The installation is the Diploma Project that I presented at the School of Architecture at the National Technical University of Athens. After the late trilogy of Samuel Beckett, Nohow On, we meditate upon the spatiality of the inherently impossible act to perceive oneself. The residue of the eye, the word and the memory. The dim void. How to proceed when all is exhausted? A voice of pure silence.

After analysing the main directions of the Trilogy, I tried to associate material attributes to the themes that Beckett handles. How would the un-enoughness of vision, of speech and of memory obtain a spatial presence? How would someone confront this residue by inhabiting the space?

Read and download the booklet here.

Passing through the space the aim is to experience feelings of uneasiness, uncanniness, disorientation, to question the ability of the self, to become aware of the incompleteness of sensations, of the inability of the subject to comprehend and conceive itself in its entity. Eventually there is redemption, because the case is such for all subjects. The installation aspires first to bring the audience closer to our fault side and then to create a secure and quiet space to reconcile with this side.

From the outside the installation looks like an impenetrable shell, impossible to decipher, almost hostile. it keeps a secret. The rusty metal produces a feeling of coldness, age and decay. The whole structure is disconnected from the ground on the one hand in order to appear even more transient in space and on the other in order to be able to “parasite” in different locations.

The metal box moves within the city. It can be placed in various institutions and public buildings in order to produce some dialogue from within. In the frame of the presentation I examined three case studies. The Athens Conservatoire and the Gennadius Library in Athens and the Pallasseum social housing in Berlin.

What are the particular connotations of this installation when it is placed in the entrance of a nucleus of education, like the Conservatoire? What questions are raised when the structure that disassembles memory is placed in an archival building like the Library? What happens when such a parasite invades the everyday life of a complex of houses built above a WWII Bunker?