Biennale Arte 2024
Exhibition Overview
1. LED Screen
2. Organ
3. Red Polished (Glitch) Ware
4. Tyre Track
5. On the Right to be Forgotten, Part I:
Wayback Machine to Sun City
6. Beacons and Pillars
7. AVRION PROIN EN NA DEIS /
TOMORROW MORNING YOU WILL SEE
8. I stay oriented towards you, weak as you make me
9. Crossover Frequency Spectrum
10. Despite our severed connection,
11. قد تملكون القناديل لكن الضوء لنا الحلقة الثانية: كحل الليل /
You May Own the Lanterns but We Have the Light, Episode Two: Eyeshadow Dark as Night
12. Gaming Tower
Vigil Workspace
Publication
1. LED Screen
2. Organ
3. Red Polished (Glitch) Ware
4. Tyre Track
5. On the Right to be Forgotten, Part I:
Wayback Machine to Sun City
6. Beacons and Pillars
7. AVRION PROIN EN NA DEIS /
TOMORROW MORNING YOU WILL SEE
8. I stay oriented towards you, weak as you make me
9. Crossover Frequency Spectrum
10. Despite our severed connection,
11. قد تملكون القناديل لكن الضوء لنا الحلقة الثانية: كحل الليل /
You May Own the Lanterns but We Have the Light, Episode Two: Eyeshadow Dark as Night
12. Gaming Tower
Vigil Workspace
Publication
Alexandros Xenophontos
.- ...- .-. .. --- -. / .--. .-. --- .. -. / . -. / -. .- / -.. . .. ...
“TOMORROW MORNING YOU WILL SEE”
Drop ceiling lighting, acoustic tiles, acrylic, LED strip, metal pipe, leather, PVC, satin.
Photography by Ugo Carmeni 2024
When infrastructures break, disruptions within their temporal geographies
and contexts become hypervisible. The artifice of time is torn out of shape,
apertures leak damage and operations of phantom agencies flicker in white
artificial light.
Sixteen tiles form a corporate suspended ceiling with one panel missing at its edge. A message in Morse code flashing out of the missing tile repeatedly spells out AVRION PROIN ENNA DEIS (TOMORROW MORNING YOU WILL SEE), both a promise and an omen. Leaking out of the missing ceiling tile is a severed subsea cable, adorned in pin-striped leather and corsets – an agent of sorts, infiltrating the backdrop of enterprise and photo-op handshakes from which infrastructure projects emerge. From the cable’s severed roots, the Organ’s (Emiddio Vasquez, Rafailia Tsiridou) transmissions are amplified within the space.
The installation is informed by the history of telecommunications in Cyprus, used as a global command point within the Levant region, as well as the island’s condition within ‘post’-coloniality and transnational capitalism. Two artefacts dictate its form: a 1955 telegram sent from Cyprus to Alexandria which reads “AVRION PROIN EXROMETHA PARALAVOMEN XYLIAN” (TOMORROW MORNING WE WILL ARRIVE TO COLLECT WOOD), and a 1975 post stamp from CYTA (Cyprus Telecommunication Authority) depicting a French ship laying an elongated phallic-shaped cable into the sea.
Sixteen tiles form a corporate suspended ceiling with one panel missing at its edge. A message in Morse code flashing out of the missing tile repeatedly spells out AVRION PROIN ENNA DEIS (TOMORROW MORNING YOU WILL SEE), both a promise and an omen. Leaking out of the missing ceiling tile is a severed subsea cable, adorned in pin-striped leather and corsets – an agent of sorts, infiltrating the backdrop of enterprise and photo-op handshakes from which infrastructure projects emerge. From the cable’s severed roots, the Organ’s (Emiddio Vasquez, Rafailia Tsiridou) transmissions are amplified within the space.
The installation is informed by the history of telecommunications in Cyprus, used as a global command point within the Levant region, as well as the island’s condition within ‘post’-coloniality and transnational capitalism. Two artefacts dictate its form: a 1955 telegram sent from Cyprus to Alexandria which reads “AVRION PROIN EXROMETHA PARALAVOMEN XYLIAN” (TOMORROW MORNING WE WILL ARRIVE TO COLLECT WOOD), and a 1975 post stamp from CYTA (Cyprus Telecommunication Authority) depicting a French ship laying an elongated phallic-shaped cable into the sea.