Momo Athens

Eugenia Efstathiou

Mother’s House II (2023)
Cyanotype on coffee filter
27 x 27 cm

Mother’s House explores the transition from childhood to adulthood through Eugenia Efstathiou’s changing relationship with her body and her feminine identity. Time does not operate linearly: past and present coexist, as childhood memories are revisited through a more mature perspective. The photographs, taken in the artist’s family home, reconnect a space of innocence and intimacy with the process of personal transformation. Through this encounter, Mother’s House examines memory, change and the formation of the self. The images have been printed using the cyanotype method on disposable coffee filters, highlighting the fragility of this transition and the vulnerability that accompanies it.

Katerina Drakopoulou Katerina Drakopoulou

Being Seen
Performance

Being Seen is a durational performance that places the body in prolonged visibility, as a fixed, living image that persists in time. The work approaches visibility not only as an exposure to the gaze, but also as a gendered social condition: the female body appears as something that is called upon to be composed, controlled, quiet, visible and available for viewing. The performance unfolds through cycles of stillness and extremely slow movement. The body does not narrate, it does not seek a climax or produce a spectacle. It remains. In this condition, stillness does not function as neutrality, but as a field of tension and discipline. It activates the codes that are inscribed early on in the female body: to sit sensibly, to behave properly, not to disturb, to be restrained and to be pleasing to the eye. “Being Seen” thus proposes the “GOOD GIRL” not as a character, but as a mechanism of performance; αs a regime of viewing, self-restraint and bodily discipline, through which the “right” femininity is produced. Through duration, the performance shifts this form from a surface of conformity to a field of wear and tear and endurance.

Ezgi Bahadir

Fake Obsession I (2026)
Human hair, tape, paper
30 x 21 cm

“For seven months, every time I brushed my hair, I collected what remained on the comb. I separated the black and white strands and placed them into the pages of my diary. Later, I rewrote selected words and sentences from that diary using the hair itself. These rewritten fragments are the parts I felt ready to share almost like a confessional letter. Yet this is not a direct confession; rather, it is a way of projecting a version of myself. The original diary is private and ordinary, consisting of everyday thoughts. Once rewritten with hair, the text shifts from language into material, moving away from communication toward presence. Hair, as a bodily residue, carries an intimate and personal charge. By using modest materials such as a simple diary and tape, I avoid theatricality. The gesture remains quiet, structured through repetition and accumulation. In this sense, the work relates to forms of self-regulation and control, subtly echoing the conditions through which the figure of the “good girl” is produced.”

“Anne” in Turkish means “mother”.