“Chocolate death” previously featured in the artist's latest solo show titled “BAD BRAIN BLOOD,” consists of two found objects: a low-heel shoe and a furry tail. This piece delves into the complex interplay of perception and reality, designed to captivate those accustomed to the constant perceptual tensions of contemporary life. It explores the dual nature of visual pleasure—simultaneously a tool for commercial allure and a channel for personal redemption. This tension is mirrored in the viewer's experience, becoming an act of speculative immersion that blends both consumption and self-reflection. Straddling the line between the familiar and the bizarre, and wavering between gravity and irony, “Chocolate death” exists in a state of delightful ambiguity. It invites viewers to confront and reassess their engagements with the everyday and the extraordinary.

chocolate death

Our algorithmic life has been reduced to isolation and hostility the last few years. Alone in our echo chamber we are brain rotting endlessly, while each specific algorithm is surveilling our every move and gatekeeping the process of our actions. To quote the famous philosopher and poet, Britney Spears:

How am I supposed to know what’s right?

I tell ’em what I like, what I want, and what I don’t

Things that I’ve been told, I can’t believe

What I hear about the world, I realize I’m overprotected.”

Meanwhile, everyone seems to be obsessed with their screen time. Some are trying to downsize it, some are accepting their ‘terminally online’ identity, some perceive it as a competition, and some—as always, simply don’t care. Enough with the heavy! We invited thirty artists to present digital works through their own personal devices, extending an intimate invitation for audiences to peer through the artist’s screen—a portal into their unique, brainrot-filled worlds. From personal and collective imagery to camp, critical takes on surveillance, viral memes, and wholesome escapism—artworks from every corner of the digital psyche are on display. This one night exhibition is about connecting, sharing in the joy of deep-frying our brains, rather than in isolation. And we think THAT’S HOT!

Aram Bartholl, Socrates Stamatatos & Theo Triantafyllidis

Andreas Angelidakis, Margarita Athanasiou, Cory Arcangel, James Bridle, Constant Dullaart, Chioma Ebinama, Evoulix, Fruitgillette, Agape Harmani, Hristos Hantzis, Kathrin Hunze, 1g.00_0 (Dirk Paesmans), Karl Heinz Jeron, Anna Kalozoumi, Kakia Konstantinaki, Markella Ksilogiannopoulou, Leefwerk, Lynn Hershman Leeson, Lucile Littot, Miltos Manetas, Maria Mavropoulou, Anastasis-Panagis Meletis, Tokisato Mitsuru, Eva Papamargariti, Angelo Plessas, Captain Stavros, Kosts Stafylakis, Mandy Stergiou, Alexandros Touramanis, Connor Willumsen

TOTAL SCREEN TIME

In the bowels of a ventriloquist cat, the space reflects itself. Instant reactions are the ones that go unperceived. The little intruder is treated with some tricks and traps. Careful! Your legs! A hesitant barrier that may let you pass and a spectral window towards the imposter’s stomach: a butterfly, a birthday cake, a zebra, a crook, a coyote. And then gradually but maybe suddenly, two ghosts start performing delicate dancing steps by the intoxicating looping music, harassing each other tenderly, constantly pushing to the point before they slip. There is some unnoted damage happening in this system -a systemic failure one could say-, a slow contamination connected to the primal question: “Does the flap of a butterfly’s wings in Brazil set off a tornado in Texas?”. Well, this butterfly can swirl us around with a flying tackle.

BAD BRAIN BLOOD

untitled

The exhibition is structured in three consecutive scene-spaces, which immerse us in the artist's enigmatic universe. One after another, they destabilize our expectations, while the artist confides personal secrets and anxieties to us. He allows us to enter, in stages, into a system of artworks where glass is used as the main material, and the events or images he creates are adjacent in such a way that they prompt us to indulge in a barrage of associations and narratives. The 27-year-old artist based on both his extensive knowledge of art history and a set of instincts, manages to transform cheerful childhood images into emotional projections of our adulthood. It is difficult for anyone to understand exactly how bright lit spaces, paintings with vibrant colours or humorous poems painted on walls, manage to evoke anxiety.

Hristos' work aims to complicate, blur and underline cultural and social hierarchies, always using his off-beat humour as a dissolving process. Within his work, toilet rolls fit perfectly with a Renaissance sword, two-dimensional forms from the "Greek Alphavitarion of first grade" with Disney heroes, Arne Jacobsen's VOLA with his self-portrait as a harlequin. This is the magic of Hristos Hantzis's subtle transformations, towards the desire for an art he wants to explore by playing.

SYSTEMATIC MAGIC

...LACK FO PERCEPTION LEADS TO IMAGINARY ASSUMPTIONS

TRYING TO MAKE UP FOR THE TIME THAT'S LOST

"I GOT A CRAVING FOR THIS NEW FLAVOR YOU LIKE

IT'S A RAWFUL EATING, CONSUMING MY INSIDES

I WILL CRUISE THE STREETS DURING THE WHOLE NIGHT

THIS GROOVY HAPPY COUPLE THAT JUST GOT THIS NEW HOUSE THAT LOOKS SO PERFECT FROM THE OUTSIDE.

ALL THESE GIMMICKS AND TRICKS ARE NOTHING BUT FUNNY WAYS TO TAKE CONTROL."

NIGHT WEB'S SORROWS

L IS FOR LOST HOPE III

L IS FOR LOST HOPE II B

L IS FOR LOST HOPE I

L IS FOR LOST HOPE II 

BROTHER, BROTHER HELP ME TRAVEL

MY MAMA'S VIRTUES ARE ALL MINE

||>{}>o>|

LOOKIE / UNTITLED

TRASH / THEIR KINGDOM

c'est clair magazine, limited edition printed in athens, gr

clarity isnt always what meets the eye

Issue 01 ,titled "My Mother Is My Girlfriend", C'est Clair delves into the intricate dynamics of the mother-child relationship. Images that delve into beliefs, emotions and memories associated with all maternal relationships. From profound love and tenderness to the complexities inherent in navigating familiar ties, with each artist a window into the rich tapestry of human connection.

Participating artists: Beatrice Alexanian, Stephanie Bech, Grace Black, Alex Chantzis, Danai Gkougia, Hristos Hantzis, Sevi Kritikou, Aimilia Liontou, Maryna Makarenko, Elizabeth Masterman, Léa Michaud, Nikos Neskes, Vasilis Polychroniadis, Zoe Sklepa, George Tourlas, Sonja Sofia Yakovleva, Michalis Zacharias, Dimitris Zaragkotas



MY MOTHER IS MY GIRLFRIEND

PARALLELER GARTEN

THIS IS A COPY OF A PLACE THAT DOES NOT EXIST,

IN DIFFERENT TIME POINTS, FOR REASONS OF HIS OWN.

BUT THEN AGAIN, THIS IS A COPY OF A PLACE.

Three floors in an apartment building, Athens. 

Two artists. Two different paths converging on the rooftop.

Two parallel exhibitions inspired by what we leave behind on the journey to adulthood. 

That which is hidden in darkness, its reshaping and revelation in light.

ELPIDA FRAGKESKIDOU (Nicosia 1996) and HRISTOS HANTZIS (Athens 1995), students of the Athens School of Fine Arts, occupy the apartment building of WE ARE BUD and compose a journey starting from the basement of the building.

They overturn the functionality of spaces to narrate stories of transformation and readjustment.

WHAT HAPPENS AT THE ROOFTOP? - [ TIMELESS SWALLOWED ISLES ]

DEGREE SHOW AT ATHENS SCHOOL OF FINE ARTS, KESSANLIS HALL

Navigating the postmodern landscape, Biscuit Blues  is a tribute to the transformative nature of contemporary art. Delving into the core concepts of postmodernity and its influence on visual art, while also examining the interplay between childhood memories, pop culture references, and the post-ironic perspective.

Postmodernism, as a guiding philosophy, has significantly impacted the trajectory of contemporary art. It challenges established norms and embraces diversity, allowing for artists to break free from traditional constraints and explore new avenues of expression. This postmodern ethos forms the backdrop against which the work unfolds.

The integration of multimedia techniques becomes a means of amplifying the postmodern narrative. Multimedia allows for the fusion of diverse mediums, blurring the lines between painting, sculpture, photography, and more. This blending mirrors the postmodern emphasis on hybridity and the rejection of rigid categorisations, enabling a richer exploration of contemporary themes.

Simultaneously, the work delves into the realm of childhood memories, invoking the nostalgia and innocence of youth. These recollections, juxtaposed with the complexities of adulthood, create a thematic depth that resonates with viewers. They invite reflection on the passage of time, parenthood, personal identity, and the cultural shifts that mark the postmodern era.

Post-irony is employed as a lens to examine the pop culture references within the show. Post-irony is characterised by a self-aware, often playful, and critical engagement with popular culture symbols. Through it, Biscuit Blues reinterpret and comment on these references, adding layers of complexity.

BISCUIT BLUES

SPRING, WOULD BE A WONDERFUL TIME IN EGYPT

GROUP EXHIBITION AT UNIVERSITÄT DER KÜNSTE BERLIN

As part of the annual Rundgang exhibition at the Universität der Künste Berlin, Ina Weber’s class contributed with an outdoor installation titled Rausgang, which extended the exhibition into the streets of Hardenbergstraße. Among the works presented, Hristos Hantzis' installation, 

Spring, Would Be a Wonderful Time in Egypt

, was prominently featured just outside the university. This piece was derived inspiration by Hans Nagel’s black PVC pipe sculpture, which served as the catalyst for a project aimed at highlighting its presence and evoking a sense of the surreal.

The installation envisioned an unfolding scene around Nagel's sculpture—an ongoing action loop reminiscent of a GIF—that subtly intertwined with the everyday life of the street. To bring this concept to life, approximately 40 yellow wigs were placed throughout the street, adorning surrounding trees and university buildings. These wigs, symbolic of human presence, created a visual contrast against the sculpture’s stark black form and the muted tones of the urban environment. The installation was conceived as a silent performance, existing in a liminal space between reality and imagination.

During the Rundgang exhibition and its accompanying two-day party, the installation unexpectedly evolved as attendees began interacting with the wigs. What started as a contemplative, static display transformed into an active, participatory experience. The wigs, originally intended as elements of a silent performance, were soon integrated into the festive atmosphere, with partygoers wearing them and engaging in playful interactions. This spontaneous audience participation added a dynamic layer to the installation, effectively merging the imagined world with the vibrant reality of the Rundgang celebrations.

the last off-site show on earth at plague space and everywhere

group exhibition at plague space and off-site

“The last off-site show on the Earth at Plague Space and everywhere” is the second part of the project of the same name, for which the works of 108 artists from different countries were selected through a open call. In the first part of the project, the PLAGUE team spent several months shooting photo documentation of art objects in various locations: natural and urban landscapes; public places and closed spaces and many others. This approach aims to create a speculative archive of all kinds of unusual locations for the display of art, included in the creation and research by the PLAGUE team of off-site exhibitions and the possibilities of their representation IRL and online.The second part “The last off-site show on the Earth at Plague Space and everywhere” is an archive in Plague Space of 107 works and their photographs taken previously. The exhibition architecture in the form of shelving, boxes and tables mimics the space of a warehouse or file room, combining the aesthetics of conceptual art with contemporary visual culture. The show features, sculptures, objects, paintings, graphics and prints.The main objective of the project is to explore contemporary approaches to the production of shows outside galleries and to record the processes of art objects moving online and again offline.

Installation & support:  Vanya Venmer, Vladislava Tarasova, Gleb Baranov, Zukhra Salakhova, Evgenii Pomozanov, Vlad Semenkov, Arthur Golyakov

THE LAST OFF-SITE SHOW ON EARTH AT PLAGUE SPACE AND EVERYWHERE

GROUP EXHIBITION AT THERMISIA, ARGOLIS, GR

CURATED BY NADJA ARGYROPOULOU,  LAKIS & ARIS  (THE CALLAS)

EAST BEAT

love2

depression

Group exhibition at Numismatic Museum of Athens 

Editors: Dr. George Kakavas, Aphrodite Liti, Stella Geppert, Dr. Anastasia Rammou

BLANK - ΑΣΤΡΑΦΤΕΡΟ

group exhbition at Accademia Albertina di Belle Arti di Torino

The exhibition features a selection of artworks which have as viewing and focal point the continuous reactive registrations in the space of the Subject, the Collective Subject as mnemonic load and collective experience, as well as its relations with the Public Sphere.
In the artworks of the exhibition is expressively recorded the universal condition of the new economic crisis, the social precariousness and the generalised uncertainty that characterise the new condition of the globalised market economy and its impact on people’s daily lives. A common characteristic that connects all the exhibited works is the state of loss as experienced by either the individual or the Collective Subject.

TODAY AS TOMORROW AND AS YESTERDAY

rival traitorous artists to stage please


Artists: Dimitri Angelini, Tjorg Douglas Beer, Luca Bertolo, Chiara Camoni, Olimpia Cavriani, Guenter Foerg, Erró, Konstantinos Giotis, Francesco De Grandi, Hristos Hantzis, Dimitris Karatzas, Dionisis Kavallieratos, Ilias Koen, John Kørner, Angela Liosi, Charlie Masson, Olga Migliaressi-Phoca, Yoko Ono, Manuel Osterholt, Malvina Panagiotidi, Panos Papadopolous, Katerina Papazissi, Benedetto Pietromarchi, Marieta Roussou, Valinia Svoronou, Filippos Telesto, Pavlos Tsakonas, Alexandros Tzannis, Malte Urbschat, Jannis Varelas, Vassilis H, Marina Velisioti, Woozy, Ronnie Yarisal


The german art collectors from Kiel Gunda and Peter Niemann have started their engagement in Athens a few years ago by opening Haus N as an exhibition space for the athenian art scene. 

. takes place in a second location Haus N Athen 2. The exhibition is a collaboration between the partaking artists.



I CAN SEE YOUR HOUSE FROM HERE

EXIT

The Garden of Sculptures

14,8×21

ICH SEHE WAS, WAS DU NICHT SIEHST

group exhibition at off-site space, eleonas, gr

Super Sport is set in an abandoned factory in Eleonas and is a research project made by a group of artists with no specific curatorial line or guidelines, other than the will to explore the potential of experimentation in this kind of environment, so common in the urban skin of Athens. The title is taken from the adjacent abandoned factory that produced sports equipment during the 2004 Olympics Games. The project has no funding and from the very first moment, it was organized in an entire DIY way. For some time now we have been organizing walks and meetings and started working on in situ installations, graffiti, performances, sound and various other site-specific projects to present them in a one-day-long event.


Participating artists: Adrien Chevrier, Andrés Montes, Anna Tsouloufi-Lagiou, Archeology Club of Amateur Artists (ΑCoAA): Giorgos Gerontides, Katerina Dania, Alkistis Mavrokefalou, Dimosthenis Mpogiatzis, Yiannis Katinopoulos, Beatrice Mar, Chernobello , Christos Noulas, Clémence Malleret, Dimitris Ameladiotis, Eirini Roumeliotaki, Eirini Tambasouli, Elena Demetria Chantzis, Eva Koliopantou, feeleash, Giorgos Efthimiou, Hristos Hantzis, Ingmar Riswick, Iro Sofoulaki, Jana Linke, Javier Pérez Aranda, Justine Roch, Karl Heinz Jeron, Katerina Botsari, Kelly, Lia Giannakou, Lobotomy Love, Lucia Bricco, Lydia Margaroni, Malobiz, Marilena Kranioti, Matamulana Lejlifa, Michailangelos Vlassis-Ziakas, Orestis Dimitriou, Panos Sklavenitis, PaperMan, Riccardo Vitali, Romain Partouche, Spyros Paparoulias, Stefanos Chandelis, Stelios Papagrigoriou, Tim Goodwin, Tonia Ainot, Tugba Varol, λυρικό φώσφορο