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Bio

Christos Panagiotou

Xristos Panagiotou is a scholar, digital artist and photographer from Limassol, Cyprus. He has a Ph.D. in Visual arts and Psychoanalytic theory. Through his work he examines the topological construction of time and space and the way they relate to discourse, narrative and meaning.

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Exhibitions

Participated in the following exhibitions:


2022

  • The Forest. 25 February-11 March 2022, NeMe Arts Center, Limassol, Cyprus.

  • Möbius spaces. 20 January - 9 February 2022, Exhibit 8 gallery, Limassol, Cyprus.


2021

  • +Aksi Exhibition. Digital Metaspace. 15-17 October 2021, +Ergeio Art space, Eleutherias Street, Limassol, Cyprus.


2020

  • +Aksi Exhibition. . 17-18 October 2020, +Ergeio Art space, Eleutherias Street, Limassol, Cyprus. ​


  • Abandoned Artwork Exhibition. Simulacra. 9-27 July 2020, Exhibit 8 Gallery, 6 Andrea Drousioti, Limassol, Cyprus.


  • Transitional Spaces Exhibition. 9-16 January 2020, Tapper Bar, 62 Eleutherias, Limassol, Cyprus.


2018

  • Fragmented Realities Group Exhibition. 29 March 2018 – 05 April 2018, Beat Παζάρ Gallery, Chatziloizi Michailidi 20, Limassol, Cyprus.

2010

  • HfG Rundgang No13 Electronic Media Group Exhibition. 09 July 2010– 11 July 2010, HfG Offenbach, Schloßstraße 31, Offenbach am Main, Germany.

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Möbius spaces (2022)

Exhibited at Exhibit 8 gallery, Georgiou Gennadiou 16 3041, Katholiki, Limassol, Cyprus.

Digital Photography, Digital Photomanipulation.

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Visual climate (2022)

Exhibited at The Forest exhibition. NeMe Arts Center, Limassol, Cyprus

Installation, New Media, Video art

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Digital Metaspace (2021)

New Media, Internet Art, Installation

Digital Metaspace was a project exhibited at +Ergeio Art Space in Limassol center, in the context of the +Aksi event on October 2021.

The project used new interaction technologies based on Framasoft’s decentralised network platform. In particular, it will use the Framapad digital tool. Framapad is a digital collaboration tool in which many users can log in simultaneously without having an account or being required to register, and participate to write something together.

Posters with QR Code were printed and pasted in various places in the city of Limassol, so that mobile phone users could scan the code and enter a text writing interface as a group. On this interface they wrote their thoughts. The project generated the following texts which are listed in the gallery below.

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Political Landscapes 2020 (2020)

Exhibited at +Aksi exhibition, 17-18 October 2020, +Ergeio Art space, Eleutherias Street, Limassol, Cyprus.
2020. DSLR, 35mm film, Digital manipulation.

The more varied, and even erratic, the better. Normalcy starts to lose its hold. The regularities start to loosen. This loosening of normalcy is part of capitalism’s dynamic. It’s not a simple liberation. It’s capitalism’s own form of power. It’s no longer disciplinary institutional power that defines everything, it’s capitalism’s power to produce variety—because markets get saturated. Produce variety and you produce a niche market. The oddest of affective tendencies are okay—as long as they pay. Capitalism starts intensifying or diversifying affect, but only in order to extract surplus-value. It hijacks affect in order to intensify profit potential. It literally valorises affect. The capitalist logic of surplus-value production starts to take over the relational field that is also the domain of political ecology, the ethical field of resistance
to identity and predictable paths. It’s very troubling and confusing, because it seems to me that there’s been a certain kind of convergence between the dynamic of capitalist power and the dynamic of resistance *.

* Massumi, B. (2003). Navigating Movements. In M. Zournazi, Hope (pp. 224). New York: Routledge. via Zizek, S. (2012). Organs without Bodies. London and New York: Routledge.

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2Urban Timescape Limassol_.jpg
3Urban Timescape Berlin.jpg
4The decisive moment accident.jpg
5Frames within Frames 2.jpg
6Regarde le Ciel.jpg
7Untitled.jpg
8Cinema Lumiere.jpg
9Frames within Frames.jpg
10Mona Lisa's Eyes.jpg

Urban semiotics

[Series-1]
2009-16. DSLR, Digital photography, Smartphone photography

The first part of an urban/street photography series that uses the semiotic theory of Charles Sanders Pierce to explore the narratives developed through the iconic/indexical/symbolic signs found in urban areas.
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Urban Semiotics

[Series-2]
2009-19. 35mm film, Digital photography, Smartphone photography

The second part of an urban/street photography series that uses the semiotic theory of Charles Sanders Pierce to explore the narratives developed through the iconic/indexical/symbolic signs found in urban areas.
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Urban Semiotics

[Series-3]

The third part of an urban/street photography series that uses the semiotic theory of Charles Sanders Pierce to explore the narratives developed through the iconic/indexical/symbolic signs found in urban areas.
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Simulacra takeover

2020-21. Photography, Digital manipulation, 35mm film.

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Transitional Spaces (2020)