{"id":23,"date":"2022-02-06T22:47:14","date_gmt":"2022-02-06T22:47:14","guid":{"rendered":"https:\/\/artword.org\/?page_id=23"},"modified":"2022-06-29T15:18:40","modified_gmt":"2022-06-29T15:18:40","slug":"texts","status":"publish","type":"page","link":"https:\/\/artword.org\/index.php\/publications\/texts\/","title":{"rendered":"List of Texts"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"23\" class=\"elementor elementor-23\">\n\t\t\t\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-6f6cfc4a elementor-section-content-top elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"6f6cfc4a\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-7073cb4b\" data-id=\"7073cb4b\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-af6513d elementor-widget elementor-widget-cvio-pricing\" data-id=\"af6513d\" data-element_type=\"widget\" data-widget_type=\"cvio-pricing.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\n\t\t<!-- Section Pricing -->\n\t\t<div class=\"section pricing\">\n\t\t\t<div class=\"content\">\n\n\t\t\t\t\n\t\t\t\t\t\t\t\t<div class=\"pricing-items\">\n\n\t\t\t\t\t\t\t\t\t\t<div class=\"pricing-col\">\n\t\t\t\t\t\t<div class=\"pricing-item content-box\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"icon\"><i aria-hidden=\"true\" class=\"far fa-folder\"><\/i><\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"name\">\n\t\t\t\t\t\t\t\t<span >\n\t\t\t\t\t\t\t\t\t \t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"amount\">\n\t\t\t\t\t\t\t\t<span class=\"number\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span >\n\t\t\t\t\t\t\t\t\t\t \t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"bts\">\n\t\t\t\t\t\t\t\t<a href=\"https:\/\/bit.ly\/3qMnnAB%20\" class=\"btn hover-animated\">\n\t\t\t\t\t\t\t\t\t<span class=\"circle\"><\/span>\n\t\t\t\t\t\t\t\t\t<span >\n\t\t\t\t\t\t\t\t\t\t<span class=\"lnk\">Folder with text pdfs<\/span>\n\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t<\/div>\n\t\t<\/div>\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-58a65edf elementor-widget elementor-widget-text-editor\" data-id=\"58a65edf\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.9.2 - 21-12-2022 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#818a91;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#818a91;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<p><!-- wp:paragraph --><\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<h4><strong>I. Peer Reviewed Publications:<\/strong><\/h4>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<h5><strong><em>1. Books <br><\/em><\/strong><\/h5>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2018); Pinilla, Rafael (eds.), <em>Critical Cartography Of Art And Visuality In The Global Age, The Territories of the Contemporary,<\/em> Cambridge Scholars Publishing.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<h5><strong><em>2. Journal Articles<\/em><\/strong><\/h5>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2016), \u2018Intersections of Language, Voice and Image: Nikos Navridis\u2019 Visual Interpretations of Samuel Beckett. A Deleuzian Approach\u2019, <em>Else, <\/em>Issue 1, January 2016.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2013), \u2018Hacking: A New Political and Cultural Practice\u2019, Aceti, Lanfranco; Rinehart, Richard (eds.), <em>Not Here Not There, Leonardo Electronic Almanac, <\/em>Vol.19, 1:62-74.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2013), \u2018From the deep web to the city streets: Hacking, politics and visual culture\u2019, <em>Quaderns-e, ICA, <\/em>Vol.19 (1), pp. 202-219&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<h5><strong><em>3. Book Chapters<\/em><\/strong><\/h5>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2022), \u201cEnvisioning a Feminist Artificial Intelligence\u201d, in: Freddy Paul Grunert (ed.), <em>HumaniTies and Artificial Intelligence<\/em>, European Union: Noema<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b9\u03ba\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5, \u03a7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1 (2022), \u2018\u0395\u03c0\u03b9\u03c4\u03b5\u03bb\u03b5\u03c3\u03c4\u03b9\u03ba\u03cc\u03c2 \u03b1\u03ba\u03c4\u03b9\u03b2\u03b9\u03c3\u03bc\u03cc\u03c2 \u03ba\u03b1\u03b9 \u03b1\u03b9\u03c3\u03b8\u03b7\u03c4\u03b9\u03ba\u03ae \u03c4\u03b7\u03c2 \u03c6\u03b5\u03bc\u03b9\u03bd\u03b9\u03c3\u03c4\u03b9\u03ba\u03ae\u03c2 \u03b1\u03bd\u03c4\u03af\u03c3\u03c4\u03b1\u03c3\u03b7\u03c2\u2019, \u03c3\u03c4\u03bf: \u0395\u03bb\u03c0\u03af\u03b4\u03b1 \u039a\u03b1\u03c1\u03b1\u03bc\u03c0\u03ac, \u038a\u03c1\u03b9\u03c2 \u039b\u03c5\u03ba\u03bf\u03c5\u03c1\u03b9\u03ce\u03c4\u03b7 (\u03b5\u03c0\u03b9\u03bc.), <i>\u03a6\u03b5\u03bc\u03b9\u03bd\u03b9\u03c3\u03c4\u03b9\u03ba\u03ad\u03c2 \u03b8\u03b5\u03c9\u03c1\u03af\u03b5\u03c2, \u0391\u03b9\u03c3\u03b8\u03b7\u03c4\u03b9\u03ba\u03ad\u03c2 \u03a0\u03c1\u03b1\u03ba\u03c4\u03b9\u03ba\u03ad\u03c2 \u03ba\u03b1\u03b9 \u03a0\u03b1\u03b3\u03ba\u03bf\u03c3\u03bc\u03b9\u03bf\u03c0\u03bf\u03b9\u03b7\u03bc\u03ad\u03bd\u03b5\u03c2 \u03a4\u03b5\u03c7\u03bd\u03bf\u03bb\u03bf\u03b3\u03af\u03b5\u03c2<\/i>, \u0392\u03cc\u03bb\u03bf\u03c2: \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03af\u03bf\u03c5 \u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03af\u03b1\u03c2 &amp; \u039a\u03ad\u03bd\u03c4\u03c1\u03bf \u039d\u03ad\u03c9\u03bd \u039c\u03ad\u03c3\u03c9\u03bd \u03ba\u03b1\u03b9 \u03a6\u03b5\u03bc\u03b9\u03bd\u03b9\u03c3\u03c4\u03b9\u03ba\u03ce\u03bd \u03a0\u03c1\u03b1\u03ba\u03c4\u03b9\u03ba\u03ce\u03bd \u03c3\u03c4\u03bf\u03bd \u0394\u03b7\u03bc\u03cc\u03c3\u03b9\u03bf \u03a7\u03ce\u03c1\u03bf<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2019), &#8216;Viral Gender Performances&#8217;, in: Cornelia Sollfrank (ed.), <em>The Beautiful Warriors, Technofeminist Praxis in the 21<\/em><em><sup>st<\/sup><\/em><em> Century, <\/em>New York: Autonomedia, pp.89-109.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2018), &#8216;Virale Gender-Performance&#8217;, in: Cornelia Sollfrank (ed.), <em>Die Sch\u00f6nen Kriegerinnen, Technofeministische Praxis im 21. Jahrhundert, <\/em>Wien: Transversal Texts, pp.131-166.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2016), \u2018New media, new perceptions: Art as an encompassing and participatory experience\u2019, in: Chiel van den Akker; Susan L\u00eagene (eds.), <em>Museums in a Digital Culture, How Art and Heritage Became Meaningful, <\/em>Amsterdam University Press, pp.41-56.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b9\u03ba\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5, \u03a7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1 (2015), \u2018\u039f\u03c5\u03c4\u03bf\u03c0\u03af\u03b1 \u03ba\u03b1\u03b9 \u03c1\u03b5\u03b1\u03bb\u03b9\u03c3\u03bc\u03cc\u03c2 \u03c3\u03c4\u03b7 \u03c3\u03c5\u03bc\u03bc\u03b5\u03c4\u03bf\u03c7\u03b9\u03ba\u03ae \u03c4\u03ad\u03c7\u03bd\u03b7 \u03c4\u03b7\u03c2 \u03c8\u03b7\u03c6\u03b9\u03b1\u03ba\u03ae\u03c2 \u03b5\u03c0\u03bf\u03c7\u03ae\u03c2\u2019, \u03c3\u03c4\u03bf Urban Conflicts, \u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03bf\u03bd\u03af\u03ba\u03b7: \u0395\u03c1\u03b3\u03b1\u03c3\u03c4\u03ae\u03c1\u03b9\u03bf \u201c\u03c3\u03c5\u03bd\u03b1\u03bd\u03c4\u03ae\u03c3\u03b5\u03b9\u03c2 \u03ba\u03b1\u03b9 \u03c3\u03c5\u03b3\u03ba\u03c1\u03bf\u03cd\u03c3\u03b5\u03b9\u03c2 \u03c3\u03c4\u03b7\u03bd \u03c0\u03cc\u03bb\u03b7\u201d.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2013), \u2018The poetry of the immaterial: Edith Kollath\u2019s aerial imagination\u2019, in: Edith Kollath, <em>Manoeuvre of Plenty, Works by Edith Kollath, <\/em>Berlin: Distanz, pp.6-12.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b9\u03ba\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5 \u03a7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1 (2006), \u2018\u0397 \u03b3\u03c5\u03bd\u03b1\u03af\u03ba\u03b1 \u03c3\u03c4\u03b7\u03bd \u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae \u0396\u03c9\u03b3\u03c1\u03b1\u03c6\u03b9\u03ba\u03ae \u03ba\u03b1\u03c4\u03ac \u03c4\u03bf \u03c0\u03c1\u03ce\u03c4\u03bf \u03bc\u03b9\u03c3\u03cc \u03c4\u03bf\u03c5 20\u03bf\u03cd \u03b1\u03b9\u03ce\u03bd\u03b1\u2019 \u03a3\u03c4\u03bf \u039c\u03b1\u03c1\u03af\u03b1 \u03a4\u03b6\u03b9\u03b2\u03ac\u03bd\u03bf\u03b3\u03bb\u03bf\u03c5 (\u03b5\u03c0\u03b9\u03bc.), <em>\u03a4\u03c1\u03b5\u03b9\u03c2 \u0393\u03b5\u03bd\u03b9\u03ad\u03c2 \u0393\u03c5\u03bd\u03b1\u03af\u03ba\u03b1<\/em>, \u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03bf\u03bd\u03af\u03ba\u03b7: \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf \u039c\u03b1\u03ba\u03b5\u03b4\u03bf\u03bd\u03af\u03b1\u03c2, \u03c3\u03c3.158-171.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<h5><strong><em>4. PhD Thesis and MA Dissertation<\/em><\/strong><\/h5>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b9\u03ba\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5, \u03a7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1 (2007), <em>\u0397 \u03b6\u03c9\u03b3\u03c1\u03ac\u03c6\u03bf\u03c2 \u03a3\u03bf\u03c6\u03af\u03b1 \u039b\u03b1\u03c3\u03ba\u03b1\u03c1\u03af\u03b4\u03bf\u03c5 (1876-1965), <\/em>(\u03bc\u03b5\u03c4\u03b1\u03c0\u03c4\u03c5\u03c7\u03b9\u03b1\u03ba\u03ae \u03b5\u03c1\u03b3\u03b1\u03c3\u03af\u03b1), \u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03bf\u03bd\u03af\u03ba\u03b7: \u0391\u03c1\u03b9\u03c3\u03c4\u03bf\u03c4\u03ad\u03bb\u03b5\u03b9\u03bf \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf \u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03bf\u03bd\u03af\u03ba\u03b7\u03c2 &lt;ikee.lib.auth.gr\/record\/72682\/files\/gri-2007-363.pdf&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2013), <em>Encounters on the Borders of the Immaterial: Body, Technology and Visual Culture. Art and Breath (1970-2012), <\/em>(\u03b4\u03b9\u03b4\u03b1\u03ba\u03c4\u03bf\u03c1\u03b9\u03ba\u03ae \u03b4\u03b9\u03b1\u03c4\u03c1\u03b9\u03b2\u03ae), Barcelona: University of Barcelona &lt;http:\/\/art-breath.com\/immaterial-culture.pdf&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<h5><em>5. Digital publications<\/em><\/h5>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Vilela, Lucila (2015); Grammatikopoulou, Christina; Bashiron, Herman; Di Paola, Modesta; Gomez, Marisa (eds.), <em>Original Vs. Copy, <\/em>Special Collective Volume for <em>Interartive, <\/em>v.75, [online]&lt;http:\/\/originalvscopy.interartive.org&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (ed.) (2014). <em>Culture and Urban Space, <\/em>Special Collective Volume for <em>Interartive, <\/em>v.65 [online] &lt;<a href=\"http:\/\/cultureurbanspace.interartive.org\">http:\/\/cultureurbanspace.interartive.org<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Bashiron, Herman (2013); Grammatikopoulou, Christina; G\u00f3mez, Marisa; Di Paola, Modesta; Vilela, Lucila (eds.), <em>Art and Mobility, <\/em>Special Collective Volume for <em>Interartive, <\/em>v.55 [online] &lt;http:\/\/artmobility.interartive.org&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2013); Bashiron, Herman; G\u00f3mez, Marisa; Di Paola, Modesta; Vilela, Lucila (eds.), <em>Art and Copyright, <\/em>Special Collective Volume for <em>Interartive, <\/em>v.50, [online] &lt;http:\/\/artcopyright.interartive.org&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<h4><strong>\u0399\u0399. Conferences:&nbsp;<\/strong><\/h4>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<h5><em><strong>1. Peer reviewed conference proceedings<\/strong> <\/em><\/h5>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2013) \u2018Decoding the body: Towards a technologically enhanced and artistically generated experience of the corporeal\u2019, <em>Re-New Digital Arts Festival<\/em>, Copenhagen, Conference Proceedings, pp.62-67.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2010), \u2018Stepping towards the immaterial: Digital technology revolutionizing art\u2019, in Agnes Aljas, et.al. (ed.), <em>Transforming Culture in the Digital Age<\/em>, Tartu: Estonian National Museum, Estonian Literary Museum, University of Tartu, pp.367-372&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2010), \u2018Beyond Materiality: A digital revolution in life, art and logos\u2019, in: Lourdes Cirlot, et.al. (Ed.), <em>Universes and Metaverses, Artistic Applications of the New Media, <\/em>Barcelona: Arte, Arquitectura y Sociedad Digital (publication in Spanish and English), pp.182-185&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<h5><em><strong>2. Conference Presentations<\/strong><br><\/em><\/h5>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b9\u03ba\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5, \u03a7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1 (2021), \u2018\u03a6\u03b5\u03bc\u03b9\u03bd\u03b9\u03c3\u03c4\u03b9\u03ba\u03ad\u03c2 \u03c3\u03c4\u03c1\u03b1\u03c4\u03b7\u03b3\u03b9\u03ba\u03ad\u03c2 \u03b1\u03c0\u03bf\u03b1\u03c0\u03bf\u03b9\u03ba\u03b9\u03bf\u03c0\u03bf\u03af\u03b7\u03c3\u03b7\u03c2 \u03c4\u03bf\u03c5 \u03c3\u03ce\u03bc\u03b1\u03c4\u03bf\u03c2: \u039e\u03cc\u03c1\u03ba\u03b9\u03b1, \u03bc\u03b7\u03c4\u03c1\u03bf\u03c3\u03ba\u03cc\u03c0\u03b9\u03b1 \u03ba\u03b1\u03b9 \u03b4\u03b9\u03b1\u03ba\u03bf\u03bc\u03b9\u03c3\u03c4\u03ad\u03c2\u2019, Symposium<em> Decolonizing Hellas: Imperial Pasts, Contested Presents, Emancipated Futures, 1821-2021, <\/em>PLYFA Industrial Park, Athens, November 2021<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2020), &#8216;Black blindfolds, pink glitter: Performative activism and the aesthetic of feminist protest&#8217; Conference Antifascisms. How to act up?, Institute of Philosophy and Sociology of the Polish Academy of Sciences, Warsaw, October 2020&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2019), \u2018Viral Performances of Gender\u2019, Transmediale, Berlin, January 2019<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b9\u03ba\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5, \u0393\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1 (2019) , \u2018\u0397 \u03b1\u03b9\u03c3\u03b8\u03b7\u03c4\u03b9\u03ba\u03ae \u03b4\u03b9\u03ac\u03c3\u03c4\u03b1\u03c3\u03b7 \u03c4\u03b7\u03c2 \u03b4\u03b9\u03b1\u03bc\u03b1\u03c1\u03c4\u03c5\u03c1\u03af\u03b1\u03c2 \u03c3\u03c4\u03bf\u03bd \u03b4\u03b9\u03b5\u03c5\u03c1\u03c5\u03bc\u03ad\u03bd\u03bf \u03b4\u03b7\u03bc\u03cc\u03c3\u03b9\u03bf \u03c7\u03ce\u03c1\u03bf\u2019, \u0397\u03bc\u03b5\u03c1\u03af\u03b4\u03b1 \u03a7\u03b5\u03af\u03bc\u03b1\u03c1\u03c1\u03bf\u03b9 \u03c4\u03b7\u03c2 \u0386\u03bd\u03bf\u03b9\u03be\u03b7\u03c2-\u0392\u03ac\u03bb\u03c4\u03bf\u03b9 \u03c4\u03bf\u03c5 \u03a6\u03b8\u03b9\u03bd\u03bf\u03c0\u03ce\u03c1\u03bf\u03c5, MoMUS, \u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03bf\u03bd\u03af\u03ba\u03b7, \u03a6\u03b5\u03b2\u03c1\u03bf\u03c5\u03ac\u03c1\u03b9\u03bf\u03c2 2019.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2019), \u2018Viral Performances of Gender\u2019, Transmediale, Berlin, January 2019.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Christina Grammatikopoulou (2018), &#8216;Between continuity and fragmentation: The expanded space generated by technology&#8217;, Dissolving Boundaries Conference, Bauhaus Universit\u00e4t Weimar, July 2018.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Christina Grammatikopoulou (2017), \u2018\u039c\u03bd\u03ae\u03bc\u03b7 \u03ba\u03b1\u03b9 \u03b1\u03c0\u03ce\u03bb\u03b5\u03b9\u03b1 \u03c3\u03c4\u03b7\u03bd \u03c8\u03b7\u03c6\u03b9\u03b1\u03ba\u03ae \u03b5\u03c0\u03bf\u03c7\u03ae\u2019 (\u03c4\u03af\u03c4\u03bb\u03bf\u03c2 \u03c3\u03c4\u03b1 \u0399\u03c3\u03c0\u03b1\u03bd\u03b9\u03ba\u03ac: Memoria y p\u00e9rdida en la Era Digital), Jornadas en Homenaje a la Dra. Anna Casanovas, University of Barcelona.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2015), \u2018Artistic ventures into the world of big data: Work, communication and politics of a minoritarian force\u2019, Conference \u2018Critical Alternatives Aarhus 2015\u2019, Aarhus University.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2015) \u2018Exiting digital utopia: Gender, labour and visual culture in the Internet Era\u2019, Conference \u2018Historical Materialism\u2019, SOAS, London.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2015), \u2018Participatory Art in the Information Age: Utopia, Explotation and Protest\u2019, University of Barcelona.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2015) \u2018An approach to cultural hacking: Creating repetition and difference in the digital, hybrid and urban space\u2019, Conference \u2018Gilles Deleuze and F\u00e9lix Guattari: Refrains of Freedom\u2019, \u03a0\u03ac\u03bd\u03c4\u03b5\u03b9\u03bf \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf, \u0391\u03b8\u03ae\u03bd\u03b1.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2012), \u2018From the Deep Web to the City Streets: Hacking as a Political and Cultural Practice\u2019. 1st International Conference On \u2018Anthropology And Urban Conflict\u2019, University of Barcelona.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2012), \u2018From Theatre to Visual Arts: Transformations of Beckett\u2019s <em>Breath<\/em>\u2019. Conference \u2018Beckett and the State of Ireland\u2019, University College Dublin, July 2012.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2012), \u2018Interartive: Online publishing as a research tool\u2019, Jornadas <em>Innovaciones Art\u00edsticas y Nuevos Medios: Conservaci\u00f3n, Redes y Tecnociencia<\/em>, Universidad de Barcelona, May 2012.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2011), \u2018Transformaciones visuales de Samuel Beckett\u2019. Conference \u2018Breathe! Respiration, Breath and Whispers in Contemporary Art Practices\u2019, University of Barcelona<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<h4><strong><em>3. Talks, Workshops and Class invitations<\/em><\/strong><\/h4>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b9\u03ba\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5, \u03a7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1 (2016), \u00b4Athens Report: \u03a7\u03b1\u03c1\u03c4\u03bf\u03b3\u03c1\u03b1\u03c6\u03ce\u03bd\u03c4\u03b1\u03c2 \u03c4\u03b7 \u03b4\u03b9\u03b1\u03bc\u03b1\u03c1\u03c4\u03c5\u03c1\u03af\u03b1\u00b4, Circuits and Currents, \u0391\u03b8\u03ae\u03bd\u03b1, \u039d\u03bf\u03ad\u03bc\u03b2\u03c1\u03b9\u03bf\u03c2 2016.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b9\u03ba\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5 \u03a7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1 (2014) \u2018\u0397 \u03c0\u03bf\u03bb\u03b9\u03c4\u03b9\u03c3\u03c4\u03b9\u03ba\u03ae \u03c0\u03b1\u03c1\u03b1\u03b3\u03c9\u03b3\u03ae \u03c4\u03b7\u03bd \u03b5\u03c0\u03bf\u03c7\u03ae \u03c4\u03b7\u03c2 \u03c0\u03bb\u03b7\u03c1\u03bf\u03c6\u03bf\u03c1\u03af\u03b1\u03c2: \u039a\u03bf\u03b3\u03ba\u03bd\u03b9\u03c4\u03b1\u03c1\u03b9\u03ac\u03c4\u03bf, \u03c0\u03c1\u03b5\u03ba\u03b1\u03c1\u03b9\u03ac\u03c4\u03bf \u03ba\u03b1\u03b9 \u03bd\u03ad\u03b5\u03c2 \u03b5\u03c1\u03b3\u03b1\u03c3\u03b9\u03b1\u03ba\u03ad\u03c2 \u03b4\u03c5\u03bd\u03b1\u03bc\u03b9\u03ba\u03ad\u03c2\u2019. \u0395\u03c1\u03b3\u03b1\u03c3\u03c4\u03ae\u03c1\u03b9\u03bf \u201c\u03c3\u03c5\u03bd\u03b1\u03bd\u03c4\u03ae\u03c3\u03b5\u03b9\u03c2 \u03ba\u03b1\u03b9 \u03c3\u03c5\u03b3\u03ba\u03c1\u03bf\u03cd\u03c3\u03b5\u03b9\u03c2 \u03c3\u03c4\u03b7\u03bd \u03c0\u03cc\u03bb\u03b7\u201d, \u0391\u03c1\u03b9\u03c3\u03c4\u03bf\u03c4\u03ad\u03bb\u03b5\u03b9\u03bf \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf \u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03bf\u03bd\u03af\u03ba\u03b7\u03c2<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2013), \u2018And now, what? Cognitariat, brain drain and collective intelligence in times of personal and political crisis\u2019. Workshop \u2018People at work. Reorganisation of work and artistic production\u2019, Cultural Centre NauArt, Barcelona.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b9\u03ba\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5, \u03a7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1 (2013) \u2018\u03a0\u03af\u03be\u03b5\u03bb, \u03a3\u03ce\u03bc\u03b1 \u03ba\u03b1\u03b9 \u03a7\u03ce\u03c1\u03bf\u03c2: \u039d\u03ad\u03bf\u03b9 \u03bf\u03c1\u03b9\u03c3\u03bc\u03bf\u03af \u03c4\u03bf\u03c5 \u03c0\u03c1\u03bf\u03c3\u03c9\u03c0\u03b9\u03ba\u03bf\u03cd \u03ba\u03b1\u03b9 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03b9\u03ba\u03bf\u03cd \u03c3\u03c4\u03b7\u03bd \u03c8\u03b7\u03c6\u03b9\u03b1\u03ba\u03ae \u03b5\u03c0\u03bf\u03c7\u03ae\u2019 \u0395\u03c1\u03b3\u03b1\u03c3\u03c4\u03ae\u03c1\u03b9\u03bf \u201c\u03c3\u03c5\u03bd\u03b1\u03bd\u03c4\u03ae\u03c3\u03b5\u03b9\u03c2 \u03ba\u03b1\u03b9 \u03c3\u03c5\u03b3\u03ba\u03c1\u03bf\u03cd\u03c3\u03b5\u03b9\u03c2 \u03c3\u03c4\u03b7\u03bd \u03c0\u03cc\u03bb\u03b7\u201d, \u0391\u03c1\u03b9\u03c3\u03c4\u03bf\u03c4\u03ad\u03bb\u03b5\u03b9\u03bf \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf \u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03bf\u03bd\u03af\u03ba\u03b7\u03c2<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b9\u03ba\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5, \u03a7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1 (2012), \u2018\u0397 \u03c0\u03bb\u03b1\u03c4\u03c6\u03cc\u03c1\u03bc\u03b1 \u03c4\u03bf\u03c5 Interartive \u03ba\u03b1\u03b9 \u03bf\u03b9 \u03c8\u03b7\u03c6\u03b9\u03b1\u03ba\u03ad\u03c2 \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2\u2019, \u039c\u03ac\u03b8\u03b7\u03bc\u03b1 <em>\u0396\u03b7\u03c4\u03ae\u03bc\u03b1\u03c4\u03b1 \u03a4\u03ad\u03c7\u03bd\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03a0\u03bf\u03bb\u03b9\u03c4\u03b9\u03c3\u03bc\u03bf\u03cd, <\/em>\u0391\u03c1\u03c7\u03b9\u03c4\u03b5\u03ba\u03c4\u03bf\u03bd\u03b9\u03ba\u03ae \u0391\u03a0\u0398, \u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03bf\u03bd\u03af\u03ba\u03b7, \u0399\u03bf\u03cd\u03bd\u03b9\u03bf\u03c2 2012.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2010), \u2018Historia y Autores del Cine Griego\u2019, University of Barcelona, <em>Clase: Videocreaci\u00f3n: El cuerpo como espacio de creaci\u00f3n art\u00edstica. <\/em>May 2010.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina (2009), \u2018Hipertexto y arte digital\u2019, University of Barcelona, <em>Clase: Videocreaci\u00f3n: El cuerpo como espacio de creaci\u00f3n art\u00edstica. <\/em>May 2009.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b9\u03ba\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5 \u03a7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1 (2006), \u2018\u0397 \u03b3\u03c5\u03bd\u03b1\u03af\u03ba\u03b1 \u03c3\u03c4\u03b7\u03bd \u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae \u0396\u03c9\u03b3\u03c1\u03b1\u03c6\u03b9\u03ba\u03ae \u03ba\u03b1\u03c4\u03ac \u03c4\u03bf \u03c0\u03c1\u03ce\u03c4\u03bf \u03bc\u03b9\u03c3\u03cc \u03c4\u03bf\u03c5 20\u03bf\u03cd \u03b1\u03b9\u03ce\u03bd\u03b1\u2019, \u0392\u03b1\u03c6\u03bf\u03c0\u03bf\u03cd\u03bb\u03b5\u03b9\u03bf \u03a0\u03bd\u03b5\u03c5\u03bc\u03b1\u03c4\u03b9\u03ba\u03cc \u039a\u03ad\u03bd\u03c4\u03c1\u03bf, \u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03bf\u03bd\u03af\u03ba\u03b7, \u03a6\u03b5\u03b2\u03c1\u03bf\u03c5\u03ac\u03c1\u03b9\u03bf\u03c2 2006.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b9\u03ba\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5 \u03a7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1 (2004), \u2018\u039f\u03b9 \u03ac\u03b3\u03b3\u03b5\u03bb\u03bf\u03b9 \u03c3\u03c4\u03b7\u03bd \u03c4\u03ad\u03c7\u03bd\u03b7\u2019, <em>\u03a4\u03b1 \u03b2\u03c1\u03b1\u03b4\u03b9\u03bd\u03ac \u03c4\u03b7\u03c2 \u03a4\u03ad\u03c7\u03bd\u03b7\u03c2, <\/em>\u03a4\u03bc\u03ae\u03bc\u03b1 \u0399\u03c3\u03c4\u03bf\u03c1\u03af\u03b1\u03c2 \u03ba\u03b1\u03b9 \u0391\u03c1\u03c7\u03b1\u03b9\u03bf\u03bb\u03bf\u03b3\u03af\u03b1\u03c2 \u0391\u03a0\u0398, \u0394\u03b5\u03ba\u03ad\u03bc\u03b2\u03c1\u03b9\u03bf\u03c2 2004.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<h4><strong>\u0399II: Selection of other Texts<br><\/strong><\/h4>\n<p><strong><!-- \/wp:paragraph --><!-- wp:paragraph --><\/strong><\/p>\n<h5><strong><em>1. Articles<\/em><\/strong><\/h5>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina &#8216;Athens Report: Documenting the debt crisis in the era of post-truth&#8217;, Jan. 2017 &lt;<a href=\"http:\/\/Grammatikopoulou, Christina 'Athens Repohttps:\/\/interartive.org\/2017\/01\/athens-report-anna-lascari-project\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/2017\/01\/athens-report-anna-lascari-project<\/a>&gt; (translations in English and Greek)<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina &#8216;The Rebel Woman: The Early Years of Greek Feminism&#8217;, <em>Interartive, <\/em>v.83, April 2016 &lt;<a href=\"http:\/\/interartive.org\/20\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/20<\/a>16\/05\/rebel-woman-feminism-greece&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018Theatre minus representation: Breath, body and emotion in Antonin Artaud, <em>Interartive, <\/em>v.81, February 2016&lt;<a href=\"http:\/\/interartive.org\/2016\/02\/theatre-minus-representation-breath-body-and-emotion-in-antonin-artaud-christina-grammatikopoulou\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/2016\/02\/theatre-minus-representation-breath-body-and-emotion-in-antonin-artaud-christina-grammatikopoulou<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b9\u03ba\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5, \u03a7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1 (2016),&nbsp; \u2018Not a day without a line \u03c4\u03b7\u03c2 \u0393\u03b9\u03ce\u03c4\u03b1\u03c2 \u0391\u03bd\u03b4\u03c1\u03b9\u03ac\u03ba\u03b1\u03b9\u03bd\u03b1\u2019, <em>Lifo,<\/em> &lt; <a href=\"https:\/\/www.lifo.gr\/guide\">h<\/a><a href=\"\/\/www.lifo.gr\/guide\/arts\/4157\" target=\"_blank\" rel=\"noreferrer noopener\">ttps:\/\/www.lifo.gr\/guide\/arts\/4157<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018Perceiving through the body: A phenomenological approach to George Khut\u2019s biofeedback interactive art\u2019, <em>Interartive, <\/em>v.71, February 2015 &lt;<a href=\"http:\/\/interartive.org\/2015\/02\/phenomenology-george-khut\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/2015\/02\/phenomenology-george-khut<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018Editorial: The Sky Over the City. Culture and Urban Space\u2019, <em>Culture and Urban Space, Interartive Special Issue, <\/em>v.65, August 2014 &lt;<a href=\"http:\/\/cultureurbanspace.interartive.org\/editorial-culture-urban-space-christina-grammatikopoulou\">http:\/\/cultureurbanspace.interartive.org\/editorial-culture-urban-space-christina-grammatikopoulou<\/a>&gt;&nbsp;&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018Remembering the air: Luce Irigaray\u2019s ontology of breath\u2019, <em>Interartive, <\/em>v.63, May 2014 &lt;<a href=\"http:\/\/interartive.org\/2014\/05\/irigaray-air\">http:\/\/interartive.org\/2014\/05\/irigaray-air<\/a>&gt; (translations in greek and English)<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina \u2018\u201cThe wilderness in the machine\u201d: Glitch and the poetics of error\u2019, <em>Interartive, <\/em>v.59, January 2014 &lt;<a href=\"http:\/\/interartive.org\/2014\/01\/glit\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/2014\/01\/glit<\/a>ch-art&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018And now, what? Cognitariat and collective intelligence in times of crisis\u2019, <em>Interartive<\/em>, v.54, July-August 2013 &lt;<a href=\"http:\/\/interartive.org\/2013\/08\/cognitariat-collective-intelligence\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/2013\/08\/cognitariat-collective-intelligence<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018Repetition, submission and menace in Vito Acconci\u2019s work\u2019, <em>Interartive<\/em>, v.49, February 2013 &lt;<a href=\"http:\/\/interartive.org\/2013\/02\/vito-acconci\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/2013\/02\/vito-acconci<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018Ritual, reality and representation: From ancient theatre to postmodern performance\u2019, <em>Interartive<\/em>, v.48, January 2013 &lt;<a href=\"http:\/\/interartive.org\/2013\/01\/theatre-and-performance\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/2013\/01\/theatre-and-performance<\/a>&gt;&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, &#8216;Repetitive actions, mumbled whispers: Some notes on Bruce Nauman&#8217;, Interartive v.25 &lt;<a href=\"https:\/\/interartive.org\/2012\/10\/bruce-nauman-repetition\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/interartive.org\/2012\/10\/bruce-nauman-repetition<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018The therapeutic art of Lygia Clark\u2019, <em>Interartive<\/em>, v.45, October 2012 &lt;<a href=\"http:\/\/interartive.org\/2012\/09\/the-therapeutic-art-of-lygia-clark\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/2012\/09\/the-therapeutic-art-of-lygia-clark<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018Shades of the immaterial: Different approaches to the <em>non-object<\/em>\u2019, <em>Interartive<\/em>, v.40, February 2012 &lt;<a href=\"http:\/\/interartive.org\/2012\/02\/shades-of-the-immaterial\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/2012\/02\/shades-of-the-immaterial<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina &#8216;Marina Abramovi\u0107: Rituals of Breath, Voice and Void&#8217;, Interartive v.39, \u0399\u03b1\u03bd. 2012 &lt;<a href=\"https:\/\/interartive.org\/2012\/01\/abramovic-breath-voice-void\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/interartive.org\/2012\/01\/abramovic-breath-voice-void<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018Words of Air: Breath, Voice and Poetry\u2019, <em>Interartive, <\/em>v.35, September 2011 &lt;<a href=\"http:\/\/interartive.org\/2011\/09\/words-of-air-breath-voice-and-poetry\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/2011\/09\/words-of-air-breath-voice-and-poetry<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018Holy Pop! The making of Icons in Contemporary Culture\u2019, <em>Interartive, <\/em>v.33, June 2011 &lt;<a href=\"http:\/\/interartive.org\/2011\/06\/holy-pop-icons\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/2011\/06\/holy-pop-icons<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b9\u03ba\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5, \u03a7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1, &#8216;\u03a6\u03b5\u03c5\u03b3\u03b1\u03bb\u03ad\u03b1 \u03ae \u03b1\u03b8\u03ac\u03bd\u03b1\u03c4\u03b7 \u03b4\u03cc\u03be\u03b1: \u03a4\u03ad\u03c7\u03bd\u03b7 \u03ba\u03b1\u03b9 \u03c6\u03ae\u03bc\u03b7 \u03c3\u03c4\u03b7\u03bd \u03c8\u03b7\u03c6\u03b9\u03b1\u03ba\u03ae \u03b5\u03c0\u03bf\u03c7\u03ae&#8217;, Interartive v.28, \u0399\u03b1\u03bd. 2011 &lt;<a href=\"https:\/\/interartive.org\/2011\/01\/fame-and-art\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/interartive.org\/2011\/01\/fame-and-art<\/a>&gt; (\u03ac\u03c1\u03b8\u03c1\u03bf \u03c3\u03c4\u03b1 \u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac \u03ba\u03b1\u03b9 \u03b1\u03b3\u03b3\u03bb\u03b9\u03ba\u03ac)<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b9\u03ba\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5, \u03a7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1, \u2018\u03a7\u03ac\u03ba\u03b5\u03c1: \u039c\u03b9\u03b1 \u03bd\u03ad\u03b1 \u03c0\u03bf\u03bb\u03b9\u03c4\u03b9\u03ba\u03ae \u03ba\u03b1\u03b9 \u03ba\u03b1\u03bb\u03bb\u03b9\u03c4\u03b5\u03c7\u03bd\u03b9\u03ba\u03ae \u03c0\u03c1\u03b1\u03ba\u03c4\u03b9\u03ba\u03ae\u2019, <em>Interartive, <\/em>v.27, December 2010 &lt; <a href=\"http:\/\/interartive.org\/2010\/12\/hack-art\/\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/2010\/12\/hack-art\/<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018From Artist to Myth: The reception of Sophia Laskaridou\u2019, <em>Interartive, <\/em>v.19, March 2010 (Part A) and <em>Interartive, <\/em>v.20 (Part B) &lt;<a href=\"https:\/\/interartive.org\/2010\/03\/sophia-laskaridou\/\">http:\/\/interartive.org\/2010\/04\/sophia_laskaridou_pain<\/a>ter\/&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b9\u03ba\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5, \u03a7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1, &#8216;\u03a0\u03af\u03bd\u03b1\u03ba\u03b1\u03c2 \u03c3\u03b5 (\u03ba\u03b9\u03bd\u03b7\u03bc\u03b1\u03c4\u03bf\u03b3\u03c1\u03b1\u03c6\u03b9\u03ba\u03cc) \u03ba\u03ac\u03b4\u03c1\u03bf: \u039f \u03c1\u03cc\u03bb\u03bf\u03c2 \u03c4\u03b7\u03c2 \u03b6\u03c9\u03b3\u03c1\u03b1\u03c6\u03b9\u03ba\u03ae\u03c2 \u03c3\u03c4\u03b1 \u038c\u03c1\u03b9\u03b1 \u03c4\u03bf\u03c5 \u0395\u03bb\u03ad\u03b3\u03c7\u03bf\u03c5 \u03c4\u03bf\u03c5 Jim Jarmusch \u03ba\u03b1\u03b9 \u03c3\u03c4\u03bf\u03bd \u03a4\u03c1\u03b5\u03bb\u03cc \u03a0\u03b9\u03b5\u03c1\u03cc \u03c4\u03bf\u03c5 Jean-Luc Godard&#8217;, Interartive v.16,&nbsp; \u0394\u03b5\u03ba. 2009 &lt;<a href=\"https:\/\/interartive.org\/2009\/12\/godard-jarmusch\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/interartive.org\/2009\/12\/godard-jarmusch<\/a>&gt; (\u03ac\u03c1\u03b8\u03c1\u03bf \u03c3\u03c4\u03b1 \u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac \u03ba\u03b1\u03b9 \u03b1\u03b3\u03b3\u03bb\u03b9\u03ba\u03ac)<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018\u0393\u03c5\u03bd\u03b1\u03af\u03ba\u03b5\u03c2, \u03c4\u03ad\u03c7\u03bd\u03b7 \u03ba\u03b1\u03b9 \u03b5\u03ba\u03c0\u03b1\u03af\u03b4\u03b5\u03c5\u03c3\u03b7 \u03c3\u03c4\u03b7\u03bd \u0395\u03bb\u03bb\u03ac\u03b4\u03b1 \u03c4\u03c9\u03bd \u03b1\u03c1\u03c7\u03ce\u03bd \u03c4\u03bf\u03c5 20\u03bf\u03cd \u03b1\u03b9\u03ce\u03bd\u03b1\u2019, <em>Interartive, <\/em>v.12, August 2009 &lt;<a href=\"https:\/\/interartive.org\/2009\/08\/women-art-education-greece\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/interartive.org\/2009\/08\/women-art-education-greece<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018Different colors, different shades: among the sounds and colors of <em>Unknown Pleasures\u2019, Interartive, <\/em>v.11, July 2009 &lt; <a href=\"http:\/\/interartive.org\/2009\/07\/unknown_pleasures\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/2009\/07\/unknown_pleasures<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018Beyond Materiality: A digital revolution in life, art and logos\u2019, <em>Interartive, <\/em>v.10, May-June 2009 &lt;<a href=\"http:\/\/interartive.org\/200\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/200<\/a>9\/06\/hypertext-digital-art&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018A handful of earth and three breaths: Notes on Danae Stratou\u2018, <em>Interartive, <\/em>v.8, March 2009 &lt;<a href=\"http:\/\/interartive.org\/2009\/03\/desert_breath\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/2009\/03\/desert_breath<\/a>&gt;&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018A leading role for the audience: Kim Gordon\u2019s sonic challenges and visual reflections\u2019, <em>Interartive, <\/em>v.7, February 2009 &lt;<a href=\"http:\/\/interartive.org\/2009\/02\/sonic-youth\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/2009\/02\/sonic-youth<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, &#8216;Leap into the void: Wim Wenders&#8217; heroes and Yves Klein levitating&#8217;, <em>Interartive<\/em> v.5, \u0394\u03b5\u03ba.2008 &lt;<a href=\"https:\/\/interartive.org\/2008\/12\/leap-into-the-void\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/interartive.org\/2008\/12\/leap-into-the-void<\/a>&gt; (translation in Greek, English and Spanish)<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018Restaging Beckett: Hirst, Navridis and brothers Guimar\u00e3es taking a \u2018Breath\u2019 \u2018, <em>Interartive, <\/em>v.4, November 2008 &lt;<a href=\"http:\/\/interartive.org\/2008\/11\/samuel-beckett\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/2008\/11\/samuel-beckett<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018Inhaling theory, exhaling art: From Antonin Artaud\u2019s word to Marina Abramovi\u0107\u2019s action\u2019, <em>Interartive, <\/em>v.3, October 2008 &lt;<a href=\"http:\/\/interartive.org\/2008\/10\/artaud\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/2008\/10\/artaud<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018Creative Spaces &#8211; Dynamic Glances: The <em>Sleep of Reason <\/em>by Marcel\u00b7l\u00ed Ant\u00fanez Roca\u2019, <em>Interartive, <\/em>v.2, July 2008 &lt;<a href=\"http:\/\/interartive.org\/2008\/07\/marcelli_antunez\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/interartive.org\/2008\/07\/marcelli_antunez<\/a>&gt;&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, \u2018A junction of myth, history, cinema: Aeschylus\u2019 Oresteia in Angelopoulos\u2019 Thiassos\u2019, <em>Interartive, <\/em>v.1, June 2008 &lt;<a target=\"_blank\">http:\/\/interartive.org\/2008\/06\/theodoros_angelopoulos<\/a>&gt; (translations in English, Spanish, Greek)<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<h5><strong><em>2. Interviews<\/em><\/strong><\/h5>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, &#8216;Interview with Anna Lascari: Athens Report, an interactive documentary and installation&#8217;, Interartive v.90, Jan.2017 &lt;<a href=\"https:\/\/interartive.org\/2017\/01\/interview-with-anna-lascari-athens-report\/\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/2017\/01\/interview-with-anna-lascari-athens-report\/<\/a>&gt; (translations in English and Greek)<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou Christina, &#8216;\u201cPunk. Its traces in contemporary art\u201d. An interview with David G. Torres, curator of the exhibition&#8217;, Interartive v.85, \u0399\u03bf\u03c5\u03bd.2016 &lt;<a href=\"https:\/\/interartive.org\/2016\/06\/punk-its-traces-in-contemporary-art\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/interartive.org\/2016\/06\/punk-its-traces-in-contemporary-art<\/a>&gt; (\u03c3\u03c5\u03bd\u03ad\u03bd\u03c4\u03b5\u03c5\u03be\u03b7 \u03c3\u03c4\u03b1 \u03b1\u03b3\u03b3\u03bb\u03b9\u03ba\u03ac \u03ba\u03b1\u03b9 \u03b9\u03c3\u03c0\u03b1\u03bd\u03b9\u03ba\u03ac)<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou Christina, &#8216;ANT&#8217;S WAY: Interview with Elvin Flamingo&#8217;, Interartive v.78, \u039d\u03bf\u03b5\u03bc.2015 &lt;<a href=\"https:\/\/interartive.org\/2015\/11\/ants-way-elvin-flamingo\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/interartive.org\/2015\/11\/ants-way-elvin-flamingo<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou Christina, &#8221;Double Exposures&#8217;: An interview with Manuel Vason&#8217;, Interartive v.67, Nov.2014, &lt;<a href=\"https:\/\/interartive.org\/2014\/11\/double-exposures-an-interview-with-manuel-vason\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/interartive.org\/2014\/11\/double-exposures-an-interview-with-manuel-vason<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou Christina, Proph\u00e8tes, &#8216;A vision of unity. An interview with C215 (Christian Gu\u00e9my)&#8217;, Interartive, March 2012, Interartive v.41, March 2012 &lt;<a href=\"https:\/\/interartive.org\/2012\/03\/c215-prophets-interview\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/interartive.org\/2012\/03\/c215-prophets-interview<\/a>&gt;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou Christina, &#8216;Roland Groenenboom &#8220;SONIC YOUTH etc.: SENSATIONAL FIX. Sonic Youth and the art of inclusion&#8221;&#8216;, <em>Interartive<\/em> v.18, \u03a6\u03b5\u03b2.2010 &lt;<a href=\"https:\/\/interartive.org\/2010\/02\/sonic-youth-art\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/interartive.org\/2010\/02\/sonic-youth-art<\/a>&gt; (translations in English and Spanish)<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Grammatikopoulou, Christina, &#8216;Miltos Manetas: The Internet Pavilion&#8217;, <em>Interartive<\/em> v.14, \u039f\u03ba\u03c4.2009, &lt;<a href=\"https:\/\/interartive.org\/2009\/10\/internet-pavilion-venice\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/2009\/10\/internet-pavilion-venice<\/a>&gt; (translations in Greek, English and Spanish)<\/p>\n<h5><i>3. Curatorial Texts for Art Exhibitions<\/i><\/h5>\n<h6>1. Art Spaces<\/h6>\n<p>\u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b9\u03ba\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5, \u03a7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1, &#8220;\u0393\u03b9\u03ce\u03c4\u03b1\u03c2 \u0391\u03bd\u03b4\u03c1\u03b9\u03ac\u03ba\u03b1\u03b9\u03bd\u03b1, \u00ab\u0391\u03bd \u03b7 \u03b6\u03c9\u03ae \u03ae\u03c4\u03b1\u03bd \u03ba\u03bb\u03c9\u03c3\u03c4\u03ae\u00bb, \u03a4\u03b5\u03bb\u03bb\u03cc\u03b3\u03bb\u03b5\u03b9\u03bf \u038a\u03b4\u03c1\u03c5\u03bc\u03b1 \u03a4\u03b5\u03c7\u03bd\u03ce\u03bd, \u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03bf\u03bd\u03af\u03ba\u03b7, \u0399\u03b1\u03bd\u03bf\u03c5\u03ac\u03c1\u03b9\u03bf\u03c2 2016.<\/p>\n<p>Grammatikopoulou, Christina &#8216;\u201cMeta-Library: An Interactive Exhibition by Christina Mitrentse\u201d, Women\u2019s Art Library, University Goldsmiths, London, September 2013<\/p>\n<p>Grammatikopoulou, Christina, &#8220;\u201cProph\u00e8tes\u201d by&nbsp; Christian Gu\u00e9my, Chappelle St. Louis de la Piti\u00e9 Salp\u00eatri\u00e8re, Paris, February-June 2012<\/p>\n<p>Grammatikopoulou, Christina, &#8220;Il deserto rosso&#8221; by Leticia Cardoso\u201d, part of the exhibition \u2018Future Tense\u2019, Creative Research Laboratory, Austin, Texas, November 2009<\/p>\n<p>Bashiron Mendolicchio Herman; DiPaola Modesta; Grammatikopoulou, Christina; Gomez Marisa; Vilela Lucila, \u201c[In]Transparencies: Variations of the diaphanous\u201d, Group Exhibition, Gracia Arts Project, Barcelona, October 2009<\/p>\n<h6>2. Online<\/h6>\n<p>Grammatikopoulou, Christina, &#8216;Nuria Guiu&#8217;s &#8220;Likes&#8221;&#8216;, Interartive Online Exhibition, July 2018, &lt;<a href=\"https:\/\/interartive.org\/content\/nuria-guiu-likes\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/content\/nuria-guiu-likes<\/a>&gt;<\/p>\n<p>Grammatikopoulou, Christina, &#8216;Mary Zygouri&#8217;s &#8220;Bath of the Constitution&#8221;&#8216;, Interartive Online Exhibition, June 2016, &lt;<a href=\"https:\/\/interartive.org\/2016\/06\/online-exhibition-mary-zygouri-the-bath-of-constitution\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/2016\/06\/online-exhibition-mary-zygouri-the-bath-of-constitution<\/a>&gt;<\/p>\n<p>Grammatikopoulou, Christina, &#8216;Giota Andriakaina&#8217;s &#8220;From a thread&#8221;&#8216;, Interartive Online Exhibition, October 2015, &lt;<a href=\"https:\/\/interartive.org\/2015\/10\/giota-andriakaina\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/2015\/10\/giota-andriakaina<\/a>&gt;<\/p>\n<p>Grammatikopoulou, Christina, &#8216;Jonas Ranson&#8217;s &#8220;Veduta&#8221;&#8216;, Interartive Online Exhibition, March 2015, &lt;<a href=\"https:\/\/interartive.org\/2015\/03\/jonas-ranson\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/2015\/03\/jonas-ranson<\/a>&gt;<\/p>\n<p>Grammatikopoulou, Christina, &#8216;Katherine Sultan&#8217;s \u201cAll about Eve\u201d&#8217;, Interartive Online Exhibition, January 2014, &lt;<a href=\"https:\/\/interartive.org\/2014\/01\/katherine-sultan\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/2014\/01\/katherine-sultan<\/a>&gt;<\/p>\n<p>Grammatikopoulou, Christina, &#8216;Alia Farid&#8217;s &#8220;Siembra tu Siyadeh&#8221;&#8216;, Interartive Online Exhibition, May 2013, &lt;<a href=\"https:\/\/interartive.org\/2013\/05\/alia-farid\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/2013\/05\/alia-farid<\/a>&gt;<\/p>\n<p>Grammatikopoulou, Christina, &#8216;Paolo Cirio&#8217;s &#8220;Street Ghosts&#8221;&#8216;, Interartive Online Exhibition, October 2012, &lt;<a href=\"https:\/\/interartive.org\/2012\/10\/paolo-cirio\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/2012\/10\/paolo-cirio<\/a>&gt;<\/p>\n<p>Grammatikopoulou, Christina, &#8216;Edith Kollath \u201cNothing will ever be the same again\u201d&#8217;, Interartive Online Exhibition, March 2012, &lt;<a href=\"https:\/\/interartive.org\/2012\/03\/edith-kollath\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/2012\/03\/edith-kollath<\/a>&gt;<\/p>\n<p>Grammatikopoulou, Christina, &#8216;C215&#8217;s &#8220;Barcelona&#8221;&#8216;, Interartive Online Exhibition, November 2011, &lt;<a href=\"https:\/\/interartive.org\/2011\/11\/c215\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/2011\/11\/c215<\/a>&gt;<\/p>\n<p>Grammatikopoulou, Christina, &#8216;Manolis Anastasakos + Alexandros Vasmoulakis&#8217; &#8220;Study for a Riot&#8221;&#8216;, Interartive Online Exhibition, March 2011, &lt;<a href=\"https:\/\/interartive.org\/2011\/03\/vasmoulakis-anastasakos\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/2011\/03\/vasmoulakis-anastasakos<\/a>&gt;<\/p>\n<p>Grammatikopoulou, Christina, &#8216;Philippe Laferri\u00e8re&#8217;s &#8220;Cit\u00e9s polymorphes&#8221;&#8216;, Interartive Online Exhibition, October 2010, &lt;<a href=\"https:\/\/interartive.org\/2010\/10\/philippe-laferriere\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/2010\/10\/philippe-laferriere<\/a>&gt;<\/p>\n<p>Grammatikopoulou, Christina, &#8216;Fabiola Scaranto&#8217;s &#8220;Entre dois Nadas&#8221;&#8216;, Interartive Online Exhibition, April 2010, &lt;<a href=\"https:\/\/interartive.org\/2010\/04\/fabiola_scaranto\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/2010\/04\/fabiola_scaranto<\/a>&gt;<\/p>\n<p>Grammatikopoulou, Christina, &#8216;SAN&#8217;s &#8220;Illustrating Cities&#8221;&#8216;, Interartive Online Exhibition, November 2009, &lt;<a href=\"https:\/\/interartive.org\/2009\/11\/san\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/2009\/11\/san<\/a>&gt;<\/p>\n<p>Grammatikopoulou, Christina, &#8216;Haris Pallas&#8217; &#8220;The Live Line&#8221;&#8216;, Interartive Online Exhibition, August 2009, &lt;<a href=\"https:\/\/interartive.org\/2009\/08\/haris-pallas\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/2009\/08\/haris-pallas<\/a>&gt;<\/p>\n<p>Grammatikopoulou, Christina, &#8216;Leticia Cardoso &#8220;Il deserto rosso&#8221;&#8216;, Interartive Online Exhibition, January 2009, &lt;<a href=\"https:\/\/interartive.org\/2009\/01\/leticia-cardoso\" target=\"_blank\" rel=\"noopener\">https:\/\/interartive.org\/2009\/01\/leticia-cardoso<\/a>&gt;<\/p>\n<p><\/p>\n<p><!-- \/wp:paragraph --><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-9992b22 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"9992b22\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-92f7bfa\" data-id=\"92f7bfa\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Folder with text pdfs I. Peer Reviewed Publications: 1. Books Grammatikopoulou, Christina (2018); Pinilla, Rafael (eds.), Critical Cartography Of Art And Visuality In The Global&#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":231,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-23","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/pages\/23","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/comments?post=23"}],"version-history":[{"count":36,"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/pages\/23\/revisions"}],"predecessor-version":[{"id":579,"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/pages\/23\/revisions\/579"}],"up":[{"embeddable":true,"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/pages\/231"}],"wp:attachment":[{"href":"https:\/\/artword.org\/index.php\/wp-json\/wp\/v2\/media?parent=23"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}