Christina Dimitriadis

Opening reception: Friday 2 October, 7 – 9:30 pm

Eleni Koroneou Gallery is pleased to present J'ai perdu mon Eurydice (I have lost my Eurydice), a solo exhibition by Christina Dimitriadis, travelling from Schwartzsche Villa in Berlin. Following last winter’s presentation of Horizon Wanderers at the gallery (December–February), this exhibition marks the third chapter shown in Athens of an ongoing artistic journey Dimitriadis began in 2015. Across the photographic trilogy – Island Hoping, Horizon Wanderers, and J’ai perdu mon Eurydice – Dimitriadis explores the Mediterranean, and in particular the Aegean, capturing its layered histories, mythologies, and shifting cultural identities.

In J'ai perdu mon Eurydice (2021–25), Dimitriadis sets out on a fascinating search for the traces of ancient marble routes. This white stone, a symbol of the ancient world, reveals fundamental anthropological mechanisms. The photographer sees marble as an expression of humanity’s pursuit of beauty and creativity – but also as a potential vehicle for dark ideas. Its essence lies in its permanence. As a material it embodies the elegance, history and culture of the Mediterranean world and occupies a central place in Europe’s cultural heritage. But this same stone which honours beauty and remembrance can just as easily become a symbol of hegemony and awe. In its sublimity, the marble reflects history’s splendour as well as its darkness – in those places where monuments of terror have been erected.

Dimitriadis’s work raises important questions about the situation in (southern) Europe. Her photographs invite viewers to think about the past and simultaneously reflect on the present and future. In an era of rapid changes, her art offers a unique perspective on the constantly shifting interpretations of historical events. This visual journey is not just a profound exploration of human nature, history and the complex relationships between humankind and the environment in the Mediterranean world, it is also a meditation upon the state of democracy. It alludes to several themes and myths within this context.

The exhibition J’ai perdu mon Eurydice was inspired by a line from Gluck’s opera based on the story of Orpheus and Eurydice. In the Ancient Greek myth, Orpheus loses his beloved Eurydice and attempts to bring her back from the underworld. Dimitriadis borrows this line because she has personally experienced a loss of “belonging”: contrary to the local tradition of passing names on from generation to generation, she did not inherit the name Eurydice from her Greek ancestors.

The composer Gluck transformed a myth into an opera. Dimitriadis then used this to create a new narrative that deals with multiple identities, which are interwoven and staged in the midst of the ruins of the marble theatre photographed by her. Through her engagement with ancient themes and materials, Dimitriadis reflects on cultural heritage and its significance for the present. Her show thematises constantly shifting cultural influences, migration flows and interpretations of historical events that indicate societal dynamics.

The artist possesses a “discerning eye” and examines places and their significance. She fixes her distinctively personal gaze not just on the rocky islets of Island Hoping but also on the shipwrecks in the Saronic Gulf and on the Fournoi Korseon archipelago, where an imposing ancient quarry can be found next to a beach full of white-marble pebbles. She has also devoted her attention to Delos, an island museum conserving every ruin and monument of a great culture, the Ancient Greek world – as in the case of J’ai perdu mon Eurydice.

Dimitriadis’s photographs reveal her deep knowledge of these places. According to the geographer Yi-Fu Tuan, who was born in China and died in the US, the composed architectures of spaces are not legible to everyone, and they demand specific knowledge. In Space and Place – The Perspective of Experience (1977), Yi-Fu Tuan argues that not everyone is in a position to “read” or interpret architectonic spaces. Instead, understanding and perceiving places demands specific knowledge or a trained eye. This underscores the idea that the interpretation of spaces is not universal: it is dependent upon individual experiences, education and cultural background. With his approach based on the “discerning eye”, Tuan emphasises that artists, in particular, convey subtle human experiences in their works (Yi-Fu Tuan, 2007, p. 7). This implies that the interpretation and appreciation of built environments requires a certain degree of expertise or a trained eye. These concepts developed by Tuan are especially relevant for understanding urban landscapes, architectural history and the subjective perception of built environments. This also applies to Dimitriadis and her most recent series.

The exhibition J’ai perdu mon Eurydice interprets the myth of Orpheus and Eurydice in a contemporary manner: instead of being directly illustrated, the myth is represented through the symbolism of marble. This white stone serves as a metaphor for the ancient world and for human yearnings, much like Orpheus’s longing for Eurydice. Dimitriadis follows the ancient marble routes in a way that can be interpreted as a kind of modern Odyssey. Like Orpheus’s journey into the underworld, her theme is losing and seeking something that is gone, reflecting the core of the Orpheus myth. In her search, the artist touches on biographical as well as societal dimensions. She links the ancient story with modern geopolitical and ecological issues, positioning the myth within a contemporary framework. She quietly reminds us of the birthplace of democracy and ancient Greek theatre, a site of education, as well as the first towns of antquity, which remain preserved between the marble ruins. Within the context of current developments in Western societies and the severe turmoil and dangers facing democracy, it is a strength of the artist that she is keenly conscious of emphasising individuals’ awareness of and responsibility for society and the political dimension.

--Text by
Dr Christine Nippe, curator of the exhibition and Programme Coordinator for Visual Art at
the Schwartzsche Villa, Steglitz-Zehlendorf Office of Culture.