Efi Amanatidou's "23 bridges" solo exhibition @ Vafopouleio

Διάρκεια και ώρες λειτουργίας: 2 – 18 Μαίου 2014
Τρ-Παρ: 9:00-2:00 και 5:00-9:00, Σαβ 5:00-9:00, Κυρ 9:00-2:00
Δευτέρα κλειστά.



May 2013
acrylics/mixed technique painting on canvas, Ø 60cm

23 bridges series | a sample: No 23 of 23


Riot, No 23/23
Love - War - Riot  |  from 23 bridges series

Lambda print, matte laminating film, steel grommets; 105 * 105 / 120 * 120 cm

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Latest work | 23 bridges


The 23 bridges series contains references (clearly visible or hidden) to various artists, musicians or intellectuals in general.
Some of them are: 

Malevich, Antonin Artaud, T.S. Eliot, André Masson, Gustav Dore, Luis Buñuel, The Velvet Underground, George Heimonas,
Andrei Tarkovsky, Brancusi, Pasolini, Psychic tv, Demetrio Stratos

Emphasis has been given to three of them: Antonin Artaud, G. Heimonas and Demetrio Stratos.
They share in common the exploration on the limits of language and a radical approach to life itself  - transformed by the
passion that their revelations bring forth. 

Stratos says:
"If a new vocality can exist, it must be lived by all, and not singularly: an attempt to get freed by the condition of listener and
spectator to which the culture and politics have accustomed us. This work does not be assumed as a passively listening, but as
'a game in which life is at risk' ".     Demetrio Stratos from Metrodora - in Italian


view full text and all works at bridge23.com site (opens in a new window)

red room





red room (on Andreas Kalvos)

Print on sheet, cardboard box, darkroom red bulb, headphones, 2 ostrich eggs (one in its natural condition and the other perforated), stool, rope, light; variable dimensions ; 2008

TinT gallery THESSALONIKI 2008


One and only is the road
and it leads to the grave;
to this way necessity’s hand
firmly forces the humans

Andreas Kalvos

Efi Amanatidou’s installation deals with the polarised relationship of life and death.
This is structurally objectified by the juxtaposition of the inside and the outside as well as the potential to observe part of the installation being blocked at the outside, while at the same time another part of it invites the viewer to its inner space.

The red room -pain's field- and its inverse/reflection moorder-murder is the inside or the outside?

Μία και μόνη είναι
η οδός, και εις τον τάφον
φέρνει· εις αυτήν η ανάγκη
αμάχητον με χείρα
ωθεί τους ζώντας

Ανδρέας Κάλβος

Η εγκατάσταση της Έφης Αμανατίδου πραγματεύεται το
δίπολο ζωής-θανάτου.

Δομικά αυτό αποδίδεται με την αντιπαράθεση του μέσα
και του έξω, τη δυνατότητα να παρατηρεί ο θεατής μέρος
της εγκατάστασης αποκλεισμένος έξω, ενώ άλλο μέρος
της τον προσκαλεί στο εσωτερικό του.

Γέννηση - Ζωή - Θάνατος
Το red room-χώρος πόνου και το αντίστροφό του
moorder-murder είναι το μέσα ή το έξω;

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The image of the condition



Fire over water.
The image of the condition before transition.

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PROJECT | The Symbolic restoration of the Elements


The ship graveyard in Muynak -the once biggest fishing port on the Aral sea, now a desert town more than a 100 kilometers from water.


The project is structured upon the Chinese scheme of the interaction of the 5 elements of nature (earth, metal, water, wood,

Five indicative locations of environmental destruction -one element per continent- give rise to the setting up of a both material
and virtual, global network.

The "symbolic restoration of the elements" develops in three levels (nature, communities, cities/metropolises).
The proposal consists of architectural interventions functioning as telecentres (or community multimedia centers), as well as
a permanent video art installation created to symbolically reinforce the missing element of each site.

These places disadvantageous in many ways, gain a significant account towards a new spiritual awakening.


→ "Starting point in my thinking was an image that I came across in a pack of Xeroxed paper kept for some years during
my studies in Architecture. The scheme had to do with the interaction of the -according to the Chinese thought- 5 elements
of nature. When the first stimulus began generating some more concrete thoughts, I discovered that the scheme matched
perfectly with my interest in ecology, the element of sacredness and the primitive spirit. Moreover, it gave me the opportunity
to form a conceptual basis of a project that I would be able to structurally elaborate with the use of symbols.

Today, October of 2002 I presume that a first phase of my work has come to an end, even though the project is of course
still open. The "symbolic restoration of the elements" consists of interventions in three levels (nature, communities,
cities/metropolises) and is a combination of architecture, internet, video art and CD-rom/ theory. Five indicative locations of
environmental destruction -one element per continent- give rise to the setting up of a global network. These places
disadvantageous in many ways, with the buildings and the infrastructure like the material equivalent to the network, gain a
significant account towards a new spiritual awakening."    efi amanatidou - october 2002


→ "...My priority was to give emphasis to the social role of art - at least in my way to perceive art. I wanted the artist playing a
role analogous to the one of the shamans in primitive societies. I believe that art is a means through which people get in touch
with the ritual and the sacred elements that were once expressed in the life of past societies, but which are now repressed. To
put it in a different way, I presume that at these times art was more directly integrated into everyday life. Art, as well as the
function of the ritual, had a balancing, intervening and therapeutic function -and this is what I am aiming at.

One of the main issues I want to raise within my project has to do with the conservation of the cultural diversity along with
biodiversity: At the same time as species of flora and fauna are vanishing rapidly, so is happening with human races and
cultures as a result of the dominance of western culture. One of my main objectives is to raise questioning on the issues of
avidity and the lack of respect towards nature and man, a theme characterizing modern societies"    efi amanatidou - may 2003


//////////// >> go to interactive movie  ///////////////////////////////////////

  |   view gallery  |   view slideshow   | 



This work is actually based upon real dreams I had been dreaming for years.
On visiting a beloved place of my childhood I kept on finding there -instead of the
virgin nature I knew, an airport, a dam etc.
In other dreams I was in a constant search of a sacred space, placed somewhere
below the ground level -a place still unknown even for me.

These dreams stopped while I was working on the "Symbolic restoration of the Elements",
a fact that evoked me the feeling or the question if this has happened maybe because I
found myself on the track of fulfilling my own destiny.

What I want to say by saying these is that the one work is the questioning upon the
notion of a sacred space from within the perspective of dreams
and the other work ,
the same questioning from within the perspective of real life, or how I personally
take a stand on the same issue. - The issue being not just a social speculation,
but an existential experience.

recycling-action (performance) I

In the work recycling--action (performance) I the following materials are being recycled:

1) A video-montage of 7 films by Werner Herzog
(duration 29 minutes, Thessaloniki 2000 )



The films are the following:
Aguirre, the wrath of God
Cobra Verde
Heart of glass
The enigma of Kaspar Hauser
Where the green ants dream

with additional music to be heard at the last minutes of the video, the Terminus Part III by Psychic TV
"This is the place where all roads meet..."

2) Theoretical text

"on utopia,
u-topia (no-place)
ideal society
and reality"

(Thessaloniki 1998)
3) Extracts from notes
written in 2004  (Osnabrück 25-4-2004)

"The process of leaving
flooded me with a feeling
that I call nostalgia.
Then the music of my CD-rom came in my mind.

"This is the place where all roads meet
The place where all is secret
The place where time stands still
in the comfort of night
And love becomes will
in the presence of light
I never want to leave
I never want to leave"




does not occur only after losing something but even before coming close.
So nostalgia is related to the notion of distance
How can we, humans break the distance?
I will try through art.
But is art a substitute of life
and life a substitute of the place where all roads meet?"

4) Documents from the basement of the building.
5) Whatever else evolves, it is a material in process !

the manifesto (in Greek) | view or download pdf 652kb
12 ideal cities by Superstudio | view or download pdf 1012kb

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conditio humana


conditio humana

cardboard boxes, threads, print reproduction, metal plate, earth,
icon, thorn, light;  2.08 * 1.34 * 1.67m;  2001-2003

"Kodra action field" THESSALONIKI 2003


an existential work


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balkans -genius loci



balkans -genius loci

wooden cart made of door's frame components, cartload consisted of cardboard boxes and their (not original) contents, string, velvet, light;
207 * 148 * 185 cm;


'Young Balkan Artists', organized by the Cultural Olympiad,
Thessaloniki 2003

courtesy of the MMCA, Macedonian Museum of Contemporary Art
work especially created for this exhibition







                           view boxes' content







installation -performance;
variable dimensions; 2004

TinT gallery THESSALONIKI 2004




working on networking



The audio - visual stimuli that the viewer receives after he crosses the blue screen which defines the installation's
"field", are the following:
A net filled with crystal beads -transparent and colourful ones-, a 11 minutes video-projection depicting different views
of the sea's surface, and the sound of the lap of the waves at the seashore.
On entering the space, the viewer is been given by the artist a blossom of the flower called delphinium, a name
carrying symbolical connotations in relation to the meaning of the installation.
The blue-coloured flower "delphinium" has the structure of a main branch from which the blossoms set.
The sea, the flower "delphinium" and the net, all imply the notion of unity which is the main idea in relation to which
the work has been elaborated -while the action (performance) of the artist, makes the same idea tangible and brings
the viewer in touch both with her and her idea.
The work deals with the objective of networking and the creation of relationships, both literally as well
as metaphorically.

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Big retires, small approaches


Big retires, small approaches
installation: 173 * 55 * 71cm; 1999

Biennial of the Young Artists of Europe and the Mediterranean SARAJEVO 2001
Art Athina 7 '99 ATHENS 1999

The installation is being organized with a slide projection on a screen
of sand and the use of mirrors and music.
The visual material consists of :
* aerial photographs
* aerial photographs with pictorial entries from an old dictionary inserted
* maps with entries inserted
* the void

The evolution of language and its domination over nature, the prevalence
of the artificial over the natural and the human violence exerted on things,
create the main concept around which the work was elaborated.
technical profile of the installation:

- Sand from Sahara
- Slides
- Projector with round tray
- Electric circuit of 12 lightbulbs
- Mirrors
- Case of plexiglass
- Wireless headphones - transmitter
- Walkman
- Transformer
- Strobe light

The duration of the projection is about 17 minutes

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Golden Age no6


Golden Age no6
from "AENAON" series

C print and silver print mounted on MDF, plexiglass;
121,8 * 91,5 cm;

1999 FOKA gallery - "AENAON" exhibition (solo) THESSALONIKI 1999





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"AENAON" exhibition, 1999


Eighteen (18) pictures;                                                                                   exhibition's catalogue
C print and silver print mounted on MDF, plexiglass;
121,8 * 91,5 cm; 1999

Iron age 1-3
Silver age 1-3
Golden age 1-7
Red                                view slideshow




Fishing net, multi prismatic transparent beads, colour beads, threads;
variable dimensions (conventionally 180 * 180 cm); 2000

Biennial of the Young Artists of Europe and the Mediterranean


We can imagine the world as an infinite net.
The net is also the visual representation of a motionless, integrated time, a time in which everything has happened

The threads weaving it are the relationships and routes that link each bead to the ones close to it as well as to any other
bead, no matter how distant. Each bead may be a living being, an event, a fragment of time.

Chaos, the true structure of things and the tissue that binds them, restores the undifferentiated unity in which the
coincidence of antithetical qualities is possible.

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filia ke nikos


Filia ke Nikos

S -VHS, duration 3’ 38’’, 2000
Art-Athina 8 '2000 | ATHENS 2000 

The video is a continuum of fire and water ; fire rising
and water descending but neither fire evaporates water
nor water extinguishes fire.The third element participating
in the synthesis is an animated column consisted of
broken and unbroken lines.
The concept of filia ke nikos derives from Empedocles, the
pre-Socratic ancient Greek philosopher.

Filia (attraction,friendship) and nikos (strife,opposition),
the two driving forces of creation. Fire and water -the two
opposite but complementary principles- as elements of
the video are associated primarily with inorganic matter ;
Life has to do with the central animation, yin and yang
counteracting in order to produce the diverse forms of being.

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