Παρασκευή, 30 Απριλίου 2010

Polyxene Kasda, Project Myth/ Network 1990-2011

Updated dedication to Polyxene Kasda, in Tyflomyga review 03

Project Myth/Network 1990-2011

"Myth/Network was a linguistic, self-referential, experiment that hurled me in the bottom of a lake to dart me off to the stars" P. Kasda, Uranias Gardens conf. Athens municipality 09
"Project Myth/Network was a way to go back home; it took some magic to do so " P. Kasda, Tradition et Modernite conf. Leuven- Brussels 94

When Alexander founded Alexandria he made a circle on the ground using wheat, but the birds kept eating it before flying away throughout the world. The oracle concluded: 'The city that you are founding will nurture the entire world and everywhere you will find people that descend from there’. {Pseudo-Kallisthenes, Le Roman d' Alexandre, GF Flamarion }


Here is the project of an artist who was born and raised in Alexandria-Lost; a hellenistic home, which, she retrieves in the cosmic dimension of her work.
Polyxene's Project Myth/Network started when the Hubble telescope was launched, in 1990. No wander all of her archetypal installations, connecting primordial principles to contemporary perception, are meant to be seen from an aeronautic point of view. Her project lasts for more than 20 years, but, she considers it to be one and only work of 'lasting present'  'resting on its continuous transformations' (Heraclites)
“Her artistic work is an open system that develops simultaneously on many ontological levels”. Elzbieta Koscielac (Art critic, AICA).
“Her work is an artistic proposition and at the same time a philosophical system; she presents to us a contemporary interpretation of ancient philosophy by engulfing us in it “ Georges Marcou {Art and philosophy, Greece s weekly 3/2/91}
“In her work we can speak of an authentic outpour of mythical knowledge; her work is a marvellous contemporary paradigm of an experience of the world of symbols, lived by a woman of today that refers to traditional and archaic societies“ Eugene Van Itterbeek {Cahiers Européens de Poesie n 159, Belgium 97}.
“Her courageous initiative to bring back not only on the cultural level but also on the ontological, the great myth through which all the elements of the world up surged”Vasiile Avram {Transilvania’96, Cultura Nationala, Romania}
“She captures myth in its primordial state, experiencing its meaning, which, has its roots in the depths of our existence” Vasiile Avram {La Tribuna, 16/5/97, Romania}


Initiated in the Meeting of the Worlds in Joensu, Finland, in 1990, project M/ N is characterized by its sub-marinian mode of working, its subliminal impact on our ‘abysmal receptors’, its autonomous self-growing character, the entelechic consistency of its internal utopia, the ‘lastening’ of events in a continuous present,  its interactivity and polycentric expansion on a global scale and its open-end feeling of adventure/ peripeteia.
Her aim was not to depict objects, but, to ‘open a Mystery’; a pattern that continuously renews itself, tempting her to surmount herself, leaving behind traces, like those left behind by her risky performances and installations in the bottom of the Lake of Mornos, or, in the depth of the cup-shaped precipice Chaos 90; a r-evolutionary state of mind that snowballed in her latest PXK Route global installation 2004-08- , linking Asia-Europe with her PXK material, which stands for her continuous skin shedding leap of self-supercedence.


"M/N was born out of my desire to reach, in the future, this Something Essential Missing [SEM];
There are some exceptional gaps in our time texture, which escape from the censorship of our perceptual system, waving us to penetrate the undetectable background hum of our existence. 1990 was such a crucial time for me: Instead of seeing the world out there, I was seeing my self seeing the world, conscious of my very structure transforming waves of light into a comprehensible reality. The others were indispensable partners in perfecting this conspiracy”. PK {the Adventures of the Eye, 1985 ERT national TVdocumentary}


In 1989, after an extensive cosmopolitan period, she withdrew in her Knitting Room installation 82 and declared herself to be contaminated by the Deep-Exploration Virus.
“In fact, it was the Homo Sapiens/ Word- Virus HSWV that was manipulating me to slide out from the safety of my cognitive platform into the abyssal lake of my unconscious”
Her whole project seems crouched inside the Greek word ΧΡΥΣΑΛΛΙΣ/Chrysalis, natural archetype of ontological mutation/ of culture formation.
“Sometimes, a Word opens its gargling ‘mouth’ in the midst of our ordinary reality, swallowing us in its resonant belly, in which we shed our skin, peeling and molting according to its image. Thus, language is incarnated over and over again». P. K {Art-Act, Athens, 2OO5}.


geometrical structure of the Greek word ΧΡΥΣΑΛΛΙΣ, 19 91
Seen in retrospect, her whole experiment can be conceived as a revival of the legend of the Grail; the archetype of irresistible quest, which, on the edge of truth and deceit, she exhumes from the mathematical scaffold of the Greek word Chrysalis, where she discovers it engrailed!
“By projecting the geometrical scaffold of certain greek words in space, I obtained Speaking Sculptures, deeply anchored in the Pythagorean tradition” P. K { Ancient Parliament of Athens, EETE congress on Greek language, 2009}

From the bottom of the lake to the stars 1990- :

Performance in the bottom of the lake of Mornos 1990. ph.S.Samios

Chrysalii creation and installation in the bottom of the lake of Mornos. ph. S. Samios

In 1990, the bottom of the Lake of Mornos, in Greece, had surfaced with the drought, uncovering an ancient city {Kalipolis} and an old village {Kalion}. Polished black trees and an old stone church surfaced, dressed in oysters. On the altar of this church, she created, with the mud, hundreds of “Chrysalii”; vortex –like, centauric sculptures, which were to be installed by artists and scientists in special sites of the world, where they were bound to melt  in the rain, leaving behind the map of their memorial embedment and the feeling of eudaimonia and abundance, while “assimilating spaces in our intimate space, making out of the earth our home and playground” P. K {Casa/Retea, Transylvania review, Rumania, 1995}
“On the altar of the sunken temple, I carved in the mud the Chrysalii, as though I was searching that SEM in the dark. I did not know it then, but, I was caught in the jaws of this Word that had swallowed me, like a whale, in the bottom of the lake, to dart me off to the stars”
P. K{ Ancient Parliament of Athens, EETE congress, 2009}
“She starts from the depths of the earth to lead us to the next level of our consciousness” J.J Caldwell, Ohio press release, State University of Cleveland, 3/3/91

“The Chrysalii circulate among the people of the world challenging their creative potential. The receiver becomes an emitter of information. In this way the old system of art with the artist-emitter at its centre, with a passive audience, is transformed into a living system-network of the international creative society” E. Koschielac, Myth/Network, Govostis ed.91



A Chrysalis in Kallipolis, on the sunken hellenistic mosaic, in the bottom of the Lake of Mornos '90. ph. S.Samios (on the cover of Letters, Seven Sleepers ed. 1994.





This polycentric installation was followed by a simultaneous happening in 27 countries, in 1991, with basic launching stations, the Municipal Centre of Athens and the State University of Cleveland Ohio:
“The Universal Coordinated Time Tinkering Toast to the Chrysalis, in 1991, in 27 countries, was announced before I had realized that the form of the Cup was already engrailed in the very mathematical structure of the Greek name ΧΡΥΣΑΛΛΙΣ. Maybe the act of toasting and tinkering cups, around a table /trapezi, commemorates our yearning for cosmic heroism and immortality; our irresistible genetic drive for self-destruction and rebirth. The word Trapeza in Greek means simultaneously table/altar/bank. We can live together by restoring the altar/alter as the cornerstone of human civilization; a place usurped by the banks” P. K { Homo ontologicus vrs homo economicus, Athens Municipal Center,  1991}

 
horizontal numerical modeling of the Greek word Chrysallis, 91
vertical numerical modeling of the word
In 1991, she designed a structure derived from the geometrical scaffold of the word ΧΡΥΣΑΛΛΙΣ, for the Structuralist Art exhibition Hommage a Stazewski,  in the Municipal Center of Athens. {left, ph. S.Samios}
This structure was due to take its full-blown 3D form, in her Chrysalis/Grail, monument for the Athens Olympics 2004, which hosted the Olympic Flame in Flisvos, Pal. Faleron, Athens. (right, ill. by VimViva)
Performance/ creation of clay Chrysalii, in the bottom of the Lake of Mornos 1990. ph. S. Samios

              The Word/Chrysalis monument hosts the Olympic Flame, Flisvos, Ath.2004-

“The Idea was already conceived, in its wholeness, in 1990, during my ritual performance on the altar in the depths of the lake of Mornos, yet, on this floor of the world, it took, for me, 14 years to exhume the form of the Grail from its invisible linguistic scaffold and to deposit it on the altar. Through this experimental process, I had a strong insight into the nature of  liturgical timelessness and of its projection in empirical time. The answer to my longing was no other than the archetype of eternal longing itself, which is imbedded in the very language that was driving me out of my skin “ P. K {The Word that swallowed me. uned.}  

Her hyper-text Greek essay Pyrisporos 1994 {Seed of Fire, name of Dionysus} is a collage of subliminally connected scratches of rebounding information, engendering a dynamic web reflecting the simultaneous firing of my brain neurons, at that stage, with no space to make out of this mental space a real space. Pyrisporos text has a dynamic, thick, scrolling structure, which can be compared to modern electronic texts; a non-linear multilayered, short-format hyper-text, that imposes itself, subliminally, through its internal structure”. P. K {ENOPE, Athens’94}
In the global architecture of Pyrisporos, the reader has to construct his way of navigation throughout and inside out the text, like surfing in the net. In it, she gives real life to the Magistrus of the Game of Beads -the fictive character in Herman Hesse’s novel - who connects, vertically, with his numerical systems, her intuitive analogies.
“In the Australian Kalkatoungou aborigine dialect, the word for ‘eye’ stands also for ‘seed/ star/ raindrop’, that is the analogical way the aborigine embed themselves in the world. This netlike approach was similar to what was happening in the Magistrus kitchen, around the table covered with plums, olives, bread and endless coffees; we were treating the void as solid water: Huge word-structures, were rising like alien ship prows, opening up into other word structures; the world was transformed into a holographic acropolis of talking sculptures, sliding on infinite layers, which started from the everyday things to reach a realm of ideas in the depths of my memory, lying anywhere else, outside my brain. In fact, we were creating a meta- space, with transcendental coordinates, hovering above the usual space”. P. K {The word that swallowed me, unedited}


Virtual-Supra-Space Maps of the Hidden Topological Treasure 94-96:


From 1994 to1996, her Myth/Network artwork consisted of minimal lines and primary shapes, drawn on her supra-space Maps; lines vibrating with meaning ful content, connecting through subliminal, linguistic analogies, ancient greek sacred sites and symbols, with contemporary perception. In this process, she deconstructed ancient sacred names, to their primary elements, which, she reshuffled, into different configurations, generating word-isotopes that 'revealed the inter-connection of things in the’ quantum trans-substantiality’ of language'.
The abyssal dimension of language is, according to her, the source of man’s fascination with codes, puzzles, games of treasure-hunt and mystery stories. 

ARTI review 1994

“Her starting point is that myth must come out from the pages of books to become action of the soul in the very sites where it was born and where she recovers it, opening doors to unsuspected dimensionsD. Bisutti, La Clessidra n.1, Joker,1995, Italy.

Her main participants in her virtual-supra-space expeditions in Crete, Icaria, Arcadia, Brauronia, Samothrace were poets from the European Network for the Promotion of Poetry {Belgium}, the Biennale di Poesia di Alessandria {Italy), the European center of cultural dialogue east-west Constantin Noica {Romania} under the auspices of the municipal radio of Greece.
In Transylvania, cultural magazine of Romania, she presented, in 1996, the concept of Casa-Retea/ Home-Network, to express the organic complexity of intimate space. a meta-logical text that inspired  Rumanian poet Mircae Ivanescu, to write his elegy : Voyage hypothetique vers Polyxenia dans un train immobile.
In the Centre of Art Lowenstein in Belgium, in the Symposium Tradition et Modernite, in 1994, she proposed the Object-that-found-me, challenging M. Duchamp’s Found-object. With this change of voice, she expresses the notion of an intelligent, nurturing space, which tempts us, through signs and symbols, to enter in a game of hide- and- seek with XENE, the stranger, whom she compares to the themeli escaping from the center of her dramatic spacetime stage.
“Xene, that strange name embedded in the middle of my name, was my atemporal, universal, twin, pushing me, with no apparent reason, out of my mind, out of my skin” P. K {Tradition et Modernite conf. , Leuven- Brussels 94}


In her Supra-space itineraries 1994-1996- , she used Zephiroula, a centauric -nomadic object-of- art-in-progress, impregnated with supra-space memories'. Zephiroula’s scratches, burns and bumps, residues of her adventurous inter-dimensional itineraries, are amended, since 2004, with bits and pieces of her emerging experimental material PXK. 
Her Supra-space maps 94-96, were the dashing boards for her later telecommunications team project, Miorita, Melusina and the Sphinx, dealing with the syncretic fusion of 'mioritic landscapes' {Lucian Blaga}, in the context of the twin Capitals of Europe 2007; which was selected by Arscenic {France} to be realized in Luxemburg, Romania and Greece, simultaneously. It dealt with the crash of different time concepts in astrophysical time and it questioned the centauric nature of modern perception, intensifying  the Riddle of the Theban Sphinx.
Her supra-space maps were the scaffold  for Uranias Gardens 2009-2011 projects of mythical foundation; a team work that incorporates many socio-cultural issues and of her latest Treasure-hunt game in the island of Samothrace 11, with the 'dangerous' guidance of the paradoxical Heraclitan fragments that throw european philosophy in it s burning roots. .

Fugue, the self-growing dispersive location of the fugitive Child 1996-98-

Fugue4, the Aegean Fountain, Aegean Foundation, Paros 1999.

PAI performance in Fugue construction, Castro di Piovera, Bienale di Poesia di Alessandria, Italy 1996.
Her ‘supra-space Maps' were followed by her open-ended, polycentric, Fugue 1996-1998- , in which she proceeded, from inside out, by installing herself in the Mystery, communicating her mystical experiences in her repetitive performance Pai, a ritual directed to our ‘abyssal noology’ {Lucian Blaga}. Her intention was to reenact the elusive threefold antinomy of Self-regeneration: Mother/Kore/Child ; the core-structure of ancient mysteries and, maybe, of our creative destiny. As scenery for her repetitive performances, she created monumental constructions based on the Golden Series, the universal constant of self-growth, which she left behind, creating logocentric, connecting patterns meant to renormalize, through their intrinsic harmony, the abused, by power institutions, human body’s rhythm”.
“Her artistic act intervenes and transforms space into a holy site”. Eugene van Itterbeek {Cahiers de Poesie, nu. 159, 1997}
Seen, from an aeronautic point of view, all her Fugue structures form one single art-work. Seen locally, they stand as independent monuments, smaller variations of the larger one, reflecting the local/universal spirit of our time.
Parts of Fugue are situated in the Castro di Piovera in Italy, the Crabova fountain on the Lykaion Mt in Arcadia, the Aegean Foundation in Paros Island and in the University Lucian Blaga in Sibiu, Romania,97.  Her work finds resonance in the philosophy of Lucian Blaga.

She sees in the Golden Series a mathematical depiction of the "Logos of the soul that comes out of itself" {Heraclitus).
In her French book Pai 97, translated in five languages, she reveals“the cryptic, erotic, inedible experience, secretive like a gland secretion, of PAI; the 'Thing per se ':
"je suis la flèche du grand désir qui vise l éternité "delivre moi, delivre moi Grande Mere de cet Amour mortel qui précède ma naissance" je supplie la Mere et de son tronc émerge la Korè féconde, moi, mère et fille en même temps, de notre giron surgit le phallos érige qui devient Enfant» P. Kasda, PAI, les Sept Dormants, co-ed University of Lucian Blaga Press, Sibiu Romania-International Book fare of Frankfurt 1997.

Small Arctos, oil on old tile, Epistrophw gallery 1998
Monument to the Ursus Minor, 2001, Floisvos Park, Athens.
The ‘threefold antinomy of self-regeneration’ was also expressed in her series Small Arctos 98{Small Bear}: old ceramic roof tiles, painted with girl faces, tribute to the Small Arctoi, the little girls dedicated to Artemis in her temple in Brauronia, that bear the self-contained, Smile of the Kore {the enigmatic midiama}.
“In the museum relics of the temple of Artemis Kourotrofos, in Brauronia, I realized that this apocryphal experience was already somatized, but, I recognized the Small Arctos as such, only when my own hands exhumed her, from her invisible scaffold, in the act of painting; this inside out recreation is, perhaps, the only way to decipher these ontological symbols, situated in our present future from the past P.K {Art-Act, 2005}   

In 2001, her Small Arctoi were enclosed inside a cupper pyramid 272X168 cm, a mysterious space- object, that she installed in the yard of gallery Epistrophy in Athens, in September 2001. Her Monument to the Small Arctos is now permanently installed in Flisvos Park, Athens. 
  
Code Lexomorphes 91-10- : 'the name is a speaking sculpture' Democritus

LEXOMORPHE DAKRY/ teardrop


Her tendency to serve an objective art; residue from her 1991 Chrysalis Word structure, finds best expression in her research work Code Lexomorphes, in which she creates a series of geometrical structures derived from the the numerical modeling of Greek names.
“According to Heraclitus, ‘names are uttered from the invisible, they contain the latent and the actual and they are physical laws'. My Word-generated structures raise ontological questions as to the nature of language and its connection to our creative destiny: Could words as sets of numbers transcend dimensions? Do certain names bear an intrinsic geometry connected to myths and symbols; signs of a supra-dimensional, self-referential game that is meant to trigger the ‘mystery revealing capacity of our mind'? Are names mysterious vessels of self sacrifice and regeneration? Is this linguistic Game ruled by rules of a higher ethic which finds response in a certain genetic predisposing factor? P.K {Old Parliament, EETE Panhellenic congress on Greek language 2009}


Code Lexomorphes, a language of  interdimensional communication?
geometrical  hieroglyphs generated by the mathematical structure of the Greek words
ΑΝΘΡΩΠΟΣ, ΟΝΟΜΑ, ΤΕΧΝΗ, ΨΥΧΗ, ΕΛΠΙΔΑ, Σ ΑΓΑΠΩ
(Kasda, Sitra, Papantoniou)

Code Lexomorphe ANTHROPOS
Her research Code Lexomorphes was first published in the Poesia e Spiritualita Italian review 07 and was first presented in the Congress on Greek language, organized in 2009 by the Chamber of Visual Arts of Greece {EETE), in the Old Parliament of Athens, where, she proposed the Lexomorphes as an inter dimensional language of cosmic connection, since “sets of numbers cross dimensions without losing their characteristics; according to the paradox theorem of BanachTartski a pea can be disconnected like a 3D puzzle and be reconnected as a sun “.{Ibid}
Word Chrysalis Olympic Monument 04
Her first Lexomorphe Monument was the Chrysalis/ Grail 2004, conceived in 1991, linking, at a word, the Olympic event with the Mother-Idea that gave rise not only to athletic contests, but to the contest of life itself; the first athletic games called Lykaia 14BC, in Arcadia, were rites of self- hypervasis, transcendence of the instinct of survival itself. Contrary to the words contests anf Games, the Greek word Agones, used for the Olympics, connotes Agony, which means 'striving towards Being'. Her Olympic Chrysalis monument is dressed with her hand processed innovative material PXK, after the initials of her name. PXK also happens to be the scientific name of a Homo sapiens protein coding gene! In the context of the Genome year, PXK stands for the sweating and burning skin of the adept who is transfigured by inner acceleration, while “going through language to reach the beyond language.” {R. Barthes}.


‘My PXK Olympic Chrysalis Word  monument continuously changes and renews itself; frequently, I climb on it to mend it with new PXK extensions; like me,  like my whole project, it is resting in its continuous change/ metavalon anapavetai”. P.K {Biennale of Beijing conference 08}.


In October  2004, a piece of her PXK aurea pellis was exposed at the entrance of the Biennale di Poesia di Alessandria, 2004, in Italy. In her intervention, she proposed the Chrysalis/Grail as a symbol of a “self-kenotic, logocentric state-of-mind ” and she delineated the moral obligation of the artist-knight in the ethical restoration of the world, because of his unique capacity to exhume abyssal archetypal structures from our unconscious and to lend them tangible form in empirical reality, making people conscious that “they are not here to preserve but to surpass themselves”.
In June 2005, she installed another Chrysalis Word sculpture in the occupied half of Leucosia in Cyprus.The city of Leucosia was designed after the Palmanova renaissance ring model, as the symbol of the ideal Heavenly City. "Medieval Leucosia is the very site where the First Round Table took place in 1224 along with the legend of the Grail".  Her twin Chrysalis/Word/Grail was placed in Lemar Round Square in the center of a green replica of the ring castrum of Leucosia, with water jets representing its 11 bastions; “it was a model of the heavenly city, hovering between dimensions, seeding, in the midst of wasteland, a new level of moral awareness, above the clashing antinomies, tearing apart the horizontal  level…..the evening of the discrete inauguration of the monument, which I did not attend for security reasons, I, in Athens, was healed from a persistent pain in the area of my right eye, which I had endured for seven years. I was convinced, then, that art can exert healing powers, something like white magic*”. P. K {Art-Act 2005}.
Installation of the twin  Chrysalis in Lemar crossroad, N. Leucosia  in the centre of the ring city replica
it came to be known as the Flame of Peace

*In 2010, with no apparent reason, or communication, both Chrysalii monuments in the Heroon Square Athens and in the Lemar Junction in North Leucosia were moved to another location of the respective cities and were replaced by  almost identical 10m. tall, monumental sculptures of  military horesemen!  

PXK Route installation 2004-2012-

PXKAlogon, 2nd Biennaleof Beijing, 2005

OlympicFIneArts, beijing 08, gold medal ς
In 2005, she participated in the 2nd Biennale of Beijing, with Alogon, a toy-leaping-horse, found in the recycling trash, which she dressed in PXK extensions

 “Alogon is a leap frozen in its own acceleration and so was my whole

PXKROUTE ATHENS_TASHKENT_PARIS 2007
PXK Route installation 2004-2009- , realized on the move, while traveling from one place to another. Three days in the Tashkent Biennale to continue, the next day, the same installation, in Paris ‘Nuits Blanches 07’; the earth had shrunk to the size of a ball in the palms of my hand”   
P.K { Municipality of Athens, Uraniasgardens conf. 09}.
PXK Route was realised through her participation in big international events, like the Athens Olympics 2004, the 2nd Beijing Biennale 05, FMC Syria 06, the 3rd Biennale of Tashkent 07, the Nuits Blanches in Paris 07, the Olympic Fine Arts 08, DESIGN11 Municipal Pinacotheque of Athens, confecting a new path in established frames of reference, in which she had to undergo, willfully, the trial of contest selection: PXK ROUTE is an anti-system  passing in the real world through the system.


Alex and Deme create PXK extensions for the exhibition in Damascus, Aleppo, Syria FMC2006

PXK Route 04-08 was presented in the congress on the Olympic Spirit held by the Biennale of Beijing 2008 and her PXK work Do not rest on your laurels was awarded a golden medal from the Olympic Fine Arts. 

Sunflower, Technopolis 2010, Athens 


Doodling interludes

The interval spaces, between the big phases of her 22 year old project Myth/Network, were filled with her automatic notebook Doodling; seedy authentic, subliminal, all-inclusive notebook scribbles, which she describes as 'gravitational perturbations of the probabilistic mind elevated, through a process of Hegelian ‘aufheben’, to the status of works of art’ P.K {Open FT University, Psychico, Athens, 2008}    
  Olympic Doodling, 3rd Biennale of Beijing 2008 
 From the PAI Colllection of the Union of Cultural Associations of Evros.

Foundation stage: Urania’s Gardens 2009-10-11-
For the International Year of Astronomy 09, she co founded the multidisciplinary association Urania’s Gardens. 'Urania is the muse of Astronomy and daughter of Mnemosene; when we look deep in the sky we are looking at the remote past’. P.K.(EETE journal'09)
Urania’s Gardens foundation projects can be considered as realistic applications of her earlier Supra-Space Maps 94. 'Those Gardens are cradles for PAI, the archetypal primordial Child, who is reborn at the end/beginning of an era'
 
In Gergeri, a remote village on the flanks of legendary Mt Ida {cradle of baby Zeus} in Crete, she co-curated the Gargling Sky, a multicultural arch, in the form of a constellation nesting throughout the traditional, ecological village, leaning over the mountains. In this process, abandoned old watermills, store rooms and neglected schools were restored as art scenes and the youth of the village, instinctively, connected the spots of the exhibition with star constellations painted on the narrow streets or knailed with ribbons and threads on the walls of the surrounding buildings, reviving, unconsciously, the thread of Ariadne.. 

In 2010 she launched project Pai/ the eon is a child playing 2010 in Samothrace island:
“it takes time back and forth, for the 'cryptic' liturgical dimension of life to unfold on the 'phanic' plane. I had consecutively enacted  liturgical performance PAI/  lapis exilis, in my project Fugue 1996-98. Now was the critical time for this Idea to be founded in real space and by so doing to restore the mythological/ontological importance of this island, where the Cabeirian mysteries and the birth of PAI were taking place".
Sixty international, selected, artists responded to her call  to offer their work to the nascent pinacotheque of Samothrace.The children interacted with the international artists by creating an installation, in the forest, dedicated to the return of the storks. PAI, like the magnetic Heracleian Stone, which Socrates compares to the Spirit of the Age, triggered a series of cultural events in Patmos, Thebes, Athens, Bulgaria, Lecce (Italy).....


PAI 2011
"We are and we are not "(fragment 49, Heraclites)
 In 2011, she initiated the concept of the Treasure-Hunt-Game on the island, under the stochastic guidance of the antinomic fragments by Heraclites, which throw our mind out of our usual conceptual framework, in the burning roots of european philosophy.
Kasda, PAI, Lapis Exilis, hidden in the flanks of Saos mt. Samothrace  11

The treasure to be discovered was her Lapis Exilis carved stone. Maybe this Lapis Exilis 'despised by fools and cherished by the wise' is the source of  that irresistible drive that had hurled her, some 20 years ago,  from the bottom of the lake to the supra-space gardens of the muse of the stars, where she recovers her home; Alexandria-lost where she was born and raised in the midst of clashing belief systems, trained to see the we-ness behind  cultural diversities.
 "Perhaps, Myth /Network, this multiform Odyssey inside the Grail-shaped belly of the Word Chrysalis , was a way to deliver the PAI/Child, the new eaon, that was and was not, me”. 

PAI to be and not to be found in the forest of Samothrace





The Conscious Eye, 1988
In her Greek essay The Conscious Eye, as early as 1988, she saw in modern art and science  'the signs of an increasing consciousness of the censored nature of our cognitive structures that impose on us a virtual reality, which is meant to be superseded'. This statement was at the core of her project Myth/Network 90-11- 

“It all started in the waters of Avythos in 1985, in the island of Cephalonia in Greece: as I was walking in the sea, in the sun showering the waves, it felt like I was inside an early cubist painting by Picasso and Braque, immersed in the debris of a world floating in an ocean of light, striving to be reconstituted into the familiar world of things. From that point on, I was seeing myself seeing, I was thinking myself thinking; nothing was taken for granted any more. This innocent walk in the sea of Avythos, turned out to be the most revolutionary act in my life". P.K {Art Act 2006}



"the kingdom is the Child's", PAI 2011



Revised, updated  text based on Tyflomyga review, dedication to P. Kasda, Sept.03