Alexandros Psychoulis

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The work “Vavo” is an invisible work for the viewer. The equipment hidden inside the walls of the Castle, in the narrow alley where the Jewish Synagogue is located, records the conversations of the unsuspecting passers-by and repeats them with a delay of a few seconds a little further down. In other words, the passer-by meets as he proceeds the words, he has uttered a few seconds before. He hears himself again. This work creates an unfamiliar condition. Nothing warns you of its existence with the result that the experience is perceived as something irrational that conflicts with the logical flow of things. The words of the street that were destined to be lost forever after their utterance are given a second chance. They are repeated outside the mouth in which they were born. This is not a natural phenomenon; it is not the echo. The time delay is such that it removes any kind of naturalness. My words, artificially, are waiting for me at the end of the road.

Alexandros Psychoulis was born in Volos in 1966 and has studied painting at the Athens School of Fine Arts. His first works are interactive installations, which are activated by the spectator and explore his subconscious, by decodifying his fears, desires or memories in images and sounds. The exploration of the virtual reality’s territory has been up until now the central drift of his work, which is consisted by installations, animation and painting. In 1997, he has been awarded the Benesse Prize for his work “Black Box”, with which he participated in the 47th Venice Biennial. He has presented many solo exhibitions such us: The room,, Athens (2009), Mammals, Zina Athanassiadou, Thessaloniki (2005), Body Milk,, Athens (2003), Speak about your life in materials with no memory, Lionheart, Boston (1999), There’s no place far enough for you to escape from images and the pain they caused you, Deitch Projects, New York (1998). Today he is an Associate Professor of “Art and Technology” at the Architecture Department of the University of Thessaly.

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