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	<title>Thkio Ppalies</title>
	<link>https://thkioppalies.org</link>
	<description>Thkio Ppalies</description>
	<pubDate>Tue, 13 Oct 2026 05:27:02 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://thkioppalies.org/Home</link>

		<pubDate>Sat, 17 Nov 2018 15:45:54 +0000</pubDate>

		<dc:creator>Thkio Ppalies</dc:creator>

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Thkio Ppalies is a non-profit artist-run space in Nicosia, Cyprus. The space is committed to the facilitation and production of creative and intellectual endeavours across a wide range of contemporary practices. Experimentation, critique and collaboration are encouraged with the intent of nurturing inclusive networks between artists, curators and writers. Thkio Ppalies (Θκιό Ππαλιές) is a common non-standard Cypriot expression meaning quick execution, chop chop.
Founded and run by Peter Eramian &#38;amp; Stelios Kallinikou


2B Kissamou, Palouriotissa, Nicosia 1040, Cyprus


Emailing list / Facebook / Instagram
info@thkioppalies.org






&#60;img alt="" border="0" src="https://www.paypal.com/en_CY/i/scr/pixel.gif" width="1" height="1" style="width: 1px; height: 1px;"&#62;

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		<title>Projects</title>
				
		<link>https://thkioppalies.org/Projects</link>

		<pubDate>Tue, 24 Sep 2019 09:46:00 +0000</pubDate>

		<dc:creator>Thkio Ppalies</dc:creator>

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		<title>Routine Maintenance: A Tale &#124; Lower Levant Company &#38; Olga Micińska &#124; 16/10 – 06/11/2026</title>
				
		<link>https://thkioppalies.org/Routine-Maintenance-A-Tale-Lower-Levant-Company-Olga-Micinska-16-10</link>

		<pubDate>Tue, 13 Oct 2026 05:27:02 +0000</pubDate>

		<dc:creator>Thkio Ppalies</dc:creator>

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Routine Maintenance: A Tale
Lower Levant Company &#38;amp; Olga Micińska

Opening: 16/10/2026, 7pmDuration: 16/10 – 06/11/2026Opening hours: Wednesday-Friday, 6-8pm (or by appointment)





ENG

Thkio Ppalies is pleased to present Routine Maintenance: A Tale, a sculptural sound environment by Lower Levant Company (Emiddio Vasquez &#38;amp; Peter Eramian) and Olga Micińska. At the core of the installation two existing works are brought into conversation: Crossover Frequency Spectrum (2024, LLC in collaboration with Gaetano di Gregorio) and Bad Luck to Every Magistrate, and Bad luck to Every Gamekeeper (2026, LLC &#38;amp; Olga Micińska), previously presented at the 60th Venice Biennale Cyprus Pavilion and the Sonic Acts Biennial in Amsterdam, respectively.

 

Whistlers and cracklings captured from the ionosphere near British RAF military antennae and an imaginary radio transmission from a historic number station are engulfed by recordings of bat calls, as the history of transmission in Cyprus is recontextualised across scales of magnitude and proximity by human and other-than-human agencies. Through a frequency distribution filtering apparatus composed of repurposed plant-like audiophile speaker horns that resemble an uncanny surveillance system, Crossover Frequency Spectrum (2024) invites the listener to adjust their senses and attune themselves towards ‘spectral’ frequencies that are often present, and even extremely loud, but not readily audible. At the same time, a counter-narrative reoriented towards the land emerges through replicas of the speaker horns, handmade from mixed clay by ceramicist and architect Gaetano di Gregorio, sprouting out of a bed of copper slag. 



Bad Luck to Every Magistrate, and Bad luck to Every Gamekeeper (2026) introduces a further speculative dimension to this universe. By referencing models of artificial bat houses and transforming them into fantastical sonic sculptures, the ecological afterlife surrounding RAF military infrastructures is reimagined sonically in the form of a radical reinhabitation of bat colonies infiltrating the surveilled lands surrounding the bases. The installation features recordings done over a period of seven years: a recording of a lone Common pipistrelle bat flying near the RAF Akrotiri base in Asomatos, a recording of a colony of bats living in La Cabaña, the Spanish-built fortress of Havana, Cuba and a recording of a cloud of Mexican free-tailed bats in the Bracken Cave Preserve in Texas, US–the world’s largest concentration of mammals–where 20 million bats roost every year, and then cross the Mexican border with their newborns. In other words, a sonic constellation of geopolitical localities marked by ongoing societal crises and geographical sites whose naturalized borders are being questioned, resisted, and altogether overtaken, by both human and other-than-human alike. 



Through a reconfiguration of these works, incorporating new sculptural interventions and a forthcoming record release, the exhibition poses questions concerning Cyprus’s geopolitical history of transmission and role as an “antenna island” in the region, implicating it in the ongoing genocide in Palestine and the US-Israel war with Iran. In parallel, the environmental consequences of the British military bases in Cyprus extend these questions further, challenging the value of notions such as “ecologies of care” in the face of growing militarism, ongoing colonial presence, and irreversible ecological catastrophe. The title of the exhibition cites the official statement by the Sovereign Base Areas (SBA) authorities regarding the ongoing developments at Akrotiri Salt Lake, where locals are protesting plans to erect as many as 68 new communications antennae, describing them as “antennae of death”. According to the statement, any work currently ongoing is “associated with routine maintenance” and not with plans to install new listening antennae. So the tale goes…


GR



Το Thkio Ppalies έχει τη χαρά να παρουσιάσει το Routine Maintenance: A Tale, ένα γλυπτικό ηχητικό περιβάλλον από την Lower Levant Company (Emiddio Vasquez &#38;amp; Peter Eramian) και την Olga Micińska. Στον πυρήνα της εγκατάστασης, δύο υπάρχοντα έργα έρχονται σε διάλογο: το Crossover Frequency Spectrum (2024, LLC σε συνεργασία με τον Gaetano di Gregorio) και το Bad Luck to Every Magistrate, and Bad luck to Every Gamekeeper (2026, LLC &#38;amp; Olga Micińska), τα οποία παρουσιάστηκαν προηγουμένως στο Κυπριακό περίπτερο της 60ης Μπιενάλε της Βενετίας και στη Μπιενάλε του Sonic Acts στο Άμστερνταμ, αντίστοιχα.

 

Σφυρίγματα και κροταλίσματα από την ιονόσφαιρα ηχογραφημένα κοντά σε στρατιωτικές κεραίες της βρετανικής RAF και μια φανταστική ραδιοφωνική μετάδοση εμπνευσμένη από έναν ιστορικό σταθμό αριθμών, κατακλύζονται από ηχογραφήσεις καλεσμάτων νυχτερίδων, αναπλαισιώνουν την ιστορία των μεταδόσεων στην Κύπρο διαχέοντας κλίμακες μεγέθους και εγγύτητας ανθρώπινων (και πέρα απ’ αυτού) παραγόντων. Μέσω μιας συσκευής φιλτραρίσματος κατανομής συχνοτήτων, αποτελούμενη από κόρνες ηχείων υψηλής πιστότητας σε σχήματα λουλουδιών, που θυμίζουν ένα δυσοίωνο σύστημα παρακολούθησης, το Crossover Frequency Spectrum (2024) προσκαλεί τον ακροατή να προσαρμόσει τις αισθήσεις του και να συντονιστεί με τις «φασματικές» συχνότητες που συχνά είναι παρούσες, ακόμη και εξαιρετικά δυνατές, αλλά δύσκολα ακουστές. Ταυτόχρονα, μια εναλλακτική αφήγηση που επαναπροσανατολίζεται προς τη γη αναδύεται μέσα από αντίγραφα των κόρνων ηχείων, χειροποίητα από ανάμεικτο πηλό από τον κεραμίστα και αρχιτέκτονα Gaetano di Gregorio, που ξεπροβάλλουν από ένα στρώμα σκωρίας χαλκού. 



Το Bad Luck to Every Magistrate, and Bad luck to Every Gamekeeper (2026) εισάγει μια περαιτέρω υποθετική διάσταση σε αυτό το σύμπαν. Αναφερόμενο σε πρότυπα τεχνητών καταφυγίων νυχτερίδων και μεταμορφώνοντας τα σε φαντασμαγορικά γλυπτά-ηχεία, το οικολογικό μεταθανάτιο τοπίο που περιβάλλει τις στρατιωτικές υποδομές της RAF επαναπροσδιορίζεται ηχητικά ως μια ριζική επανακατοίκηση από αποικίες νυχτερίδων που διεισδύουν στις επιτηρούμενες εκτάσεις γύρω από τις βάσεις. Η εγκατάσταση περιλαμβάνει ηχογραφήσεις που πραγματοποιήθηκαν τα τελευταία επτά χρόνια. Μεταξύ τους συμπεριλαμβάνονται οι ηχογραφήσεις μιας μοναχικής κοινής νανονυχτερίδας που πετούσε κοντά στη βάση της RAF στο Ακρωτήρι, στον Ασώματο, μιας αποικίας νυχτερίδων που ζούσε στη La Cabaña, το φρούριο της Αβάνας στην Κούβα που κατασκευάστηκε από τους Ισπανούς, καθώς και η ηχογράφηση ενός νέφους μεξικανικών άνουρων νυχτερίδων στο Bracken Cave Preserve στο Τέξας των ΗΠΑ–γνωστή ως η μεγαλύτερη συγκέντρωση θηλαστικών στον κόσμο–όπου 20 εκατομμύρια νυχτερίδες κουρνιάζουν και θηλάζουν τα νεογνά τους κάθε χρόνο και στη συνέχεια διασχίζουν τα σύνορα του Μεξικού. Με άλλα λόγια, ένας ηχητικός αστερισμός γεωπολιτικών συντεταγμένων που σημαδεύονται από συνεχιζόμενες κοινωνικές κρίσεις και γεωγραφικών τοπίων των οποίων τα φυσικοποιημένα σύνορα αμφισβητούνται, αντιστέκονται, μέχρι και υπερβαίνονται, τόσο από τους ανθρώπους όσο και από τους πέρα απ’αυτού οργανισμοί. 



Μέσα από μια αναδιαμόρφωση αυτών των έργων, με την ενσωμάτωση νέων γλυπτικών παρεμβάσεων και μιας επερχόμενης κυκλοφορίας δίσκου, η έκθεση θέτει ερωτήματα σχετικά με τη γεωπολιτική ιστορία των μεταδόσεων στην Κύπρο και τον ρόλο της ως «νησιού-κεραίας» στην περιοχή, εμπλέκοντάς την επιπλέον στη συνεχιζόμενη γενοκτονία στην Παλαιστίνη και στον πόλεμο ΗΠΑ-Ισραήλ με το Ιράν. Παράλληλα, οι περιβαλλοντικές συνέπειες των βρετανικών στρατιωτικών βάσεων στην Κύπρο επεκτείνουν περαιτέρω αυτά τα ερωτήματα, θέτοντας υπό αμφισβήτηση την αξία εννοιών όπως οι «οικολογίες της φροντίδας» όταν θέτονται απέναντι στον αυξανόμενο μιλιταρισμό, τη συνεχιζόμενη αποικιοκρατική παρουσία και την μη αναστρέψιμη οικολογική καταστροφή. Ο τίτλος της έκθεσης παραπέμπει στην επίσημη ανακοίνωση των αρχών των Περιοχών Κυρίαρχων Βάσεων (SBA) σχετικά με τις συνεχιζόμενες εξελίξεις στην Αλυκή Ακρωτηρίου, όπου οι κάτοικοι διαμαρτύρονται για τα σχέδια ανέγερσης έως και 68 νέων κεραιών επικοινωνίας, περιγράφοντάς τες ως «κεραίες θανάτου». Σύμφωνα με την ανακοίνωση, οποιεσδήποτε εργασίες βρίσκονται επί του παρόντος σε εξέλιξη «σχετίζονται με τη συνήθη συντήρηση» (routine maintenance) και όχι με σχέδια εγκατάστασης νέων κεραιών υποκλοπής. Όπως λέει και στο αφήγημα…
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		<title>How To Inherit a History of Solidarity? &#124; Organised by Haytham el-Wardany &#38; Ali al-Adawy &#124; 28/09 – 29/09/2026</title>
				
		<link>https://thkioppalies.org/How-To-Inherit-a-History-of-Solidarity-Organised-by-Haytham-el</link>

		<pubDate>Sun, 04 Oct 2026 05:47:17 +0000</pubDate>

		<dc:creator>Thkio Ppalies</dc:creator>

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How To Inherit a History of Solidarity?
28/09&#38;nbsp;– 29/09/2026Organised by Haytham el-Wardany &#38;amp; Ali al-AdawyIn cooperation with pitcherzzz &#38;amp; Endrosia

Full program (graphic design by Doris Mari Demetriadou)



How To Inherit a History of Solidarity? is the second chapter of Choosing the Sad End, a four-chapter artistic research project that critically interrogates national liberation and transnational solidarity and asks: How did the left's political and cultural-artistic project shift from an internationalist liberation project to just symbolic gestures within a globalized political economy of solidarity?

Through dialogues in four different cities — Amman, Nicosia, Beirut, and Tunis — the project seeks to inspire a political imagination in the current moment, by engaging with archival and historical networks, various publications, knowledge production, artworks, and films. These materials engage with national liberation, decolonization movements, and transnational solidarity in the Global South. In each city, the project collaborates with a co-curator and partner art space around its core questions.

In the Nicosia chapter, we focus on the archive of Palestinian and independent publications produced in Cyprus between the 1980s and 1990s, including Al-Karmal, Palestinian Studies, Palestinian Revolution, and other periodicals. The publications spanned a wide range of formats and themes — social studies, theoretical reflections, literary production, and journalistic periodicals. Printed in Cyprus through what we call an infrastructure of solidarity, they were then distributed across Arabic-speaking countries. This work was carried out alongside major literary figures such as Mahmoud Darwish and Salim Barakat.

How To Inherit a History of Solidarity? takes this history as a starting point to rethink and practice solidarity in today's moment of genocide in Gaza, militarization, financialization, and the rise of populism and fascism. The geographies gathered in this chapter may seem distant and disparate, yet they are entangled in a long shared history of colonialism. As the abolitionist thinker Ruth Wilson Gilmore reminds us, geographies of abolition — that is, of solidarity — are “the negation of the overlapping and interlocking carceral geographies of which the prison-industrial complex is one examplar — while absolutely nonexhaustive”.Public program:
Monday 28th
- “Under the shades of the olive tree in Cyprus, Arabic soil speaks” by 
Ali al-Adawy
- “Article 1 - Human Dignity” by Sami Rostum &#38;amp; Sina Ahmady (Fehras Publishing Practices) with Seta Astreou Karides

Tuesday 29th
- “Palestine in Cyprus: Political intimacies, geopolitical imagination, and solidarity in the 1980s” by 
Panayiotis Achniotis
- “Restless Returns: Vignettes from Amman” by 
Joud al-Tamimi (Asphalt)
- Two short films by Jocelyne Saab and Layaly Bader 
with an introduction by Ali al-AdawyChoosing The Sad End is conceptualised by Ali al-Adawy, developed by Wekalet Behna (cultural centre based in Alexandria) and Asphalt (cultural centre based in Amman), and funded by AFAC (Arab Fund for Arts and Culture) and SDC (Swiss Agency for Development and Cooperation).
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	</item>
		
		
	<item>
		<title>Like Water &#124; Taysir Batniji &#124; Across Waters curated by Reem Rizk &#124; 12/09/2026</title>
				
		<link>https://thkioppalies.org/Like-Water-Taysir-Batniji-Across-Waters-curated-by-Reem-Rizk-12-09</link>

		<pubDate>Tue, 15 Sep 2026 09:37:21 +0000</pubDate>

		<dc:creator>Thkio Ppalies</dc:creator>

		<guid isPermaLink="true">https://thkioppalies.org/Like-Water-Taysir-Batniji-Across-Waters-curated-by-Reem-Rizk-12-09</guid>

		<description>
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Like Water
12/09/2026Taysir BatnijiAcross Waters curated by Reem Rizk
Poster


Like Water is a durational performance by Palestinian artist Taysir Batniji, presented as part of the 2008 exhibition Water: Misery and Delight at IFA Gallery in Stuttgart.



Using water and a paintbrush, Batniji inscribes onto the concrete floor an inventory of 109 Arabic terms for "water", drawn from Mahmoud Darwish's "Memory for Forgetfulness." As the artist writes, each word vanishes progressively, evaporating into air or absorbing into stone — leaving almost invisible traces on the ground.



Reflecting on this gesture, Batniji explains: "The work stems from a striking contradiction: the vast linguistic vocabulary of more than a hundred words for water in Darwish’s book is set against a region suffering from its acute scarcity. Today, amid recent political developments, addressing this crisis has become all the more urgent."





This performance is part of Across Waters, a research project and public program curated by Reem Rizk in collaboration with the Arab Image Foundation, Haven for Artists, Thkio Ppalies, and Visual Voices, with the generous support of the Arab Fund for Arts and Culture (AFAC).

</description>
		
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	<item>
		<title>Friends of Friends 4 Ever: Fundraiser &#124; 11/06/2026</title>
				
		<link>https://thkioppalies.org/Friends-of-Friends-4-Ever-Fundraiser-11-06-2026</link>

		<pubDate>Tue, 15 Sep 2026 05:32:55 +0000</pubDate>

		<dc:creator>Thkio Ppalies</dc:creator>

		<guid isPermaLink="true">https://thkioppalies.org/Friends-of-Friends-4-Ever-Fundraiser-11-06-2026</guid>

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Friends of Friends 4 Ever: Fundraiser
11/06/2026
Poster


Dear friends and friends of friends,

For the past eleven years, Thkio Ppalies has taken many forms, always propelled by a shared impulse: to act, to create, and to imagine alternative infrastructures together. Since day one, our drive has been fuelled by the immensely inspiring arts communities across the island, who have embraced 2PP with such love, presence, and support over the years.

Yet the underlying financial structure that holds Thkio Ppalies together has always been fragile, and the precarity of the present moment is putting it under increasing strain. The space is partially self-funded, while the labour of its founders remains entirely voluntary. We have reached a critical moment: to keep 2PP going, we need to raise €5,000.

In these times, we are reminded that community is our immunity. A group of friends and supporters of Thkio Ppalies have come together to organise a fundraising event, which will take place on Thursday, 11 June, from 19:00–23:00 at our space. We invite you to join this collective effort of co-immunity and help sustain Thkio Ppalies for the years to come.

Here are some ways you can support:

* Become a co-organiser of the fundraising effort by sharing this event along with a few words about what Thkio Ppalies means to you.

* Make a single or monthly donation through the donation link, located at the bottom right corner of our website (thkioppalies.org), or email us (info@thkioppalies.org) to send you our bank info. And don’t hesitate to directly share this initiative with people you think might be interested to support.

* Donate merchandise, artworks, publications, or other items to be sold during the fundraising event.

* Join us on the day and take part in the event!

We hope this occasion will bring us together to celebrate how far we have come, share food and drinks, reconnect with old and new companions, and continue imagining our futures in common.

Forever grateful

With love,

Thkio Ppalies
------------------------------
We are lost for words. The fundraiser was an enormous success beyond any of our expectations!!! Not only did we meet our goal, we surpassed it. Thank you from the innermost depths of our hearts!! 😭💖 Love and friendship is what binds Thkio Ppalies together, it's what keeps us going. Without love and friendship, without a community to laugh and cry together with, what's the point of art? On Thursday Thkio Ppalies felt co-owned by everyone present (and everyone who supported but could not be with us). Not only because of the donations, but also because of the smiles, the warmth and care, that you offered so generously. We are infinitely grateful 💖✨💖✨
We would like to thank Panagiotis Mina, Nicola Mitropoulou, Michael Pavlides and DJ DIAFORA (Jimmy Kallas) for the magic, the hilarity and laughter you offered throughout the evening. Your spellbinding energies wove together an evening that felt once in a lifetime!



An enormous thanks to the organisers of the fundraiser, who offered so much of their time, energy and love to bring everything together so wonderfully: Fisherwomxn (Seta Astreou-Karides, Miriam Gatt, Ioulita Toumazi), Sesssssions (Dimitris Chimonas &#38;amp; 

Lex Gregoriou), Reem Rizk, Marina Christodoulidou


The delicious food and drinks by Reem Rizk, Seta Astreou-Karides, Clara Zinecker



The artists who generously offered their artworks for auction: Natalie Yiaxi, Elena Savvidou, Phanos Kyriacou, Miriam Gatt, Panagiotis Andreou, Orestis Lazouras, Neoterismoi Toumazou, Robert Der Arakelian, Demetris Shammas, Othonas Charalambous, Irini&#38;nbsp;Khenkin 


The super special Bingo offerings: Georgia Moditi, Michael Pavlides, Bravo Bravo Editions, Evi Hadjipieri, Pitcherzzzz, Jimmy Kallas, Della Savvidou



The incredible 2ΠΠ caps: Object Type (Phanos Kyriacou), Leontios Toumpouris, Nurtane Karagil, Fisherwomxn, Tradition Now, Aphroditios, The Neurotic Archive (Andreas Andronicou), Rhyzome Choreographic School (Eva and Belinda Papavasiliou), Christina Olympiou &#38;amp; Anastasia Melandinou, Cypriot Graffiti (Aaron Gatt)


And the amazing donations for the shop: Endrosia, Irini&#38;nbsp;Khenkin, Stelios Ilchuk, Paris Christodoulou, Pyrgatory Studios, Marina Christodoulidou, Pitcherzzzz, Midea Shirts, Oresteaser, A. G. Leventis Gallery, NeMe, Fisherwomxn, Sesssssions, Rhyzome Choreographic School, Loizos Olympios, Shuffle Bakes</description>
		
	</item>
		
		
	<item>
		<title>A Phenomenon Only Slightly Strange &#124; Cóilín O’Connell &#124; Organised by pitcherzzz &#124; 07/01 – 09/01/2026</title>
				
		<link>https://thkioppalies.org/A-Phenomenon-Only-Slightly-Strange-Coilin-O-Connell-Organised-by</link>

		<pubDate>Fri, 02 Jan 2026 18:02:23 +0000</pubDate>

		<dc:creator>Thkio Ppalies</dc:creator>

		<guid isPermaLink="true">https://thkioppalies.org/A-Phenomenon-Only-Slightly-Strange-Coilin-O-Connell-Organised-by</guid>

		<description>
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A Phenomenon Only Slightly Strange
07/01 – 09/01/2026,&#38;nbsp;6-8pmCóilín O’ConnellOrganised by pitcherzzz
Poster


A presentation of work by pitcherzzz resident Cóilín O’Connell, in conversation with Marina Christodoulidou.
On January 7 at 6pm Cóilín will read his text A Phenomenon Only Slightly Strange which explores aspects of the UFO phenomenon as it relates to Ireland and Cyprus. This will be followed by a screening of Looking for Freedom? (2024) by Michael Dignam and Forty-five Seconds (2024) by Ruth Clinton and Niamh Moriarty.



In this moment of an ending order and perceived collapse, what does the UFO mean to the peripheral and post colonial states of Ireland and Cyprus? The “U” in UFO currently means “unapproachable” and “unresearchable” just as much as it means “unidentified”. The UFO does not manifest offering solutions to the periphery, but it arrives to undermine forgone conclusions. With reports of UFO activity increasing, can we really afford to ignore the questions that they raise?



A Phenomenon Only Slightly Strange explores the UFO subculture as it appears in both popular and vernacular media, using this theme to examine the expressive possibilities of archival material while engaging with belief systems, colonial legacies, and notions of sovereignty.



O’Connell’s interest in the subject began during a residency in Limassol, Cyprus, in 2021. While conducting archival research in the city’s newspaper archive, he encountered historical accounts of simultaneous Irish and Cypriot UFO sightings that were later revealed to be covert British military aircraft. This discovery led to an ongoing research project into the topic.



The reappraisal of archival material serves as both the conceptual and methodological foundation of the work. The project navigates the tension between two approaches: the archivist, who arranges documents according to a shared logic of record-keeping, and the collage artist, who assembles disparate fragments into singular, intuitive proposals. Both approaches are treated as forms of authorship that assert ownership over history either reinforcing or challenging prevailing narratives and perceptions of the present.



Using UFOs as a thematic lens, the project probes the intersections and contradictions of belief, power, folklore, and poetry.

Cóilín O’Connell is an artist from Dublin. Through a process of collecting and editing found and original image, object and text his work considers antagonisms between the methodical and the poetic as a means of reworking historical and lived time.



___



Looking for Freedom?&#38;nbsp;(2024), 10’54” 

Michael Dignam



Looking for Freedom reimagines David Hasselhoff’s 1989 performance at the Brandenburg Gate within the fractured spaces of contemporary geopolitics. Set between Nicosia’s buffer zone and Limassol’s speculative skyline, the work stages a whispered, fragile version of the anthem once hailed as a symbol of liberation.



Forty-five Seconds (2024), 15’14”

Ruth Clinton and Niamh Moriarty



On the 31st March 1993, two Gardaí (policemen) were driving around on late-night patrol in a small west of Ireland town when they witnessed strange lights in the sky above them. At the time, their story was taken seriously, given their social standing, and was reported in Irish media. Now retired from the force, and driving luxury vintage cars for weddings, one of the witnesses tells his story while driving to the location of the sighting.




___




Supported by Culture Ireland.
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	</item>
		
		
	<item>
		<title>RHYZOME choreographic school &#124; Belinda &#38; Eva Papavasiliou &#124; 21/11/2025 – 08/03/2026</title>
				
		<link>https://thkioppalies.org/RHYZOME-choreographic-school-Belinda-Eva-Papavasiliou-21-11-2025-08</link>

		<pubDate>Mon, 06 Apr 2026 08:40:47 +0000</pubDate>

		<dc:creator>Thkio Ppalies</dc:creator>

		<guid isPermaLink="true">https://thkioppalies.org/RHYZOME-choreographic-school-Belinda-Eva-Papavasiliou-21-11-2025-08</guid>

		<description>
	Rhyzome Choreographic School is an experiential research and pedagogy project, a mycelium-like network, an anarchic web of compositions where ideas disperse in multiple directions and practices. RCS’s first cycle will take place at Thkio Ppalies project space in Nicosia. Through a series of open-practice sessions, workshops, and choreo-curated events, the school seeks to expand the practice of choreography and to cultivate an understanding of the political 
and social dimensions of movement and planetary thinking. Engaging directly with the politics of working together, the choreographic school proposes different ways of gathering, where a new kind of dialogue, or dance, emerges between practitioner and audience, between artist and citizen.
Influenced by Karen Barad’s term Intra-action the choreographic school aims to nurture an
environment of working alongside and in relation with the world we inhabit, with radical softness as a relational compass. By creating practice grounds, the school wants to hold space for
dialogue and exchange, embracing somatic and experiential learning accompanied and supported by theoretical research. Rhyzome Choreographic School wants to remain in a constant state of search as we reimagine what a school can be. 
RCS is a project by the sisters Eva and Belinda Papavasiliou.


	Το Rhyzome Choreographic school είναι ένα βιωματικό, ερευνητικό και παιδαγωγικό πρόγραμμα, ένας άναρχος ιστός συνθέσεων, όπου οι ιδέες διασκορπίζονται προς
πολλαπλές κατευθύνσεις και καλλιτεχνικές πρακτικές. Μέσα από μια σειρά παρουσιάσεων, ανοιχτών εργαστηρίων, προβολές ταινιών, και χορογραφικά επιμελημένων δράσεων, επιδιώκει να διευρύνει την έννοια της χορογραφίας και να καλλιεργήσει την κατανόηση των πολιτικών και κοινωνικών
διαστάσεων της κίνησης.
Εμπλεκόμενο άμεσα με την πολιτική της συνεργασίας, το Rhyzome προτείνει διαφορετικούς τρόπους συνάθροισης, όπου αναδύεται ένα νέο είδος διαλόγου μεταξύ δημιουργού και θεατή και κατ’ επεκταση μεταξύ τέχνης και κοινωνίας. Επηρεασμένοι από τον όρο «Intra-action» της Karen Barad, το Choreographic school με πυξίδα συνήπαρξης τον όρο radical softness (ριζοσπαστική απαλότητα), επιδιώκει να καλλιεργήσει ένα περιβάλλον διαλόγου και σχέσης με τον κόσμο στον οποίο ζούμε. Μέσω της δημιουργίας χώρου για έρευνα και δράση, το Rhyzome θέλει να παρέχει χώρο για διάλογο και ανταλλαγή, να προωθήσει τη σωματική και βιωματική μάθηση χωρίς όμως να απορρίπτει την θεωρητική έρευνα. Το RCS επαναπροσδιορίζει το τι μπορεί να είναι ένα σχολείο, παραμένοντας σε μια διαρκή αναζήτηση και εξερεύνηση. 
Το Rhyzome Choreographic School (RCS) επιμελούνται οι αδελφές Εύα και Μπελίντα
Παπαβασιλείου.
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	<item>
		<title>The Near and the Elsewhere &#124; Curated by Reem Rizk &#124; 13/09 – 31/10/2025</title>
				
		<link>https://thkioppalies.org/The-Near-and-the-Elsewhere-Curated-by-Reem-Rizk-13-09-31-10-2025-1</link>

		<pubDate>Tue, 18 Nov 2025 12:10:30 +0000</pubDate>

		<dc:creator>Thkio Ppalies</dc:creator>

		<guid isPermaLink="true">https://thkioppalies.org/The-Near-and-the-Elsewhere-Curated-by-Reem-Rizk-13-09-31-10-2025-1</guid>

		<description>
	"The Near and the Elsewhere" is a multidisciplinary public program curated by Reem Rizk, running from September to October 2025. Featuring an installation, music performance, film screenings, talks, and workshops, the program critically interrogates the ways in which individual and systemic borders construct and control dominant notions of “Otherness.”

To speak of the Other is to speak of the edge of the self—a liminal space where identity is forged not in isolation, but through close encounters. While the Other remains fundamental to self-recognition, this dynamic has long been exploited by hegemonic structures, resulting in systems of oppression, exclusion, and erasure.

In response to evolving global crises marked by wars, mass displacement, and pervasive surveillance, The Near and the Elsewhere invites us to unlearn the architectures of othering that continue to fracture our shared realities. The program aims to foster embodied dialogues rooted in alternative modes of collective belonging and emergent identities.


	Το διεπιστημονικό πρόγραμμα «The Near and the Elsewhere», υπό την επιμέλεια της Reem Rizk, εγκαινιάζεται τον Σεπτέμβριο και θα ολοκληρωθεί τον Οκτώβριο του 2025. Το πρόγραμμα περιλαμβάνει μια εικαστική εγκατάσταση, μια μουσική περφόρμανς, διάφορες προβολές ταινιών, διαλέξεις, 

και

θεωρητικά εργαστήρια. Οι δράσεις θα εξετάσουν κριτικά τους τρόπους με τους οποίους τα ατομικά και συστημικά σύνορα διαμορφώνουν και ελέγχουν τις κυρίαρχες αντιλήψεις περί «Ετερότητας».

Το να μιλάμε για τον Άλλον σημαίνει να μιλάμε για τα όρια του εαυτού μας — έναν μεταβατικό χώρο όπου η ταυτότητα δεν διαμορφώνεται σε απομόνωση, αλλά μέσα από στενές επαφές. Καθώς ο «άλλος» παραμένει θεμελιώδης για την αναγνώριση του εαυτού μας, αυτή ακριβώς η δυναμική παραδοσιακά καταστρατηγείται από τις ηγεμονικές δομές, με αποτέλεσμα τη δημιουργία συστημάτων καταπίεσης, αποκλεισμού και εξάλειψης.

Σε ανταπόκριση στις εξελισσόμενες παγκόσμιες κρίσεις που χαρακτηρίζονται από πολέμους, μαζικές μετακινήσεις πληθυσμών και εκτεταμένη επιτήρηση, το πρόγραμμα «The Near and the Elsewhere» μας καλεί να ξεμάθουμε τις αρχιτεκτονικές της ετεροποίησης που επιμένουν να διαχωρίζουν τις κοινές μας πραγματικότητες. Το πρόγραμμα στοχεύει στην προώθηση διαλόγων που έχουν τις ρίζες τους σε εναλλακτικούς τρόπους συλλογικής συνύπαρξης μέσα σε ένα πλέγμα πολλαπλών αναδυόμενων ταυτοτήτων.

</description>
		
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	<item>
		<title>Invitation to Actions: Ensembling, Sincering, Transmitting &#124; Dutch Art Institute COOP SUMMIT &#124; 24/06/2025</title>
				
		<link>https://thkioppalies.org/Invitation-to-Actions-Ensembling-Sincering-Transmitting-Dutch-Art</link>

		<pubDate>Thu, 09 Apr 2026 07:35:43 +0000</pubDate>

		<dc:creator>Thkio Ppalies</dc:creator>

		<guid isPermaLink="true">https://thkioppalies.org/Invitation-to-Actions-Ensembling-Sincering-Transmitting-Dutch-Art</guid>

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Invitation to Actions: Ensembling, Sincering, Transmitting
24/06/2025Dutch Art Institute COOP SUMMIT


“One who calls their kin to a feast does not do so to save them from starving. They all have food in their own homes. When we gather together in the moonlit village ground, it is not because of the moon. Everyone can see it in their own compound. We come together because it is good to do so.”—Chinua Achebe



We invite you to join us—not out of urgency, but because gathering matters. We are the 2024–2025 COOP study group An Invitation to Action—A Basis for Hope—cultural workers from Honduras, Greece, China, Brazil, Canada, Indonesia, Italy, Nigeria, and Cameroon. Over the past year, we’ve been following the traces of the Medu Art Ensemble, learning how culture can challenge the systems that try to contain it. From Nida’s quiet forests to the buﬀer zone in Nicosia, we’ve been listening. Practicing Harney and Thompson’s slow reading, walking until silence taught us something, tuning into the fading signals of Radio Alice and Free Radio Algeria. We’ve tried to do as Pauline Oliveros once suggested: “walk so silently that the bottoms of your feet become ears.”



What we oﬀer here is simple: radio as a weapon, feast as gathering, a newsletter  (co-developed with Fisherwomxn) as a place to hold what can’t be held elsewhere. These transmissions carry temper—not rage that explodes, but the warmth that sustains. Like Mutabaruka’s Every Time A Ear De Soun, our voices loop and overlap, building echoes out of what was left unsaid. Fanon once wrote that we must use the past to open the future. To visit the ruins and to understand them as a site of rebirth, as an impetus for action. That’s what this is. No projections. No spectacle. Just voices that insist on staying, food shared as quiet resistance, and stories printed with the urgency of people who still believe in speaking.



Be with us. Come together—not because you have to, but because it’s good to do so.

Student participants: Christelle Makris, Echo Guo, Fagner Lima, Liam Warren, Muyang Teng, Qiaoling Cai, Ratri Notosudirdjo, Sara Alberani, and Zhuang Leng.



Tutor participants: Leo Asemota, Mokia Dinnyuy Manjoh (with guest AMULETO MANUELA).
Download the 

Invitation to Action(s) newsletter


 

Invitation to Actions: Ensembling, Sincering, Transmitting is realized through the ongoing friendship, conversation and collaboration between the Dutch Art Institute and SAVVY Contemporary 
as part of COOP SUMMIT 2025.Read more about the trajectory of COOP study group An Invitation to Action - A Basis for Hope.
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