fuTure greATs
Haris Epaminonda by Brian Dillon
The art of Haris Epaminonda is a matter of sutures, folds and strange symmetries. Among the videos that she
showed at the Venice Biennale in 2007 (Epaminonda shared the Cyprus Pavilion with Mustafa Hulusi), the
most exemplary in this sense was Nemesis 52 (2003): seven discrete segments depict various involutions of
matter, space and time. A pair of disembodied hands – their symmetry in fact a mirror image produced in-
camera – folds and unfolds a mass of fabric so that it seems to come alive: a spirited or sexualised substance.
Elsewhere the foldings are temporal: footage from Egyptian soap operas – slowed down, pixelated or
cropped – seems to exist in some oneiric region that crosses decades and cultures. Once again, drapery is
everywhere: in another fragment of appropriated television, a pair of dancers whirl endlessly before a
backdrop of luxuriant fabric.
But it’s in Epaminonda’s meticulous and somewhat unsettling collages that the processes of cutting,
folding and grafting produce the most startling meetings between times, places and bodies. In many of the
images, the historical background seems to be mid-twentieth century, but incised by huge mirrored shards,
suggesting an inhuman future. Certain images are almost consumed by these slivers from another time. In
others, jagged holes have opened in the surface of the picture that provides the original ground, as if
something alien were forcing its way through, invading eerie civic spaces and grey architectural interiors. In an
untitled piece from 2006, a group of schoolgirls are pictured in a wood, beneath an article on a modernist
clockwise from left: Untitled *09, 2006, collage (paper),
school built by French architect Ecochard: their eyes have been covered by fragments from another scene. In
32 x 25 cm, collection Cyril Taylor; Tarahi 11, 2006, still from
a more recent example the usurper is a painting: a vast, wavering fauvist mass, like a malfunctioning television,
video, colour, sound, 3 min 40 sec; Tarahi V, 2007, still from
video, colour, sound, 3 min 11 sec. All works: courtesy the artist
that has hypnotised a scattered group of museum-goers.
and Domobaal, London
83 Artreview
Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140  |  Page 141  |  Page 142  |  Page 143  |  Page 144  |  Page 145  |  Page 146  |  Page 147  |  Page 148  |  Page 149  |  Page 150  |  Page 151  |  Page 152  |  Page 153  |  Page 154  |  Page 155  |  Page 156  |  Page 157  |  Page 158  |  Page 159  |  Page 160  |  Page 161  |  Page 162  |  Page 163  |  Page 164  |  Page 165  |  Page 166  |  Page 167  |  Page 168  |  Page 169  |  Page 170  |  Page 171  |  Page 172  |  Page 173  |  Page 174  |  Page 175  |  Page 176  |  Page 177  |  Page 178  |  Page 179  |  Page 180  |  Page 181  |  Page 182