The Roots Now Rise, 2020
The Roots Now Rise (TRNR) is a hybrid study that spans between
agricultural development and contemporary culture. The
project stands as an in-situ development inside a decomissioned industrial
infrastructure utilizing its social and
economical history to address global social and geological
matters while proving that against all odds the landscape of a
vast polluted city can in fact be transformed into an agricultural
Please contact for further details.
Embedded automatisms in the age of complexity, 2021
Steel structure, UV prints on aluminum sheets, aquapanel cement board, magnesium oxide board, earthwool insulation, polystyrene foam plates, plastic wrap, sand paper and acrylics.
Vitis Vinifera, 2021
In Greece, the area of vineyards is estimated at 109 thousand hectares divided in wine and table varieties.
The vines grow linked to metal pillars: The prevailing size of a cubic arbor is
3 x 3m (horizontally) & 2.10 – 2.20m (height). Equally common is the arrangement in relation to
pillars of type: T-Y.
The design of the construction indicates areas for social gathering in sheltered or shaded areas,
sleeping and relaxation areas are exposed in the open space.
Please contact for further details.
3D models, edited digital images, text
IN CITIES WILDLIFE EVOLVES ASTONISHINGLY FAST
“IN CITIES WILDLIFE EVOLVES ASTONISHINGLY FAST”, 2020
When traveling with trains there is often a certain admiration towards the complexity of their network. Within the frame of these networks, train stations have always been an important factor towards the social and economical evolution of their surrounding areas. Inaugurated in 1904, Larissa station was the largest train station of Greece, connecting the capital with then the northernmost city of the Kingdom of Greece, Larissa. The existence of the station marked a strong development across the area including the erection of various small hotel units as well as an expansion of cottage industry. We have a clear view of the station from our windows.
Grace inhabits a former hotel erected to cover the needs of travelers visiting the Capital. “We are not quite sure when, or why it stopped its operation, we only focused on dealing with an abandoned space”.
Even though a network can only be realized in relation with space, every space can receive and evolve numerous networks, groups or systems.
Most naturalists turn up their noses at cities, regarding them as anti-nature—sterile wastelands of concrete and steel. However urban environments are in fact “powerhouses of evolution,” where animals as diverse as blackbirds and bobcats are adapting to their new surroundings, with startling results. In Sendai Japan, carrion crows put walnuts on roads so that vehicles will drive over them, crushing the shells and allowing the birds to get to the food inside. We were born and raised between high hopes and uncertainty, under the brightest sun, in streets with a great historical past and an unknown future. We have stopped caring whether we have been blessed or cursed for indeed we have seen magnificent things emerge from people’s minds in times like these. A creative process such that individually shapes an art of the everyday; the art of surviving in lack of any substantial resources, yet evolving bravely, impulsively, with grace.
Single channel video installation, color, sound, 2:22″
The Dam, 2020
The Dam was indeed a significant public work constructed before or maybe during the
Olympics. As a construction it did not enhace any aesthetic sensibility, unless you perceive fair
faced concrete as a reference to Brutalism. Our parents were always afraid of its height, while
we honestly believed that the Dam was built for us -so we could use it as a playground for a few
months around the year.
Each spring we would climb up the concrete walls, canceling its value, to see how nature is
evolving on the other side. I do not have a reliable cultural background and so concrete is what
The Dam 2020
3D model, dwg drawings, online images, text
STARTED FROM THE BOTTOM NOW WE ARE TIRED OR
THE ANXIETIES OF EVERYDAY SURVIVAL UNDER LATEST CAPITALISM, 2019
Steel beam, aluminum sheets, correction pen, iphone 5 with broken screen on proxxon clamp, acrylics and xerox prints on
paper mounted on metal. (70×113×22,5 cm)
© COPYRIGHT GRACE/ ATHENS. ALL RIGHTS RESERVED.
InformationGrace is an independent cultural platform based in Athens, Greece.
Since its foundation in 2016, Grace is constantly reshaping and
developing it’ s structure, following the physical evolution of culture
Archive (Exhibitions, Presentations, Collaborations)
Cra(u)sh or how you made me kiss the pavementExhibition Curated by Vasiliki - Maria Plavou
Esperinos House ProjectDesigner: Stamos Michael, Identity: NMR
Appreciating the DailyShowroom Construction, Designer: Stamos Michael for Me Then Athens
Myth FeverFilm Presentation by Emsoc featuring HGH
Examples of a ManualSolo Exhibition by Κ onstantinos Lianos
PendulumBook Presentation by Stefania Orfanidou
Geographies of the Places of ImaginationSound Installation by “In Art We Trust”
To build a Home under the sun, at nightExhibition, Publication Curated by Grace
Accidental EncountersExhibition Curated by Hyperlink Athens
Circles Around ZeroOngoing Installations Curated by Grace (2017, 2018, 2019)
Trace Evidence by Susan SchuppliGrace Screening #02
Streaming Realities SteamingGroup Exhibition Curated by Grace & the Artists
Dust Breeding, The CropExhibition Curated by Dust Breeding Lab
Open Form presents Athens SubsumptionPresentation by Open Form
Asthenia No. 05Exhibition Curated by Amalia Vekri
The System of SystemsExhibition Curated by Danae Papazymouri
Hyper Normalisation by Adam CurtisGrace Screening #01
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