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According to the artist, the initial inspiration for this project was the idea of photographing the E. A National Organisation of Cypriot Fighters hideouts krisfigeta , which many Greek Cypriots today regard as national monuments. And yet the exhibition does not begin with these photographs; Kallinikou first shows us his landscapes, which were taken in and around the forested areas where these hideouts are located.
The viewing order of the exhibition reveals an intention at play set by the artist himself, and this is worth considering because I believe it underpins the substance of this exhibition. Purportedly the beach took its name from the mare of the governor, who during British rule, used to ride along the beach.
This and other narratives that have shaped the identity of this place are brought together in a volume entitled, Flamingo Theatre, and they coexist thematically and stylistically, sometimes in contrast to each. In his present exhibition at Point Centre for Contemporary Art, that sense of self-preferentiality gains maturity and an intelligence of vision that informs his approach to photography and extends beyond the symbolic.
What we no longer see in these photographs is photos that seem to report back those offbeat cultural narratives that reside within the contemporary Cypriot landscape, as if from a viewpoint of an independent witness.
Instead, Kallinikou here presents us with the physicality of being located as a complex proposition. His landscape photographs direct the viewer to a temporal and spatial dialogue that reflexively ties him as an artist to a locality. Place, identity and belonging assume ontological gravitas in his current work, as he gestures to a process of negotiation between an embodied and imbedded body, in the present, who is reflectively finding ways for his photographic narratives to unfold back into the question of place.