A New Threads project

A “global sense of space” is described by Massey1 as an expanse defined by a wide mixture of social relations linked to other places beyond geographical borders. This outreach is punctuated with global accumulation of historical associations as opposed to its internalized history and heritage mainly as a result of increased mobility described as time-space compression. Thus the boundaries setting it culturally and politically apart from other spaces are dismantled, often resulting in an increasing uncertainty about how we are to retain a sense of locality and particularity. One’s understanding of specific locale is thus re-conceptualized as being fixed to an open and ambiguous one.

Embracing these varied influences that play a part in providing meaning to the idea of belonging to a specific geographical location and culture also brings into significance the issue of transmission. Transmitting implies the drawing of boundaries by preserving or discarding specific information. In his work, Regis Debray2 theorises his concept of Mediology as a practice which strives to analyse the transmission of cultural meaning in society, in other words, the desire to communicate the present as meaningful and identifiable through the intersections between the medium through which it travels and the intellect. According to Debray, this interrelation requires that a closer investigation is made of its material dimensions thus making visible the processes through which cultural meaning is politically favoured or contested.

Similarly, cultural transmission techniques, as Bernhard Siegert3 points out, involve the use of objects as a means of performing and establishing viable boundaries in reference to location, with the construction of meaning thus being determined by its processes of becoming and the distinctions between media and meaning, as a consequence, also becoming blurred. It was these modalities and the assumed global contract regarding the process of cultural transmission that gave the stimulus for dis-LOCATE, where the definition of popular cultural ideology is being challenged and constantly revised as an established aesthetic by placing greater focus on its catalytic action of becoming. .

Drawing on various mythological, archeological and religious references, these works are less than historical and descriptive representations but rather, examples indicative of the processes by which meaning is being transmitted in attempt to contextualize Cypriot contemporary identity. This is evidenced by the artists’ use of unconventional materials whose specificity is being explored through their processes of making preceding local concepts assumed as their a-priory. These works concern a visual alteration that has no self contained subject but are rather a result of accumulated heterogeneous materials whose often inherent indeterminacy subvert holistic readings and appear to be in continual flux.The framework in which these works are presented is an interdisciplinary one, blurring the distinctions amongst their technological, social, political and cultural stimulus thus also questioning the permeability of the exhibition space itself being constantly shifted and evaluated as an open one. Characterized by a sense of dislocation, this exhibition asks that we re-evaluate our interpretation of cultural legitimacy through the means of a perpetual and critical visuality that is less concerned with coming to ends with an ideological and fixed locality but more concerned with what Claire Doherty4 states as being “the josting contingency of mobilities and relations that constitute contemporaneity”.


  1. Doreen Massey, “A Global Sense of Place” In Situation, edited by Claire Doherty, 160-169. Cambridge: The MIT Press, 2009.^
  2. Jules Régis Debray, Trasmitting Culture, trans. Eric Rauth, New York: Columbia University Press, 2004.^
  3. Bernhard Siegert, Cultural Techniques, Grids, Filters, and Other Articulations of the Real, trans. Geoffrey Winthrop-Young, New York: Fordham University Press, 2015.^
  4. Claire Doherty, “Introduction” In: Situation edited by Claire Doherty, 12-18. Cambridge: The MIT Press, 2009.^


Curator: Natalie Kynigopoulou
Artists: Alexis Andreou, Adonis Archontides, Hattie Ball, AnnaMaria Charalambous, Nefeli Christodoulou, Aristos Christoforou, Chrisanthy Christoforou, Theseas Efstathopoulos, Anthi Evangelou, Markella Hadjijoseph, Marinos Houtris, Alexandra Michael, Andriana Nikolaidou, Myrianthe G. Sozou, Jeanett Stonex, Marios Theophilides, Elena Vassiliadou.
Coordination: Helene Black, Yiannis Colakides


Christiana Solomou, Marios Theophilides, Yulia Klyachko


C.Kynigopoulos, CyPrinters