2022 - ongoing
“Did you know - there are more Porsches in Athens than anywhere else in Europe?” (from a phone conversation with my father)
A Porsche 911 is divided into eight sections and worn by an Athenian theatre troupe; Nova Melancholia. Emerging from the sea, they navigate a series of landscapes before arriving at a photo studio, where they become subjects of a commercial shoot. All this is documented by a Greek film crew, who in turn become actors in the performance.
The Never Never explores contemporary mythologies: fake news, luxury branding, national stereotypes. It examines how Porsches became the focus for xenophobic projections about Greeks in European right-wing media. The title of the project is slang for debt: it refers to the apparently never-ending number of payments on a loan.
For the first chapter, The Never Never landed in Hamburg - the advertising capital of Germany. The Kunstverein Harburger Bahnhof was transformed by an installation that dissolved ordinary distinctions between contemporary art, luxury retail and museum display. In this city of myth production, the artwork became indistinguishable from its publicity.
Next, the work explored distortions of scale. At Casino Luxembourg, vast billboards on the gallery facade set false expectations: the exhibition was a scale model. But when documentation circulated online, this miniature appeared vast. This chapter examined how perception is warped in virtual space, and how digital myths influence the beliefs of contemporary society.
A Porsche 911 is divided into eight sections and worn by an Athenian theatre troupe; Nova Melancholia. Emerging from the sea, they navigate a series of landscapes before arriving at a photo studio, where they become subjects of a commercial shoot. All this is documented by a Greek film crew, who in turn become actors in the performance.
The Never Never explores contemporary mythologies: fake news, luxury branding, national stereotypes. It examines how Porsches became the focus for xenophobic projections about Greeks in European right-wing media. The title of the project is slang for debt: it refers to the apparently never-ending number of payments on a loan.
For the first chapter, The Never Never landed in Hamburg - the advertising capital of Germany. The Kunstverein Harburger Bahnhof was transformed by an installation that dissolved ordinary distinctions between contemporary art, luxury retail and museum display. In this city of myth production, the artwork became indistinguishable from its publicity.
Next, the work explored distortions of scale. At Casino Luxembourg, vast billboards on the gallery facade set false expectations: the exhibition was a scale model. But when documentation circulated online, this miniature appeared vast. This chapter examined how perception is warped in virtual space, and how digital myths influence the beliefs of contemporary society.
Media
Exhibitions
Commissioner
Credits
Features
Exhibitions
Commissioner
Credits
Features
Video
Performance
Sculpture
Photography
Billboards
Casino Luxembourg
Kunstverein Harburger Bahnhof
Fondazione Prada
Dani Pujalte (Photographer)
Christina Moumouri (Cinematographer)
Coda to Coda (Sound design)
Nova Melancholia (Performers)
Lampoon Magazine
Metal Magazine
Hestetika
DAMN
Performance
Sculpture
Photography
Billboards
Casino Luxembourg
Kunstverein Harburger Bahnhof
Fondazione Prada
Dani Pujalte (Photographer)
Christina Moumouri (Cinematographer)
Coda to Coda (Sound design)
Nova Melancholia (Performers)
Lampoon Magazine
Metal Magazine
Hestetika
DAMN