηκώνομαι, τεντώνομαι, εγείρομαι, ανυψώνομαι]

Her: She stands; straightens her face; stretches the legs that bent her up to the top. She rises and stands up; barefoot and silent; and neither does she stir. It is her being that beams in the darkness. All that she managed to gather along the way is an extension of herself. Perhaps they, not another what, are herself. Steady, balanced on a limit, being a chisel of her ornaments, She Rises.

[ Θαυμάζω: ενεργ. και μεσ. (γενικ. μελλ.): βλέπω με έκπληξη ή θαυμασμό, θαυμάζω]

Him: She should have already been disgraced due to the glow of exposition. But she does not stir. Can she even feel shame? Carving the way she radiates, my eyes reckon she is taller than she is. All these things that she bears, what can they mean? The first one is already gone. Inadvertently, out of curiosity. Then the second, the fourth, the eighth one. Soon there'll be nothing left.

[ Απορέω: ενεργ. [α] δεν έχω πόρους, είμαι φτωχός ή άπορος [β] βρίσκομαι σε αμηχανία, είμαι αναποφάσιστος, δεν ξέρω]

He took everything from her; doesn’t matter he didn’t want it. Now it’s Her the one being flogged by the winds. It’s Him who is afraid of her.

Christina Kazantzi- Untitled, 2021, 0.50

A symbolic visual metaphor of “trauma”, when the body and the mind breaks.

Irini Sereti – Run, 2022, 1.55

The calm before the storm. The city becomes hostile, the flower field is not a safe exit and you don’t even recognize your hands. What do you do when you feel threatened?