Group Exhibition
October - November 2014
Athens, Greece

Tradition Today: Exploring Conditions to Recreate it
Curated by Stavros Kavallaris

October 06, 8:00 pm

October 07 - November 07, 2014
Mon - Fri, 11:00 am - 6:00 pm

Spiti tis Kiprou
Xenofontos 2A, Athens 10557

More info and press release (in Greek)


October 2014
Dublin, Ireland

Participating in the symposium Subrealism: On the Work of Bracha Lichtenberg Ettinger on October 11, Boston College, Dublin.

Paper: "Following, Con-Fusing, Disappearing: On Approaching Bracha L. Ettinger's Work as an Artist and on Letting Go of the Self"


This paper enacts an encounter between Bracha Ettinger's work--specifically her conceptualizations of partial subject/object, copoiesis, and nonlife--and contemporary artistic practices that involve the partial disappearance of the artist's marks.

Several writers, including Griselda Pollock and Bracha Ettinger, have argued that the structure of painting, or any mark-making activity, depends on the presence or absence of a mark. Marking follows a phallic logic premised on presence/absence and self/other that privileges presence/self over absence/other. The artist's mark, as evidence of her work, usually declares its presence and asks to be seen.

Here, I focus on practices that involve the meticulous remaking of pre-existing marks on a surface, practices that resonate with Ettinger's artistic practice. The artist Louise Hopkins re-creates printed lines on sheet music and graph paper by drawing over their traces. In my work, I often re-create pre-existing marks, such as paint stains left in studios by other artists, by drawing over them. Both of these practices involve a conscious decision to follow an other's marks, thus, subduing the agency and presence of the artist, whose marks partially disappear or become con-fused with pre-existing marks.

I consider Ettinger's work, in relation to these practices, on two levels. Firstly, I propose that Ettinger's conceptualization of copoiesis offers a way of rethinking the relationship between an artist and the materials she works with. Secondly, I begin to conceptualize the artist's following of an other, and her marks' subsequent disappearance, beyond theorizations relating to the phallic logic of the death drive and depersonalization. To do this, I juxtapose Ettinger's conceptualizations of partial subject/object and nonlife, as analysed by Tina Kinsella, with Gilles Deleuze and Félix Guattari's becoming-imperceptible. By placing the artistic practices in between these conceptualizations, the possibility emerges for creative activities involving following, con-fusing, and disappearing to become affirmative and productive.


Artists' Book

Contributed to the artists' book A Visual Art Journey Through the Poems of C. P. Cavafy. Published in December 2013 by Gloria Gallery and Aigaio Press, Nicosia, Cyprus. Available at Gloria Gallery.



Marina Kassianidou, "Lost in Space? 'Invisible' Marks, Artworks and Artists." RevistArquis, Journal of the School of Architecture, University of Costa Rica 2, no. 4 (2013): 82–98. Article available online.



Awarded research grant by the A. G. Leventis Foundation for 2013-2014.



Etan Ilfeld's book Beyond Contemporary Art, in which my work is included, is now available on Amazon US, Amazon UK, at Tate Modern, at MOMA in New York and at the Pompidou Center in Paris.

book cover


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