THE LIVING, THE DEAD AND THOSE AT SEA
CURATED BY MATTHIEU ORLÉAN
Evangelia Kranioti explores the borderlines of the world and captures individual destinies caught in the net of Man’s trade. Cargo ports, highways, the backstage of a carnival, graveyards, war ruins: settings of both ceaseless transit and immobilized lives, nailed to the ground or anchored at sea. In her project “Exotica, Erotica, Etc.“, long-distance sailors await the next stopover, longing to form temporary and priced loves. In “Obscuro Barroco“, the urban queer scene unfolds in Rio de Janeiro, a vertiginous territory of gender and metamorphosis. In “Beirut Fictions“, African and Asian maids are confined to a foreign country, Lebanon, with no hope of integration. Finally, in “Era Incognita“, it is the living who migrate to the home of the dead, in Cairo’s necropolis, driven by the housing crisis in Egypt. In the heart of her work, faces and bodies meet and reflect each other across the oceans. Thus, Kranioti weaves the cartography of a vulnerable and marginalized group that she places at the center: the fresco of a community of outsiders which transcends the borders of the Mediterranean, matrix of exiles.
Prints by Picto, Paris. Framing by Circad, Paris.
With support from the Sator gallery and Les Abattoirs, Musée – Frac Occitanie, Toulouse.
Evangelia Kranioti, Eu sou obscura para mim mesma, from the Obscuro Barroco series.
Born 1979, Athens, Greece.
Lives and works in Paris, France.
Greek director and visual artist Evangelia Kranioti has studied law (Athens National University), visual arts (ENSAD Paris), and screenwriting (Le Fresnoy, La Fémis). Her first two feature-length documentaries, Exotica, Erotica, Etc. (Berlinale Forum 2015) and Obscuro Barroco (Berlinale Panorama 2018), won many prizes at international festivals (including the TEDDY Jury Award and the Hot Docs Emerging Filmmaker Award), as well as four Iris awards from the Greek Film Academy.
Image: Self-portrait by Evangelia Kranioti
Born 1975, Paris, France.
Lives and works in Paris.
Since 2004, Matthieu Orléan has been head of temporary shows at the Cinémathèque Française, where he curated exhibitions such as Dennis Hopper et le nouvel Hollywood (2008), Le Monde enchanté de Jacques Demy (2013), Martin Scorsese (2015), Gus Van Sant Icônes (2016), and Vampires (2019). Since 1998, he has written on film and the visual arts for the press and authored several books (Chantal Akerman, Autoportrait en cinéaste and Raymond Hains, J’ai la mémoire qui planche, Éditions du Centre Pompidou; Trésors Publics, 20 ans de création dans les Fonds régionaux d’art contemporain, Flammarion).
Image: Self-portrait by Matthieu Orléan