fade.radio/residents/eva-anerrapsi

Narration created for the sound intervention ‘Echo Chamber’ curated by Xenia Kalpaktsoglou in the context of the exhibition ‘Woman Case’ by Eleni Tzirtzilakis at Circuits and Currents, Athens, Greece, June 22d - June 30, 2023

Overflow (A Reading Into Hélène Cixous’ Insurgent Writing)

A sound collage recorded at an ice-skating rink, where words become metaphors and associations unexpectedly engraved while dancing on a wide, frozen surface. 

Submerged In White 

Synopsis: Filmed through the mirroring of a computer screen, the video reflects on a character’s pondering over the authenticity of things. What remains real in the absence of space and how does erotic speech take form when the storyteller’s gaze is mediated only through deflections? The title of the video refers to the blackness of an inactive computer screen that comes to rapture with the texture of natural colors in daylight.

Berlin Short Film Festival Official Selection 2023, Eventive platform, 25-31.1.2023

Film Diary NYC Official Selection 2022, Millennium Film Workshop, Brooklyn, New York City, 18.11.2022

World Of Film International Festival Glasgow Official Selection 2022: The Female Perspective Shorts, The Alchemy Experiment, Glasgow, U.K., 04.11.2022

Festival International Signes de Nuit Official Selection 2022: Court-Métrage Documentaires Shorts, Greek Foundation City University of Paris, France, 1.10.2022

Screened as part of the solo show ‘I Was Lost In Untamed Forms Of Hidden Experiences, In Vast Places That Are Eliminated’ at Closing Soon artist-run space Athens, 24.06.2022 - 30.06.2022

New York Indie Doc Festival Official Selection 2022, Spectacle Theater, Brooklyn, New York, 31.05.2022

Screened through the screening event 'Long Stories Short' at Mikrokosmos Cinema, organized by ASFA graduates & students, Athens, Greece, 3.04.2022

Screened as part of the degree show ‘Wandering On Thin Surfaces’ by Eva Anerrapsi at the Athens School Of Fine Arts, 3-6.10.2021

It Was Day And I Was Thinking About Night (2021) film still, video, colour, sound, 4 minutes 23 seconds

It Was Day And I Was Thinking About Night (2021) poster

It Was Day And I Was Thinking About Night

Description: The video follows an uncanny exploration of forms that appear within a variety of flashes in the blackness of night. Still or damaged lights, smartphones, inscriptions and other nocturnal aspects, implying visible errors and signs of collective memory. 

Filmed and edited by Eva Anerrapsi in Athens, 2021

Light Meter is part of the sophomore album 'Mateosi' by Metaman, released in 2022 by Won Ton Records.

METAMAN - LIGHT METER [Official Video]

Solo Show at Closing Soon, Athens, curated by Orestes Mavroudis, 2022

The installation consists of an archive of thoughts and landscapes of everyday life. In a fragmentary way, we follow the artist's wandering through a city full of contradictions and occasions for introspection. To present these narratives, Anerrapsi uses sheets of A4 paper on which typewriting and handwritten notes coexist with 10x15 cm printed photographs. The artist adopts familiar forms of analogue communication, the most common sizes of writing and photographic papers, to capture fleeting emotions. The exhibition also features the video 'It Was Day And I Was Thinking About Night', which aims to translate the same content into a digital language and explore the limits, qualities and textures that the medium imposes on human communication.

Exhibition text by Orestes Mavroudis
Photos by Nikos Katsaros

https://www.les-nouveaux-riches.com/eva-anerrapsi-closing-soon/

It Was Day And I Was Thinking About Night, 2021, video, color, sound, 4 minutes, 19 seconds

Wandering On Thin Surfaces, 2021, 35 mm printed on Fujicolor Crystal Archive DPII 10x15 cm, A4 paper 80 gr., 210 x 297 mm each

I Was Lost In Untamed Forms Of Hidden Experiences, In Vast Places That Are Eliminated, 2022, installation view

Wandering On Thin Surfaces, 2021, 35 mm printed on Fujicolor Crystal Archive DPII 10x15 cm, correction fluid, marker pen, typewriting on A4 paper 80 gr., 210 x 297 mm each

I Was Lost In Untamed Forms Of Hidden Experiences,  In Vast Places That Are Eliminated

'Machine Echoes’ is the first of three group exhibitions in the ESC 2034 series curated by 0-1 Gallery. By exploring the futures of nature and technology, the exhibition covers themes such as artificial intelligence, the transformation of communication, and the future of ecological awareness. From digital phenomena to ecological sculptures, each work invites us to reflect on these evolving relationships. Additionally, each piece challenges us to rethink how we interact with our environment, offering a glimpse into the decade ahead — a conversation between nature and technology.

"It Was Day And I Was Thinking About Night by Eva Anerrapsi is a 4-minute video filmed using the reflective surface of a closed laptop. The piece questions what remains real when space is removed and how the storyteller’s gaze shifts when filtered through digital reflections. Anerrapsi’s approach captures the tension between poetic introspection and the detached realities of contemporary life. The video combines natural daylight with the dark, reflective blackness of an inactive computer screen, mirroring the contrast between personal desires and the fragmented nature of modern existence.

The work reflects on how we perceive the world as it becomes increasingly mediated by technology. Inspired by the introspective writings of Rainer Maria Rilke, a renowned Austrian poet known for exploring existential themes, Anerrapsi examines how intimate communication is reshaped by digital environments. The video explores the evolving relationship between the digital and the real, reflecting broader shifts in perception and interaction in the modern age."

https://0-1.gallery/exhibitions/esc-2034-machine-echoes/

It Was Day and I Was Thinking about Night, 2021, view at Machine Echoes by 01 Gallery, See Lab, The Hague, NL, 2024

Machine Echoes

CLOSING SOON→SYSTEMA 2024
Artists: Eva Anerrapsi, Elena Demetria Chantzis, Stavros Kassis, Orestis Mavroudis
Exhibition period: 30.08.2024-01.09.2024

SYSTEMA is a gathering of affinities, offering a social space that provides a venue and visibility for independent spaces, artist- or curator-run initiatives, and non-profit collaborative projects. Contributors are invited to propose works for exhibition and public programs, which, after a careful selection process, are allocated throughout the various spaces of Palais Carli. As a flat, non-hierarchical structure, the entire process embodies the principles of collaboration and cooperation—from the proposal of works and ideas to their arrangement and cohabitation within the spaces.


The installation "Sebastian in Dream" (2024) refers to the entitled series of poems by Georg Trakl: Sebastian im Traum, 1915. In his poems Trakl presents a haunting exploration of existential themes through its protagonist, Sebastian, who navigates a surreal and nightmarish landscape that blurs the lines between dream and reality.

THE 2024 EDITION OF SYSTEMA WAS MADE POSSIBLE THANKS TO THE GENEROUS SUPPORT OF Ministère de La Culture – Direction Régionale des Affaires Culturelles Provence-Alpes-Côte d’Azur, Région Provence-Alpes-Côte d’Azur, Ville de Marseille, Conservatoire à Rayonnement Régional Pierre Barbizet, Institut de Formation Artistique Marseille Méditerranée, l’Institut National Supérieur d’Enseignement Artistique Marseille-Méditerranée, Fluxus Arts Projects 

Location: Palais Carli, 1 Pl. Auguste et François Carli, 13006 Marseille, France

Sebastian in Dream, 2024, Invited by CLOSING SOON. Documentation by Raphaël Massart – Courtesy of the artists and SYSTEMA © SYSTEMA, 2024

Sebastian in Dream II, 2024, 35mm film printed on Fujicolor Crystal Archive DPII 10 x 15 cm, B&W, transparent pvc tape, 28,5 x 30 cm. Invited by CLOSING SOON. Documentation by Raphaël Massart – Courtesy of the artists and SYSTEMA © SYSTEMA, 2024

Sebastian in Dream, 2024, 35mm film, B&W, printed on metal, 29 x 42 cm. Invited by CLOSING SOON. Documentation by Raphaël Massart – Courtesy of the artists and SYSTEMA © SYSTEMA, 2024

Systema 2024

Photography exhibition by two artists: Eva Anerrapsi and Myrto Tzima, both based in Athens. The two explore Anafi through the concept of intimacy and the use of distance. Although the captured moment seem familiar, it simultaneously confronts the audience as they reveal deeply private stories that may resonate with their own. The selected works are displayed in a way to recreate the sense of familiarity that blends with its surroundings both on a small and larger scale.

Most of the works have been donated to Anafis' public high school's library collection, following the end of the exhibition. 

Sunset, 2021 by Eva Anerrapsi has been featured in the photography section of i-D Magazine and Vice U.K., article by Ryan White, December 2021.

https://i-d.vice.com/en/article/bvz9xm/what-your-september-2021-looked-like

A Place Between A Teardrop And The Dancing Waves, 2023, artist' talk through the two person show with Myrto Tzima  

Sunset, 2021, three prints of 35 mm on canvas paper, 35 x 52,5 cm, streched, installed at the two person show A Place Between A Teardrop And The Dancing Waves, 2023 at Margarita's Restaurant and Monolithos bar exhibition space, Anafi, Cyclades 

A Place Between A Teardrop And The Dancing Waves

Group Show at Callirhoë gallery, Athens, co-curated by Xenia Kalpaktsoglou and Olympia Tzortzi with works by Eva Anerrapsi, Maria F Dolores, Anastasia Douka, Dora Economou, Selma Köran, Irini Miga, Rallou Panagiotou, Nina Papaconstantinou, Natasha Papadopoulou, Nana Sachini, Georgia Sagri, Beate Scheder, Sofia Touboura, Marina Velisioti, Kyveli Zoi and 1992 (Ioanna Mitza & Pegy Zali), 2023.

And all of the sudden I was taking my friend to the hospital. My friend smiled at me, put her fist in the air and entered through the glass door. My friend is a very strong person. My friend is a fighter. My friend is Beate and this is dedicated to her." In the frame of a circle of friendship, nineteen femininities come together to address the notion of receiving and providing care in order to survive in environments that challenge their very existence. Going beyond the fixed notion of the family and the recent commodification of wellness via life coaching and individualist self-care app trends, they focus on affectivity, solidarity, relationality and interdependence over charity, self-indulgence, self-preservation and resilience. They push back against disadvantages by bringing forward vulnerability and codependence, as ways to go through the world with one another, in a spirit of radical kinship and hope.

Exhibition text by Xenia Kalpaktsoglou and Olympia Tzortzi

https://www.callirrhoe.info/index.php?view=article&id=48

Dream Diaries, 2018-2023, installation view at the group show We Tell Ourselves Stories In Order To Live, Callirrhoë Athens, curated by Xenia Kalpaktsoglou and Olympia Tzortzi, 2023

We Tell Ourselves Stories In Order To Live

Group Show with works by Eva Anerrapsi, Marilia Tripodi, Anastasis Panagis Meletis and Flora Vavoula, Erifili Agelopoulou, Eleni Poulopoulou, Katerina Goti (Viscosity), Nasia Drimousi, Chris Plaitis, Lydia Miligkou, Nasia Sydeta, Antonia Tsakiri, Kostas Filippoglou at U.o.A. grove, organised and curated collectively, 2022.

The multimedia installation ‘Landscapes That We Leave Behind’ is an exploration of the concept of a jump from a fantastic to a real space. As the German-Italian artist and filmmaker Rosa Barba questions in her book ‘On The Anarchic Organization of Cinematic Spaces’, 2022 by Hatje Cantz Editions, "

How has digitization collapsed the modernist categories of time, space and materiality and created instead an abstraction? Nowhere in this universe is there any forgetting, but it’s all forgettable.

The independent and free exchange of images in the digital world, that survive against algorithmic surveillance, reminds us that we are endlessly invited to explore new geographical places within the real world. The 'out of', out of home, out of the room, out of a state of suppression, speaks about escaping a conservative gender-focused narrative concerning the self determination of bodies in public space. The exhibition 'Flora on the Edge of Windows' , is an attempt to search for alternative landscapes for art. The ruthless institutionalisation of artistic expression, leaves no space for scruffy magical soundscapes and breeding ground of chance, where all kinds of wild flora grows. The patchwork of unlimited references to the natural landscape, works as a bowl of artistic expression, and questions the fetters that the non-places (museums, malls, e.t.c) have. The forest as a pathway, as a platform for accessible and free social exchange, confronts the alienation which the urban and digital environments cause, the class barriers that often contemporary art sets, the mapped discrimination of social norms, and the selective ableism that the architectural frame constraints. Chance in nature answers to contemporary pre-processed realities and allows for experimentation and reappropriation.

Exhibition text by Chris & Antonia
Photos by Nefeli Papaioannou

https://www.currentathens.gr/events/event/3807-flora-on-the-edge-of-windows

Landscapes That We Leave Behind, 2022, installation view, multimedia, TV screen, 61 x 37,5 cm, digital collage, laser cutting on black, tinted plexiglass 50 mm, typewriting on A4 paper 80 gr, 210 x 297 mm, dimensions variable

Landscapes That We Leave Behind, 2022, detail

I’ve gathered all hopes and fragments and dreams just to rearrange a view and to run around with my friends, I’ve vanished, I became something else away from my hands to your vision of erotic fantasy and back in my room again

Flora On The Edge Of Windows, 2022

Flora On The Edge Of Windows

Degree Show at the Athens School Of Fine Arts, Kessanlis Hall, 2021

In the randomness of everyday life, we often look through something else. Through distinct and concrete boundaries of things that become the tools for us to think or feel. Τhe mediated visual relations that emerge seem to contradict the simplicity of a free and direct wandering gaze, which reveals to us an inner intensity of emotions arising from the very common and human feeling of loneliness. In his book “Letters To A Young Poet”, Rainer Maria Rilke records the emotions that remain clear and unspoken, that converse with intuitive thinking and are cultivated by our relationship with nature. That kind of loneliness is essential to Rilke, like a dream refuge that preserves our earthly elements.

The installation ‘Wandering On Thin Surfaces’ consists of an archive of letters, sketches, photographs and a video, investigating the abstract properties of reality that get involved in the process of writing a love letter. It's a poetic narrative of a character who explores the ways erotic speech is shaping in her era, where screen relationships affect the human ones. On these small and large surfaces of things, colors look different and touching seems like secret cryptic pauses. As the French philosopher, critic and art curator Nicolas Bourriaud has stated: “

Our age is undoubtedly the age of the screen. In addition, it is strange that the exact word is used to describe at the same time a surface that collects light (in cinema), and an interface on which information is recorded. Interface is the thin surface (usually transparent) that separates an entity from its environment or two entities.

”

The relations between the material and the intangible, the real and the dreamlike, the analogue and the digital are explored in the pieces of this installation. Aerial words marked with indelible colors, reflections on screens, car windows, mirrors and cell phones. But there are also blooming or dried flowers, streets that are full of water when it rains and gradient colors at sunset. Abstract thoughts that are not always said or communicated in the right time. All these qualities signify as well the sensitivities that sometimes come to a rupture with reality. Along with the materiality of error that comes accidentally to analogue mediums, something true may survive. Within the increasing speed of the digital world, in a period of absolute “visibility” it is almost like walking between thin, transparent surfaces and trying to see as they would see. In spaces that float and in the relationships we create with them but also, them with us.

Wandering On Thin Surfaces, 2021, installation view

Wandering On Thin Surfaces, 2021, 35 mm film printed on fujicolor crystal archive DPII 10 x 15 cm, correction fluid, marker pen, tape, typewriting on A4 paper 80 gr 210 x 297 mm, seventy works on paper, unique, six metal prints 50 x 70 cm

It Was Day And I Was Thinking About Night, 2021, 4K video, color, sound, 4 minutes 19 seconds, cardboard box, tapes, tire-up, dimensions variable

Transparent Love Letters, 2021, detail, mixed media, six works on paper 1 x 78,8 cm each

Digital Existence, 2021, still photograph, monitor 40" x2, cardboard box, tapes, tire-up, dimensions variable: The title originates from Olivia Laing's exploration of loneliness and technology in 'Funny Weather' (2020)