EFFIE HALIVOPOULOU
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    • 2022_Weaving Wars
    • 2020–21_Pixterity I
    • 2020–21_Pixterity II
    • 2019_Ripple
    • 2019_My Mother, my Cousin, my Niece, my Internet of Things
    • 2017_Sound Irrigation System
    • 2014_Pykinon Demas
    • 2012_Open 15
    • 2011_Timestorm
    • 2010_Breaking Walls/Building Networks
    • 2009_Sublime Structure
    • 2009_Timeless Tales
    • 2008_Entropy in Transit
    • 2007_Liquid Network
    • 2006_Masculinitiy-Femininity and other Certainties
    • 2005_BIDA
    • 2002_DataBase
    • 2002_New Acquisitions
    • 2002_Sketching out Today, Tomorrow, Yesterday
    • 2002_Geolinks
    • 2000_Symbols/Objects: Stories and Facts Untold II
    • 1998_Walking through Time
    • 1997_Engrams of Oblivion
    • 1997_Kelyphos/Shell:Cell
    • 1993_Synchronia
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M a s q u e r a d e s
Effie Halivopoulou creates an autonomous, entirely personal and integrated visual discourse on the body, incorporated within a broader framework of research. Over recent years she has shown a remarkably consistent and mature involvement with issues of biotechnology. In the four works being shown now for the first time she composes mainly cyclical forms which swim in a brilliant sea of colors, different textures, materials and shapes, landscapes which evoke magnified images from the interior of the human body. Halivopoulou's work raises unavoidable questions associated with the biological genetic definition of man's physical, mental and psychological characteristics, in relation to a socially controlled context which makes it difficult to achieve differentiation from a predetermined course. In other words, it raises the question of personal choices against the imperative laws of heredity and the environment, questioning the limits of personal freedom in the forming of subjectivity and consequently of the gender identity. The framework of the debate is now being altered and securing an additional, bio-ethical dimension, since science now allows us to intervene in genetic material, planning and ensuring certain desired characteristics. Perhaps this is why in the work titled Chain of Fools the cyclical structure hints at the possibility of alternating the position and choice associated with gender. It is also the only one of the four works in the group which attempts a clear figurative representation, with the play of the white palms and bulb-marbles which roll across the background on which symbols of the masculine and feminine are scattered.

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Syrago Tsiara, Director, Center for Contemporary Art
State Museum of Contemporary Art, Thessaloniki

Catalogue text, exhibition "Masculinity, Femininity and other Certainties"
State Museum of Contemporary Art, Thessaloniki, 2006

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