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APPEARANCES OF THE INTERSTICE
@anthr0morph, @garancebss , @kildi_drasa, @isabellafuernkaes, @_kimcamille_, @tabata.von.der.locht, @dhyantrx.t.o., @eviroumani

Looking back on APPEARANCES OF THE INTERSTICE, I am pleased to share the installation views of the group exhibition I curated as part of the @athensphotofestival_official, presented at @misc.athens from 11 June–11 July 2026.

“My brain gets creamy with associative thought.” (I love Dick, Chris Kraus)

Relational meaning appears, emerges from inside the interstice. Liminal spaces expand our thoughts, through referencing, suggesting, alluring.

In this exhibition, the interstice is valued as a productive condition of perception through which relational meaning appears. The presented works cause cracks, materialise gaps, capture suspension, catch glimpses. The interstice connects and bridges; but also separates. The spectator’s gaze is redirected: towards the gaps in a fence, the cracks in a ceiling, the gap in one’s teeth.

When something passes through an interstice, it mostly happens quickly, vaguely. A hint of something, an aftertaste. A passing plane, a hint of perfume from somebody walking past. Between birth and death, we think of life as an interstice. Arriving. Or returning. The exhibition invites the spectator to value the productive state of this passage or transit, to join the interstice’s own movement of waiting, floating, drifting, passing: creating a pause for breath in which to find relief.

Here, photography can serve as a stabiliser. It can freeze the interstice, capture and hold it. But itself creates one: between spectator and spectrum, signifiant and signifié. The invisible condition of photography: a shy medium. It is there, exists, intangible, invisible, silent. The presented works try to materialize and challenge the photographic “interstice” that forms its condition. They produce or reveal liminal spaces, whether they are spatial, chronological or conceptual.

Special thanks to @sylvia.ps, @clem_mllrt and @marinakostruba from @misc.athens, @chloe.gorin, @agiosvotanikos, and @clagesgallery for their support.

Installation views
@frankholbein taken in Misc.Athens by @misc.athens

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20 days ago

“Ten years, I built a crust of lies
To burry my soul,
a sarcophagus in the shape of a man.

Then, for ten years I bled
Needles injected and laser burned my skin
To make that crust turn soft

And it was a membrane all along
That now I emerge from
A perfect androgyne”

Thank you for coming to “memories of an androgyne” event and letting me digest the negotiation of memories of the last decade.
Reading my poetry sitting in front of “Constantine” a series of self authored Polaroid portraits starting from my first estrogen patch in 2018 to now.

As part of APPEARANCES OF THE INTERSTICE curated by @lolaatheodora at @misc.athens
Documentation by @ioanniskampanis by @misc.athens

2k

20

2 months ago

nstallation view:
Garance Bossion
Duricrust, Eat My Dust, 2023
Etching on Aluminium, Metal
70 × 45 × 0,3 cm
Unique

Red dust, ashes, and cracked soil, where an artificial third space emerges. Eat My Dust bridges the distance from the outskirts of Marseille, FR, to the white roofs of Aspra Spitia, GR.
In both places, toxic residues known as red mud accumule in vast open-air deposits spreading across the territory.
Garance Bossion’s long-term research investigates the alumina refinery Alteo in Gardanne, near Marseille, and its industrial plant in the Corinthian Golf, installed in 1963.
Exploring the sometimes morbid beauty of extractivism in the Anthropocene, Bossion connects archival images of industrial waste with the industry’s end product, oscillating between documentary observation and speculative
imagination.

APPEARANCES OF THE INTERSTICE

with @anthr0morph @garancebss @kildi_drasa @isabellafuernkaes @_kimcamille_ @tabata.von.der.locht @dhyantrx.t.o & @eviroumani

Curated by @lolaatheodora
June 11- July 11

📸 @frankholbein by @misc.athens

455

6

2 months ago

Installation view:
Tara Olsen
Thermal Cycles,
Self-portrait, 2022-2026
Photo collage on corrugated
metal, glass, and steel beams,
backlit
30 x 40 x 4 cm

In Thermal Cycles, Self-Portrait, the interstice materializes through a process of biological transformation, oscillating between decay and reconstruction. By placing her autoportrait beneath a mini refrigerator for several months, Tara Olsen exposed the image to condensation-induced moisture and gradual decomposition. The refrigerator’s thermal cycles created a humid microclimate that triggered degradation, leaving the photographic collage suspended in a fragile state, held together only by a delicate layer of spores.
Existing between image and material, destruction and preservation, the work embodies a space of in-betweenness. What once reflected an idealized projection of the future re-emerges as an altered self-portrait—an alter ego.

APPEARANCES OF THE INTERSTICE

with @anthr0morph @garancebss @kildi_drasa @isabellafuernkaes @_kimcamille_ @tabata.von.der.locht @dhyantrx.t.o & @eviroumani

Curated by @lolaatheodora
June 11- July 11

📸 @frankholbein by @misc.athens

131

2

2 months ago

Installation view:
Evi Roumani
FOREVER, 2025-2026
Print on fleece blanket
150 × 200 cm

Evi Roumani documents the fleeting and the passing.
Turning to fleece blankets after becoming a mother, she began working with a material that reshaped her
understanding of comfort, care, and intimacy. Soft, synthetic, and reflective, the blankets transform photographic images into tactile objects that evoke bodily presence. De-functionalized and body-sized, these works act as proxies for intimacy and longing. The images speak of withdrawal and warmth, constructing a tactile form of documentation that
resists the cold surfaces of media and power through
softness. Drawing on an autobiographical and feminist
perspective, Roumani explores themes of motherhood and care while challenging essentialist notions of identity, foregrounding the fluid and shifting condition of gendered bodies.

APPEARANCES OF THE INTERSTICE

with @anthr0morph , @garancebss , @kildi_drasa , @isabellafuernkaes , @_kimcamille_ , @tabata.von.der.locht , @dhyantrx.t.o & @eviroumani

Curated by @lolaatheodora
June 11- July 11

📸 @frankholbein

The exhibition is part of the Satellite Program of the @athensphotofestival_official. by @misc.athens

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3 months ago

presents Satellite Program: @misc.athens

APPEARANCES OF THE INTERSTICE
with anthr0morph, Garance Bossion, Kildi Drasa, Kim-Camille Kreuz, Isabella Séville Fürnkäs, Tara Olsen, Tabata von der Locht, Evi Roumani
Curated by Lola Inó Schönherr
Duration June 11 – July 11

@lolaatheodora @misc.athens @anthr0morph @garancebss @kildi_drasa @isabellafuernkaes @_kimcamille_ @tabata.von.der.locht @dhyantrx.t.o. @eviroumani

explores the interstice as a productive condition of perception through which relational meaning emerges. Through an interdisciplinary photographic dialogue that materializes gaps, captures moments of suspension, and reveals fleeting glimpses, the exhibition approaches the interstice as both a connective and separating force. Bringing together polyphonic perspectives on the ephemeral and fragile in-between, the presented works trace its poetic potential.

Saturday, 4 July | 8–10 pm
MEMORIES OF AN ANDROGYNE,
a lecture performance and artist talk by @anthr0morph

Reflecting on Constantine, a unique series of intimate polaroids begun in 2018 at the start of their medical transition, @anthr0morph discusses the need to document a self that is changing and explores different states of embodiment and memory.

This exhibition is part of the Satellite Program of the @athensphotofestival_official curated by Sylvia Sachini @sylvia.ps. by @misc.athens

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1

3 months ago

Installation view:
Kildi Drasa
Are you still looking for things
that no one else can see 2,
2026
Ink on wood panel,
steel frame
47 × 30 cm

Airplanes passing, suspended transit. Emerging from the clouds, floating in the in-between, taking off, taking down, oniric metal shells that do not seem to belong somewhere.

The airplane might be what used to be VW Beetle for Roland Barthes’ Mythologies: a hyper-contemporary symbol at the core of global circulation, the ultimate emblem of
immediacy. Transforming industrial ink sourced from printing factories in Athen’s surroundings, Kildi Drasa
manually interferes within the digitalised processes of
mechanised printing. Using handmade sprayers, stencils,
and rollers, this series blurs the line between technology’s apparent mimicry of the real and the intuitive gesture of a painter’s hand.

APPEARANCES OF THE INTERSTICE

with @anthr0morph , @garancebss , @kildi_drasa , @isabellafuernkaes , @_kimcamille_ , @tabata.von.der.locht , @dhyantrx.t.o & @eviroumani

Curated by @lolaatheodora
June 11- July 11

📸 @frankholbein

The exhibition is part of the Satellite Program of the @athensphotofestival_official. by @misc.athens

327

16

3 months ago

Join us for
MEMORIES OF AN ANDROGYNE,
a lecture performance and artist talk by @anthr0morph
Saturday, 4 July | 8–10 pm

Reflecting on Constantine, a unique series of intimate polaroids begun in 2018 at the start of their medical transition, @anthr0morph discusses the need to document a self that is changing and explores different states of embodiment and memory.

Presented as part of the group exhibition
APPEARANCES OF THE INTERSTICE, with @anthr0morph, @garancebss, @kildi_drasa, @isabellafuernkaes, @_kimcamille_ @tabata.von.der.locht,
@dhyantrx.t.o and
@eviroumani

Curated by @lolaatheodora.
Visuals by @marinakostruba

Constantine is a series of intimate polaroids by anthr0morph (Constantine Kaloutas), taken between 2018 and today. Appearing from the darkness of her childhood room, her self-portraits reveal a passing body in fluidity, stretching and extending gendered representativity. Begun as a documentation of their medical transition, it transformed into an act of self-cognition and gender-assertion. Exposing the breach in between the binary, the polaroids become ephemeral vestiges of a moment of transition – less a rite of passage than a symbol of our permanent state of transgression and interconnectivity. by @misc.athens

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4

3 months ago

Installation view:
@anthr0morph
Constantine, 2018-2026
136 Polaroids, hand-written notes
110 × 8 cm each
Unique

Constantine is a unique series of intimate polaroids by anthr0morph (Constantine Kaloutas), taken between 2018 and today. Appearing from the darkness of her childhood room, her self-portraits reveal a passing body in fluidity, stretching and extending gendered representativity. Begun as a documentation of their medical transition, it transformed into an act of self-cognition and gender-assertion. Exposing the breach in between the binary, the polaroids become ephemeral vestiges of a moment of transition – less a rite of passage than a symbol of our permanent state of transgression and interconnectivity.

APPEARANCES OF THE INTERSTICE

with @anthr0morph , @garancebss , @kildi_drasa , @isabellafuernkaes , @_kimcamille_ , @tabata.von.der.locht , @dhyantrx.t.o & @eviroumani

Curated by @lolaatheodora
June 11- July 11

📸 @frankholbein

The exhibition is part of the Satellite Program of the @athensphotofestival_official. by @misc.athens

242

4

3 months ago

Installation view:
Kim-Camille Kreuz
it is what it is, 2024
Video
1:14''

Kreuz creates an atmospheric passage between the main floor and the basement. We enter a humid room bathed in warm red light: to the left, an opaque window filters the light, transforming it with the sun’s movement throughout the day. It reveals subtle imprints of the window’s metal bars, traces left by gently swaying fig branches in the Athenian courtyard below the gallery; a temporally fragile image whose visibility shifts continuously over time.
At the same time, it is what it is lures us into the darkness of a basement in a small Bavarian village, a space between past and present. Red apples and green pears gradually emerge from the shadows, as the artist follows her grandmother’s moving hand with a small flashlight, revealing often unseen reproductive labour. Guided by her murmuring voice, we enter a former calf shed now used as storage where apples and pears are carefully sorted into good and bad. A repetitive gesture that subtly recalls a pre-industrial form of household self-sufficiency. The artist’s attentive observation creates a fragile bridge between generations, reflecting on care, transmission, and everyday practices that resist disappearance.

APPEARANCES OF THE INTERSTICE

with @anthr0morph , @garancebss , @kildi_drasa , @isabellafuernkaes , @_kimcamille_ , @tabata.von.der.locht , @dhyantrx.t.o & @eviroumani

Curated by @lolaatheodora
June 11- July 11

📸 @frankholbein

The exhibition is part of the Satellite Program of the @athensphotofestival_official. by @misc.athens

226

11

3 months ago

Installation view:
Tabata von der Locht
The Tremor in the Solid
Ground, 2025
Paint and wall imprints from
the urban environment, ink on
stitched fabric
180 × 125 cm

Arising as a monumental wall, four large-format textile works open a passage between the inside and outside, between the white cube and Athens’ colorful fences, doors, and facades. Negotiating the hermeneutics of the city’s streets, Tabata von der Locht reveals glimpses of secondary urban registers, where polychrome imprints left behind by passersby accumulate as layered visual memory. By transferring fragments of reality—tags, graffitis and wall
textures—onto canvas through specialized transfer
techniques, her work investigates the borderland between painting, photography and printmaking. Taking no more than “lendings” from the city, she reframes urban markings not as damage, but as traces of collective presence.

APPEARANCES OF THE INTERSTICE

with @anthr0morph , @garancebss , @kildi_drasa , @isabellafuernkaes , @_kimcamille_ , @tabata.von.der.locht , @dhyantrx.t.o & @eviroumani

Curated by @lolaatheodora
June 11- July 11

📸 @frankholbein

The exhibition is part of the Satellite Program of the @athensphotofestival_official. by @misc.athens

264

3

3 months ago

Thermal Cycles, Self-portrait,
2022-2026
Photo collage, mold on corrugated metal, glass
30 x 40 x 4 cm

In Thermal Cycles, Self-Portrait, the interstice materializes through a process of biological transformation, oscillating between decay and reconstruction.
By placing her autoportrait beneath a mini refrigerator for several months,
Tara Olsen exposed the image to condensation-induced moisture and gradual decomposition.
The refrigerator’s thermal cycles created a humid microclimate that triggered degradation, leaving the photographic collage suspended in a fragile state, held together only by a delicate layer of spores.
Existing between image and material, destruction and preservation, the work embodies a space of in-betweenness.
What once reflected an idealized projection of the future re-emerges as an altered self-portrait—an alter ego.
Txt @lolaatheodora by @misc.athens

96

5

3 months ago