EXHIBITIONS&personal work
"Pixels & Perspectives: Unraveling Identity & Connection in the Digital Age" ,2025
Each video proposes a moving image, unfolds into an environment and takes the form of a poetic gesture, of a personal statement or public interference. Motivated by the urgent necessity for social inclusion, the selected artists reexamine their relationship with the urban environment and their social surroundings, in dialogue or i confrontation with the dominant modes of utilizing public space and perceiving individua differences. From performative images, to animated landscapes, object installation to text-based research, "OTHONI" presents diverse mediums of video art, in order to provide windows for understanding and evaluating our relationship to current social settings.
Public Intervention #5:
"Pixels & Perspectives: Unraveling
Identity & Connection in the Digital Age"
by Erifili Doukeli
Weekend 21 & 22 December 2024
Engaging with new technology software and AI programs,
Erifili Doukeli creates 3D digital landscapes, in order to
navigate the abundance of data, information and imagery
that overwhelms our screens. Expanding into the main
human interface, the screen dictates our relationships - to
one’s self, to others, to our surrounding environment.
“Maybe, all it’s circuits are systematically burning out”, 2022
ABOUT:
A digitally simulated dreamscape, inspired by a childhood nightmare.A video that merges the unconscious with the digital, through trial and error.An attempt to question the basis of our own existence. How technology, has interfered in our lives, and a mere suggestion of it holding us back, from sensing and experiencing.
Are we still capable of empathizing, or are we gradually resembling the electric humanoids of Phillip Dick’s homonymous characters in his sci-fi novels?
In the aspect of the music production, synths were chosen for the enrichment of a dreamy-soundscape. In order to give the video narrative a retro-sci fi aesthetic,Vocal synths and distortions, reminiscent of an arcade game, were used to add up in the distorted reality the video is trying to generate.
Edited and produced by : Erifili Doukeli
Music production : Json/Iasonas Chronopoulos
and Tandrum/Kostas Kalafatis
In-Between, by > 3 < 3 = 3, New Art City
New Art City, In Between, Virtual Exhibition
All of a sudden, we found ourselves in between a grown-up and a kid, a human and a nonhuman. We found ourselves living somewhere in between built form and nature, 2d and 3d, x-axis and y-axis. We found ourselves making something in between design and game, graphic and spatial, phase and phase.
Spaces for creators are always shrinking and dissolving, we are forced to move but get stuck again all the time. A catastrophe with no start, no end and no answer swallow us in. But we are against it, believing that categories are collapsing. Instead of adding “non” in front of a word to make them polar opposites, we want to be transparent and obscure at the same time. In the status of in-between, we are deformable, that we can write our address as ‘the universe’, and that we can fall down together in the well of infinity.
https://newart.city/show/in-between
Fast Paced Feelings - TAF/The Art Foundation,2024
'Technology proposes itself as the architect of our relationships." Sherry Turkle's provocative opening sentence from her book "Alone Together" (2011) sums up the profound impact of
technology on our personal and intimate relationships. This uggestion argues that technology, and more specifically social media, while they are designed to connect us, also play an important role in shaping our psychic world.
This statement remains relevant as technology continues to advance and penetrate almost every aspect of our lives, changing the ways in which we communicate, build relationships and
understand the meaning of intimacy. Social media has become the main way people experience the internet - and an important part of how they build and maintain relationships. Navigating this
digital world, then, is like a walk through a vast supermarket, where emotions are the purchase products, which are then consumed at a rapid pace.
The exhibition "Fast paced feelings" uses the analogy of a supermarket to delve into the contemporary experience of the rapid consumption of emotions. The term "Fast Feelings" examines the phenomenon of instant gratification of emotions, exploring how social media and social pressures affect the way people experience and express their emotions, often seeking quick solutions or instant gratification. The artists give their own response to the concept of "Fast Feelings", opening an interesting discussion about the rhythm, intensity and perhaps the ephemerality of emotions in today's world.
“Signed, Sealed Delivered I am Yours”, 2023
An exhibition between friends that held place in Thessaloniki,2023.
Experimental Video
"Signed, Sealed, Delivered, I'm Yours" is an exhibition that explores facets of modern life that were less well recognized in the past but will be more known in the future. We're talking about love, sacrifices, and the way those things knit everything together, including the social, political, and emotional concerns that we confront every day. Media tactics differ and political and erotic positions are similar.
Artists Participating:
Akis Giousmis
Erifili Doukeli
Shekine Naidi
George Georgiou
Vasilis Georgoulas
“Against the Will, Staying Still”, Esto Association, 2025
Against the Will, Against Staying StillEsto Association (https://estoassociation.com/)
24 Zaimi str. 10683 (https://maps.app.goo.gl/uck5QoP3MRDHze3y5)
Athens Greece
May 15 - 18 2025
curated by Babak Ahteshamipour
featuring Erifili Doukeli, Matthew D. Gantt, Berenike Gregoor, Nichole Shinn, Captain Stavros, and Pauvre
Terre
Against the Will, Against Staying Still is a group exhibition curated by Babak Ahteshamipour that frames urgency as both a
creative method and a survival tactic in response to a world dominated by crises, algorithmic optimisation, and accelerated
media environments. The participating artists — Erifili Doukeli, Matthew D. Gantt, Berenike Gregoor, Nichole Shinn, Captain
Stavros, and Pauvre Terre — treat artmaking as a form of rapid response, deploying improvisation, upcycling, and fictional
tools to navigate systems of control, including the figure of the curator cast here as a kind of authoritarian game master.
Set within the deliberately austere space of Esto Association — reminiscent of Foucault’s disciplinary institutions — the
exhibition interrogates how aesthetic and procedural constraints mimic broader societal pressures: surveillance, selfoptimisation,
and commodified identity shifts. Drawing on thinkers such as Wendy Hui Kyong Chun, Geert Lovink, Byung-
Chul Han, and Nick Dyer-Witheford, the show critiques the burnout-inducing imperatives of late capitalism, while also
exploring how immediacy, play, and glitch can serve as tactics for resistance.
Rather than reject urgency as debilitating, the exhibition proposes it as a weapon, capable of destabilising hyper-curated,
algorithmic regimes of truth and meaning. It poses a central question: how might artists turn the logic of the system against
itself, transforming gameplay into a form of subversive agency?
As Babak write, "the process of the show has been entirely gamified".
There'll be a game by Matthew D. Gantt (https://www.instagram.com/gan.tttt/)as well.
LINK: Against the Will, Against Staying Still (https://estoassociation.com/exhibitions)
LINK: Babak Ahteshamipour (https://babakahteshamipour.com)
What is your weapon and how did you use it? What kind of limitations did that impose on your process?
Erifili Doukeli & Jimo Kalogeris: Our weapon is The Staff of Izkikazul, a supportive and healing staff inspired by the Rod of Asclepius, but reimagined through the lens of cosmic mythology. In the context of the exhibition, we use the staff not as an aggressive tool but as a symbol of repair, support, and resilience—a counter-force to domination or destruction. Practically, this meant designing a 3D-printed object that communicates healing and connection, rather than sharpness or violence. A key limitation was balancing the visual complexity of the forms with the structural constraints of 3D printing, ensuring that the final piece could physically support itself while still conveying an ethereal presence.
In your opinion, how does digital worldbuilding and fiction enable radical ways of talking about (and coping with) current struggles?
Erifili Doukeli & Jimo Kalogeris: Digital world-building and fiction allow us to create symbolic spaces in which current struggles can be redefined or even temporarily escaped—in order not to avoid them, but to work them out in entirely new ways. In the work we are currently doing for this exhibition, the Staff of Izkikazul becomes an imagined therapeutic artifact that reflects on actual necessities: rebirth, sustainment, and healing in the presence of exhaustion, conflict, or breakdown. Borrowing from myth (like Asclepius' Rod) and blending it with quantum elements, we utilize a dialogue where personal, social, and even environmental struggles can be explored from perspectives that transcend logic—through symbols and imaginative play. This kind of digital craft allows internal or collective wounds to be externalized and suggests radical tools for healing that may not (yet) exist in the material world.
How are you planning to defeat the final boss?
Erifili Doukeli & Jimo Kalogeris: We don’t intend to defeat the final boss by force—we aim to overcome it. Our approach is one of healing, support and regeneration: repairing what is broken, restoring what is depleted, and strengthening ourselves and others over time. The idea is that the boss's strength may be brute force or control, but ours is found in resilience and connection. We undermine the dominance of the final boss not by direct confrontation, but by refusing to collapse—keeping the system (or the self) alive and adaptive no matter what.
“Against the Will, Staying Still”, Esto Association, 2025
“Pomegranate: An AI generated “How to manual” of shelf
preservation”
[Thessaloniki]
[Momus, Museum of Contemporary Art]
Video installation created with:
Geometry nodes in Blender3d&Aftereffects
Soundscape was Ai generated
Glass table of Unidentified objects:
Dimensions: 100x40
The “How to handle the future manual”
Was printed in A5 paper
The video installation featured in this exhibit presents an unidentified organic mass in an industrial space, provoking contemplation on the potential of existenceor formation in a future dialogue.
The “mass” serves as a metaphor for the ever-evolving nature of our society, constantly shifting and transforming. Through the use of AI-generated sounds, the insta-latino further explores the current relationship that AI builds in our society.
The juxtaposition of the organic mass against the sterile, industrial backdrop invites viewers to reflect on the contrast between natural and artificial, organic and constructed. The ambiguity of the mass prompts questions about its origins, purpose, andsignificance, leaving room for interpretation and speculation.
“Lost, eroded & Vulnerable”, 2025
1,50 x 60 cm
T.A.F. / the art foundation presents the group exhibition Lost, eroded & Vulnerable, which inaugurates in its exhibition space on Thursday 16 November 2023, and hosts the works of 9 young artists.
When the surface of things is also their maximum depth and nothing retains any uncertainty or ambiguity, it is very easy not to really connect. The world is constantly becoming more and more transparent and yet more and more paradoxical: while the complete removal of ambiguity appears to be the ultimate project of the times, we often find it difficult to distinguish between the authentic and the simulation.
In The Transparency Society (2011), Bung-Chul Han develops his thoughts on contemporary culture and technology and argues that in our hyper-connected, digital age, we live in a society increasingly characterised by radical transparency. This transparency is not only about the flow of information but extends to the person as well. It is a society where individuals willingly expose themselves on social media, while companies and governments monitor and collect their data extensively. Han argues that this ubiquitous transparency leads to self-exploitation, anxiety and erosion of privacy as individuals willingly become both observers and observed, resulting in a loss of authentic human connection and a shift towards a more conformist and performative culture.
The group exhibition Lost, eroded and vulnerable, in a dialogue with a wide range of interpretations of the concept of transparency, addresses issues of lost identity, eroded boundaries and complete vulnerability in an era characterised by hyperconnectivity, overexposure and over-control. The featured works translate Han's ideas into a visual language that resonates with the complexities of the contemporary world. The notion of transparency is interpreted and used differently each time, becoming the occasion for idiosyncratic interpretations of privacy, enclosure, the opacity of the hidden self, the unexposed, but also the transparent and shared. Perhaps in this sense the exhibition is also a peculiar topology of passion, as expressed through the meeting and dialogue of the nine young artists presenting their work at T.A.F. / the art foundation.
Participants: George Georgiu, Shekine Nainti, Miltos Digkas, Barba Dee, Kildi Drasa, Vangelis Savvas, Vasilis Georgoulas, Erifili Doukeli, Super Gonorrhea
Curated: Karolina Aleiferopoulou & Erifili Doukeli