Dimitra Ioannou


The ongoing photo essay “Τhe City is Now Yours” is a kind of palimpsest: in each photo there are traces of another; the magnified surfaces of walls, pavements and signs found in the Athenian Zone are partly erased by portraits of women and feminist slogans or vice versa.

Dimitra Ioannou experiments with narrative or anti-narrative forms in various media (language, photography, publications). She has exhibited her (video)poems, and photos in solo or group shows in Greece. Her pamphlet Electric Sarcasm is out from Ugly Duckling Presse (2020). She is the editor of the journal A) GLIMPSE) OF).

Louiza Vradi

Diana’s bath

“She baths and I am being devoured by dogs.”

Louiza Vradi is a visual artist working with photography, video and new media based in Athens, Greece. She studied visual arts, new media and art education at Athens School of Fine arts. She is interested in exploring the personal and collective memories, human movement, gender and youth culture and our relationship with the land we inhabit. She is an art educator and has been trained in art therapy, which led to her work as an art and photo therapist for people with mental & psycho social disabilities, as well as drug addicts. Her customers include international publications, media, non profit organizations, universities and creatives. Her work has been awarded and exhibited internationally.

Zωή Σκλέπα . Zoe Sklepa

Κάτι παθαίνω όταν οι μέρες μακραίνουν

Ήξερα ένα παιδί που το έλεγαν «Κάκτο»
και δεν είχε ανάγκη κανέναν.
Ήταν ένα παιδί
που περνιόταν για τρελό.
Και δεν είπε ποτέ του τι θέλει.
Ριζωμένο πότε εδώ
πότε εκεί
να τραβάει λίγο φως
και για λίγο να τεντώνει το αγκάθια του.
Μια ζωή χωρίς λόγο
χωρίς απορίες.
Μια ζωή να ζητάει πάντα.
Δεν χάρισε πότε τον ίσκιο του.
Ανέγγιχτο και δύστροπο
δεν μπήκε ποτέ του στη θάλασσα.
Τη νύχτα κάρφωνε
το βλέμμα του στα σύννεφα.
Βλέμμα θριάμβου.
Ένα ψέμα. Συνήθεια.
Ήξερε τόσα λίγα.
Ήξερα ένα παιδί που το έλεγαν Κάκτο.
Δεν θα ζήσει πολύ
γιατί είναι ένας μαρκαδόρος της δεκάρας.

Something happens to me when the days get longer

I used to know a kid
whose name was Cactus and
never needed anyone.
That kid
was thought to be crazy
and never said what he wants.
He was rooted here and there
to get some light
and stretch his thorns for a while.
A life with no purpose,
no questions.
He kept asking for something throughout his life.
Always impatient.
He never offered his shadow.
Untouchable and crabbed,
he never entered the sea.
At night he kept his gaze
fixed on the clouds.
A gaze of glory.
A lie, a habit.
He knew so little.
I used to know a kid
whose name was Cactus.
He won’t live long
because he is a marker that costs a penny.



Η Zωή Σκλέπα αποφοίτησε από το ΤΕΙ της Αθήνας (τμήμα Νοσηλευτικής) και από την Ανωτάτη Σχολή Καλών Τεχνών της Αθήνας. Έχει συμμετάσχει σε ομαδικές εκθέσεις στην Ελλάδα και στο εξωτερικό συμπεριλαμβανομένου του Ιδρύματος Β & Μ Θεοχαράκη για τις Καλές Τέχνες και τη Μουσική (7η Μπιενάλε των Σχολών Καλών Τεχνών της Ελλάδος), του Μακεδονικού Μουσείου Σύγχρονης Τέχνης για το Kodra Fresh Action Field Kodra ”Χρειαζόμαστε έναν ήρωα: πολύτιμα θέματα σε πολύτιμους καιρούς” , της Γκαλερί TAF Theartfoundation / ”STUDIOS 2017”, του Μουσείου Ελληνικής Ενδυμασίας ‘’Ταξιδιωτικά σχόλια / σύγχρονοι περιηγητές”, των «The symptom projects/ Symptom 10/ ”Poisons” στην Άμφισσα και της APT Gallery / «Comfort Blast» ομαδικής έκθεσης στο Λονδίνο .

Zoe Sklepa graduated from the TΕΙ of Athens (Nursing Department) and from the Athens School of Fine Arts .She has participated in many group exhibitions including the B & M Theocharakis Foundation for Fine Arts and Music (7th Biennale of the Schools of Fine Arts in Greece), the Macedonian Museum of Contemporary Art for the Kodra Fresh Action Field Kodra / “We Need a Hero: valuable themes in valuable times” exhibition , the Gallery TAF Theartfoundation / STUDIOS 2017 , the Museum of the History of Greek Costume/ ”Tavelogues” exhibition , The Symptom Projects/ Symptom 10 /”Poisons” exhibition in Amfissa and the APT Gallery/ ”Comfort Blast” / Group Exhibition in London


Fatma Al Ali

MOVE; now

Fatma Al Ali 1

Fatma Al Ali 2

Fatma Al Ali 3

Fatma Al Ali 4

Fatma Al Ali 5

‪’MOVE; now’ is a series of photographs that investigates the relation between the self and the environment, often times you find yourself surrounded by an environment that is hindering your growth and forcing you to be in a position that you know if you stay any longer you will lose the essence of yourself, and it makes you decay with the loss of movement. ironically, in this series of photographs the sculptural object is placed in water that is a substance considered to be the source of life and growth. what might be perceived by others as growth inducing can also be a reason to drown and suffocate. ‬

Fatma Al Ali (b.1994) received her bachelors degree in Fine Arts from the university of Sharjah, Sharjah, United Arab Emirates, 2018. her work often questions ideas of materiality of an object, Contradictions in terms of fragility and delicacy. She has joined multiple group exhibitions both locally and internationally.

Logan Benedict

Sometimes the low is the high

2 | Logan Benedict | sometimes the low is the high (1)

Water in the engine

2 | Logan Benedict | Water in the engine

Reactive wilderness

2 | Logan Benedict | Reactive wilderness

Logan Benedict was born in Newark, Delaware in 1997. He will be receiving his Associate’s Degree in Communications from Delaware Technical Community College in 2018. Benedict’s work has been exhibited at the Milton Theater in Milton, Delaware, the Vancouver Arts & Leisure in Vancouver, British Columbia, as well as three shows at the Gibby Center in Middletown, Delaware. His work has been featured in publications such as Catapult Magazine and in The Wire Newspaper. In 2016, Benedict published his first book in partnership with Amazon.com through CreateSpace, titled Search + Destroy. His second book, fagart, was a collection of poems and portraits with themes of queer fragility. He recently released his third book, Sour Milk Curds, in March. Benedict currently works and resides in Townsend, Delaware. artbyloganbenedict.com



Dimitra IOANNOU_Turn Me Into A Country Tonight 1 LR

Dimitra IOANNOU_Turn Me Into A Country Tonight 2 LR

The phrase “Fuckable text” can be found in The Middle Notebookes by Nathanaël (Nightboat Books, 2015).

D.I. had poems published in ZARF, DATABLEED, Tears in the Fence, Litmus, and Blackbox Manifold. Some of her poems were exhibited in group shows in Greece. She is the author of the experimental novella Soy Sea (Futura, Athens, 2008). For more info, please check in to the Hotel Repertoire.

Yannis Sarigiannidis

Remitting: the symptoms

(Amorous passion is a delirium; but such delirium is not alien, everyone speaks of it, it is henceforth tamed. What is enigmatic is the loss of delirium: one returns to … what?)

-Roland Barthes

(translated by Richard Howard)

[acute phase]

Ioannis SARIGIANNIDIS wings1

Ioannis SARIGIANNIDIS wings2

“I have photographs that used to be ours.”

-Luis Chaves

Ioannis SARIGIANNIDIS nowings1

Ioannis SARIGIANNIDIS nowings2

[chronic phase]

there are times when
the sun strikes me
like a gong,
and I remember everything, even your ears.

-Dorothea Grossman

Ioannis SARIGIANNIDIS Τwo Εyes 1

Ioannis SARIGIANNIDIS Τwo Εyes 2

Ioannis SARIGIANNIDIS Τwo Εyes 3

Ioannis Sariyannidis Too Many Eyes

Yannis Sarigiannidis is a PhD student, investigating anxiety from a cognitive neuroscience perspective. His poems have been published in Greek and English literary magazines. He has translated poems by David Harsent, Sam Riviere and Ocean Vuong, introducing them to the Greek audience. He lives in London.

Ο Γιάννης Σαρηγιαννίδης ερευνά το άγχος με μεθόδους γνωστικής νευροεπιστήμης σε διδακτορικό επίπεδο. Ποιήματά του έχουν δημοσιευτεί σε ελληνικά και αγγλικά περιοδικά. Έχει μεταφράσει ποιήματα των David Harsent, Sam Riviere και Ocean Vuong, συστήνοντάς τους στο ελληνικό κοινό. Μένει στο Λονδίνο.

Aadityakrishna Sathish

Hong Kong is a city, like many others, where buildings reign over people. Life is predictable to the extent that some rich man is always going to have food on his plate (to be more precise, 8 small plates that would cost the same as what we pay for rent every month). You might get a promotion the year after—but hey—you might not. You might end up working the same job for 8 years without a raise.

Everyday life at the level of the economy is predictable. Like in many other places, the wolves of Wall Street (or we would say here, Central District) have swallowed the excitement whole. Then, what is left, is what some would call the “remainder life” or in other words, the weekend. Eating together as a family is a rare instance; it’s either too much of a bother to eat together as the table is too small to accommodate the four of us, or we are not present at the same time (my father proudly says he is on the clock 24/7). Then, the aspects of our lives that become unpredictable, uncontrollable, are precisely those moments that subtend work, office, paychecks, promotions: they are the building blocks of life as we know it.

Family time is radical.

There is no weekly Sunday dinner, and as such, every dinner together becomes relevant. A silence dwells here that allows for the unknown to erupt; we see a moment of familiar unfamiliarity; the teleology that work life promises becomes undone because of the danger of such moment—the danger of not-knowing, of being a family—of being together. What I have said so far illustrates the theme in the photos of my family members.

The photo that connects what I have said so far with the building material is titled “God.” The buildings that propel, consume and consume to propel the dreams of MNCs, the wolves of wall street, the CEOs, have their building blocks as well. There is “rubbish” and “waste” that is often forgotten about; these are often an “eyesore” for those that live in the neighborhood, but they are precisely where moments of the uncontrollable dwell. Here lies the question of life and death, as workers inhabit unsafe conditions to exponentially multiply the income of those that are to occupy the buildings after construction. I wanted to capture those moments of danger, excess, and suffocation.

These are pictures from a series that I call “Market Stories.” They offer a different version of Hong Kong, one that is located in the bustling, loud wet markets. These stories breach into the story that the cityscape tells. The pictures offer an uncontrollable narrative, a different one. A narrative that breaks into the alienated nature of lives of Hong Kong-ers. Alienated from one another. Alienated from ourselves.

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Aadityakrishna Sathish is a student at College of the Atlantic, Bar Harbor, ME. He is pursuing a B.A. in Human Ecology. He is from Hong Kong and India. His studies lie in the intersection of post-colonial studies, feminist theory, anthropology, philosophy, and performance. He addresses some of the question they pose through photography.

Christine Stoddard

Christine Stoddard is a writer, artist, and founding Quail Bell Magazine editor. Her work has appeared in the Queens Museum, the Condé Nast Building, the New York Transit Museum, and beyond.

Anargyros Drolapas

Quantum tunneling | Κβαντοσηράγγωση


words-links:”From now on we all walk through walls!” from “The art of war: Deleuze, Guattari, Debord and the Israeli defence force” by Eyal Weizman.

Anargyros Drolapas was born in Athens, Greece. He studied Physics and IT. He has steadily pursued photography since 2010. His images have been published in online magazines, he had two solo exhibitions and has participated in various group exhibitions. adrolapas.com


του Αργύρη Δρόλαπα  .  by Anargyros Drolapas

The Sphinx
wants me to guess.

Does a road run its whole length
at once?

Does a creature curve to meet

Rae Armantrout, excerpts from the poem Up to Speed.


ΛEΞEIΣ-ΣYNΔEΣMOI: άπειρες εικασίες από χάρτη σε χάρτη
WORDS-LINKS: infinite guesses amongst the maps


by Brett Skarbakka

BrettSkarbakkaTo do with wild growth into itself




του Άρη Μιχαλόπουλου . by Aris Michalopoulos


λέξεις-σύνδεσμοι: THE WAY OUT

words-links: THE WAY OUT


του Παναγιώτη Λάμπρου  .  by Panayiotis Lamprou