melletios

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	<pubDate>Thu, 14 May 2026 07:50:25 +0000</pubDate>
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		<title>Homepage</title>
				
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		<pubDate>Wed, 30 Jul 2025 04:39:07 +0000</pubDate>

		<dc:creator>melletios </dc:creator>

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      melletios Kyriakidis
      0 / 202? / 73 / 351
    
    
        AKA ☠
         tioś
      
    
  current / active⨂ THE CLAP / 115 clapping alone ‣  ⋺ THE CLAP / 115 clapping alone ☜  ⫸ THE CLAP / 115 clapping alone ⇇  ⋘ THE CLAP / 115 clapping alone ⨮  ⋰ THE CLAP / 115 clapping alone ⫷  ☫ DB10 / unhinged readings / podcast ◎  Ω DB10 / unhinged readings / podcast ◁  ☇ DB10 Transmission Beta / video broadcast ⚰︎  ⩓ DB10 Transmission Beta / video broadcast ⋘  ⤳ DB10 Transmission Beta / video broadcast ◁  ☜ DB10 Transmission Beta / video broadcast ⚒︎  ⨮ FIELD / generative sound ✞  ✞ FIELD / generative sound ⚰︎  ☭ FIELD / generative sound ☜  ● FIELD / generative sound ☭  ⚛︎ NEAB / non experimental art band / the room composes ◀︎  ▻ NEAB / non experimental art band / the room composes ⋹  ⨭ NEAB / non experimental art band / the room composes ⩕  ⩓ NEAB / non experimental art band / the room composes Ω  sound / installation▷ on walls / large scale projection ⇶  ⩕ on walls / large scale projection ⩓  ‣ on walls / large scale projection ⤳  ⨂ on walls / large scale projection ⋰  ☜ on walls / large scale projection ⇶  ⋱ on walls / large scale projection ◁  ⤳ SEGA SUNSETS / console skies on loop ◎  ☭ SEGA SUNSETS / console skies on loop ☞  ⟚ SEGA SUNSETS / console skies on loop ⋹  ⦿ SEGA SUNSETS / console skies on loop ⋘  ‣ UNanthem / 194 anthems / 1 track ⋹  ⨂ UNanthem / 194 anthems / 1 track ▻  ⋺ UNanthem / 194 anthems / 1 track ⋹  screen / moving imageΩ MONA lisa Dust / the image wearing out ⨂  ⟚ MONA lisa Dust / the image wearing out ▽  ⟚ MONA lisa Dust / the image wearing out ▽  ◎ MONA lisa Dust / the image wearing out ☇  ⨮ THE IKEA ANARCHISTS / flatpack politics ⩓  ⤳ THE IKEA ANARCHISTS / flatpack politics ⋙  ▷ THE IKEA ANARCHISTS / flatpack politics ⇇  ⇶ THE IKEA ANARCHISTS / flatpack politics ⋙  ⊗ the Anthropo scene / video work ⤳  Ω the Anthropo scene / video work ♠︎  ⤳ the Anthropo scene / video work ⋙  Ω the Anthropo scene / video work ☫  ⋙ In laws / out laws / family as material Ω  ⋺ In laws / out laws / family as material ●  ◁ In laws / out laws / family as material ⩕  ⚛︎ In laws / out laws / family as material ☞  ‣ 32 .duration 03.50. / timed sequence ⋙  ⩕ 32 .duration 03.50. / timed sequence ⤳  ☜ 32 .duration 03.50. / timed sequence ⨂  ☇ 32 .duration 03.50. / timed sequence ⩓  ◎ THRILLS AND SPILLS / video work ⊗  ▻ THRILLS AND SPILLS / video work ⟚  ☞ THRILLS AND SPILLS / video work ⫸  ⨮ THRILLS AND SPILLS / video work ⋘  net art / digital◎ declaration of intention / reload / loop ⋺  ⩕ declaration of intention / reload / loop ☭  ⚛︎ declaration of intention / reload / loop ⨮  ⋺ 21st ART FOR KIDS / art education online ⋺  ✞ 21st ART FOR KIDS / art education online ☭  ⨮ 21st ART FOR KIDS / art education online ◁  ♠︎ 21st ART FOR KIDS / art education online ☭  ⋱ HAUNTOLOGY of SHOPLIFTING / net art ⊗  ⩓ HAUNTOLOGY of SHOPLIFTING / net art ‣  ⋺ HAUNTOLOGY of SHOPLIFTING / net art ◎  curate⚛︎ curate / SPACE3 / Sydney Contemporary ⨂  ⦿ curate / SPACE3 / Sydney Contemporary ⋹  ⨮ curate / SPACE3 / Sydney Contemporary ✞  ⫷ Melletios Kyriakidis / CV / art worker / educator / 351 inc ◎  ◎ Melletios Kyriakidis / CV / art worker / educator / 351 inc ●  

  
    if you like what you see, buy me a coffee
    tip jar / paypal
  

    © 02025 / 351 incSydney AU
    
      Information
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    para-artistic methodological framework
  

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		<title>Information</title>
				
		<link>https://melletios.com/Information</link>

		<pubDate>Wed, 30 Jul 2025 04:39:07 +0000</pubDate>

		<dc:creator>melletios </dc:creator>

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    INFO
    ↩
  
  
    • ▫︎ melletios kyriakidis ▾ ▻ ▹ ‣▷ tios 73
  

      Melletios' work unfolds as a lived conceptual practice, an immanent, immaterial art reality where performance, body, and documentation blur. Life itself becomes medium and critique, recorded not to preserve but to expose the irony and instability of constructed systems. The work resists classification, operating beyond disciplines, within the everyday, as subversive process rather than fixed form.
      His work is grounded in the intersection of identity, the political body, and intergenerational diaspora. Through this, he invokes a kind of critical magic where art resists material containment and moves through flux, rupture, and the lingering effects of post-colonial structures. His performativity is part situational, adopting a para-artistic methodology as framework for an aesthetic. Rejecting the contrived legacy, the decorative by-product of the institutional hierarchy.

      
        Always was and always will be Aboriginal Land.
        Pay the rent!
      
      ~ drive it like you stole it ~

      
&#60;img width="578" height="860" width_o="578" height_o="860" data-src="https://freight.cargo.site/t/original/i/8854dbe4c1476212b93076c6bf23a28d8f5ee00a3e03af5180eeaa6dd906d6b7/gladbag_body-3.jpg" data-mid="245921438" border="0"  src="https://freight.cargo.site/w/578/i/8854dbe4c1476212b93076c6bf23a28d8f5ee00a3e03af5180eeaa6dd906d6b7/gladbag_body-3.jpg" /&#62;

    
      Melletios, also known as mister fuck art, has exhibited extensively including shows in London, Beijing, Rome, Hamburg, Melbourne and Sydney. He has displayed work on large scale architectural facades on iconic buildings including the Sydney Opera House and National Gallery of Australia.
      He is currently collaborating with others to produce work grounded in discourse around the frenzied state of affairs defining the conservative identity of the contemporary epoch.
      Alongside this, Melletios is developing DB10, a series of field recordings shared as a podcast platform of discourse, drift, and resistance. With Tim Gregory, he opens conversations on contemporary art, desire, critique, and the infrastructures of meaning. Shifting between theory, personal narrative, and cultural readings, DB10 treats dialogue as a living form, a space to reflect, refuse, and rethink the role of the artist in a collapsing world.

      
      ▸ EPISODES / APPLE + SPOTIFY
      
        The Impossible Aesthetics of Giving a Shit.
        The the ◦ Mona Hatoum and the Electric State
        zombie guide to cannibalism!
        The Culinary Arts of Revolution
        Sonic Subversion: The Undead Cargo of Cries
        The Spectacle of Anarchist Leisure
        Repetition, Death Drive, and Pooping Back and Forth Forever ♾️
        Primordial Specters: Fascism, Postmodern Excavation, and the Monsters of History
        The Overseer's Lens: The Orifice of Memory
      
    
      ▹ DRIVE IT LIKE YOU STOLE IT &#38;nbsp;&#38;nbsp;✦&#38;nbsp;&#38;nbsp; ALWAYS WAS ALWAYS WILL BE &#38;nbsp;&#38;nbsp;✦&#38;nbsp;&#38;nbsp; DB10 NOW LIVE &#38;nbsp;&#38;nbsp;✦&#38;nbsp;&#38;nbsp; MISTER FUCK ART &#38;nbsp;&#38;nbsp;✦&#38;nbsp;&#38;nbsp; UNAUSTRALIA &#38;nbsp;&#38;nbsp;✦&#38;nbsp;&#38;nbsp; ζωτική δύναμη &#38;nbsp;&#38;nbsp;✦&#38;nbsp;&#38;nbsp; DOCUMENTATION IS INCIDENTAL &#38;nbsp;&#38;nbsp;✦&#38;nbsp;&#38;nbsp; ▹ DRIVE IT LIKE YOU STOLE IT &#38;nbsp;&#38;nbsp;✦&#38;nbsp;&#38;nbsp; ALWAYS WAS ALWAYS WILL BE &#38;nbsp;&#38;nbsp;✦&#38;nbsp;&#38;nbsp; DB10 NOW LIVE &#38;nbsp;&#38;nbsp;✦&#38;nbsp;&#38;nbsp; MISTER FUCK ART &#38;nbsp;&#38;nbsp;✦&#38;nbsp;&#38;nbsp; UNAUSTRALIA &#38;nbsp;&#38;nbsp;✦&#38;nbsp;&#38;nbsp; ζωτική δύναμη &#38;nbsp;&#38;nbsp;✦&#38;nbsp;&#38;nbsp; DOCUMENTATION IS INCIDENTAL &#38;nbsp;&#38;nbsp;✦&#38;nbsp;
    
  
</description>
		
	</item>
		
		
	<item>
		<title>𝑻🄗ｅCLAP</title>
				
		<link>https://melletios.com/CLAP</link>

		<pubDate>Tue, 19 Aug 2025 03:48:28 +0000</pubDate>

		<dc:creator>melletios </dc:creator>

		<guid isPermaLink="true">https://melletios.com/CLAP</guid>

		<description>

The Clap

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  THE CLAP
  
  124 participants
  Enter with sound


    THE CLAP/
    THE CLAP/
    THE CLAP/
    THE CLAP/
    THE CLAP/
    THE CLAP/
    THE CLAP/
    THE CLAP/
  

  351 Inc. / Ongoing work, 2025-2026
  Performative Spectatorship as Social Contagion
  Read about the work


    Close
    THE CLAP
    Artist Statement
    Melletios Kyriakidis / Ongoing, 2025-2026
    
      The Clap is an evolving participatory video and sound installation exploring applause as ritual, performance, social conditioning and collective expression.
      The work began with a simple proposition: to film individuals clapping alone. Friends, acquaintances and strangers are invited to perform the gesture in isolation, removed from the crowd where applause usually belongs. In this shift, clapping changes. What is ordinarily a collective act of approval becomes strange, vulnerable, comic and performative.
      Each recording becomes part of a growing archive presented as a grid of moving image portraits. Played simultaneously, individual claps accumulate into a dense sonic field, a chorus of overlapping rhythms that moves between celebration, noise and disorientation.
      The project draws connections between the civic chorus of ancient theatre, the orchestrated applause of Roman claques, and contemporary cultures of algorithmic affirmation, from the "like" and the double-tap to the circulation of approval as social currency. Applause is approached not only as a gesture of praise, but as a structure through which participation, desire and power are organised.
      Zizek identifies what he calls enjoyment, the obscene surplus that clings to a ritual long after the meaning has gone. We know clapping is empty. We clap harder anyway. The repetition carries something that will not let go. Euphoria becomes noise becomes discomfort becomes labour. The body keeps transmitting intensity long after meaning has left.
      Central to the work is a participatory exhibition model. Visitors are invited to contribute their own clapping portrait, which is folded into the installation and the ongoing online archive, allowing the work to expand with each presentation. Audience and artwork become mutually constitutive.
      The Clap considers applause as both absurd and political, intimate and collective, a bodily act through which joy, discipline, belonging and performance are negotiated.
      Data collection began in November 2025 and continues.
      Melletios Kyriakidis
      CLAP CLAP CLAP.
      124 participants. Data collection: 2025, ongoingTarget: major gallery exhibition, 2026
    
  
124 participants, in no particular order
Tap a portrait to isolate its own sound


  The Clap / Melletios Kyriakidis / 351 Inc.Ongoing, 2025-2026


  The chorus / one track, all claps
  
    Live
    Pause
  

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    "https://ik.imagekit.io/1qq8cweqn0/cofastudentcafe.mp4",
    "https://ik.imagekit.io/1qq8cweqn0/breeyanna.mp4",
    "https://ik.imagekit.io/1qq8cweqn0/OB.mp4"
  ];

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  for(var i=0;i</description>
		
	</item>
		
		
	<item>
		<title>UNanthem </title>
				
		<link>https://melletios.com/UNanthem</link>

		<pubDate>Sat, 21 Mar 2026 05:43:14 +0000</pubDate>

		<dc:creator>melletios </dc:creator>

		<guid isPermaLink="true">https://melletios.com/UNanthem</guid>

		<description>
  @import url('https://fonts.googleapis.com/css2?family=Bebas+Neue&#38;family=Cormorant+Garamond:ital,wght@0,400;0,500;0,600;1,400;1,500&#38;family=DM+Mono:wght@300;400&#38;display=swap');

  body {
    margin: 0;
    background: #0a0a0a;
    color: #fff;
    overflow-x: hidden;
  }

  /* -- SCROLLING BANNER -- */
  .scroll-banner {
    width: 100%;
    overflow: hidden;
    padding: 48px 0 40px;
    position: relative;
  }

  .scroll-banner-track {
    display: flex;
    white-space: nowrap;
    animation: bannerScroll 22s linear infinite;
    will-change: transform;
  }

  .scroll-banner-track span {
    font-family: 'Bebas Neue', sans-serif;
    font-size: clamp(64px, 12vw, 140px);
    letter-spacing: 0.04em;
    line-height: 1;
    color: #fff;
    padding-right: 80px;
    flex-shrink: 0;
  }

  .scroll-banner-track .sep {
    font-size: clamp(48px, 8vw, 100px);
    color: rgba(255,255,255,0.15);
    padding-right: 80px;
  }

  @keyframes bannerScroll {
    0% { transform: translateX(0); }
    100% { transform: translateX(-50%); }
  }

  /* -- SUBHEADER (solid white) -- */
  .subheader {
    text-align: center;
    padding: 36px 24px 40px;
    background: #f5f2ec;
  }

  .subheader-label {
    font-family: 'DM Mono', monospace;
    font-size: 11px;
    font-weight: 300;
    letter-spacing: 3px;
    text-transform: uppercase;
    color: rgba(26,26,26,0.4);
    display: block;
    margin-bottom: 14px;
  }

  .subheader-title {
    font-family: 'Bebas Neue', sans-serif;
    font-size: clamp(28px, 4vw, 42px);
    letter-spacing: 0.05em;
    line-height: 1;
    color: #1a1a1a;
    display: block;
    margin-bottom: 8px;
  }

  .subheader-line {
    font-family: 'Cormorant Garamond', serif;
    font-size: clamp(17px, 2.2vw, 23px);
    font-weight: 400;
    font-style: italic;
    color: rgba(26,26,26,0.5);
    letter-spacing: 0.02em;
    display: block;
    margin-bottom: 8px;
  }

  .subheader-credit {
    font-family: 'DM Mono', monospace;
    font-size: 10px;
    font-weight: 300;
    letter-spacing: 2px;
    text-transform: uppercase;
    color: rgba(26,26,26,0.35);
    display: block;
    margin-bottom: 24px;
  }

  .read-trigger {
    display: inline-block;
    font-family: 'DM Mono', monospace;
    font-size: 11px;
    font-weight: 400;
    letter-spacing: 2px;
    text-transform: uppercase;
    color: #1a1a1a;
    background: transparent;
    border: 1px solid rgba(26,26,26,0.25);
    padding: 10px 28px;
    cursor: pointer;
    transition: all 0.3s ease;
  }

  .read-trigger:hover {
    color: #000;
    background: rgba(26,26,26,0.06);
    border-color: rgba(26,26,26,0.5);
  }

  /* -- LISTEN SECTION (solid white) -- */
  .listen-section {
    background: #f5f2ec;
    padding: 0 24px 40px;
  }

  .listen-inner {
    max-width: 640px;
    margin: 0 auto;
    padding-top: 4px;
    border-top: 1px solid rgba(26,26,26,0.08);
  }

  .listen-label {
    font-family: 'DM Mono', monospace;
    font-size: 10px;
    font-weight: 300;
    letter-spacing: 2.5px;
    text-transform: uppercase;
    color: rgba(26,26,26,0.35);
    display: block;
    margin: 20px 0 6px;
  }

  .listen-track-title {
    font-family: 'Cormorant Garamond', serif;
    font-size: 17px;
    font-weight: 500;
    font-style: italic;
    color: rgba(26,26,26,0.6);
    display: block;
    margin-bottom: 16px;
  }

  .listen-inner audio {
    width: 100%;
    height: 40px;
    outline: none;
  }

  /* -- POPUP OVERLAY -- */
  .popup-overlay {
    position: fixed;
    top: 0;
    left: 0;
    width: 100%;
    height: 100%;
    background: rgba(0,0,0,0.60);
    backdrop-filter: blur(16px);
    -webkit-backdrop-filter: blur(16px);
    z-index: 9999;
    opacity: 0;
    pointer-events: none;
    transition: opacity 0.4s ease;
    display: flex;
    align-items: center;
    justify-content: center;
  }

  .popup-overlay.active {
    opacity: 1;
    pointer-events: all;
  }

  .popup-content {
    max-width: 700px;
    max-height: 85vh;
    overflow-y: auto;
    padding: 56px 52px 48px;
    background: #f5f2ec;
    border: none;
    position: relative;
    margin: 0 20px;
    transform: translateY(20px);
    transition: transform 0.4s ease;
  }

  .popup-overlay.active .popup-content {
    transform: translateY(0);
  }

  .popup-content::-webkit-scrollbar {
    width: 4px;
  }

  .popup-content::-webkit-scrollbar-track {
    background: transparent;
  }

  .popup-content::-webkit-scrollbar-thumb {
    background: rgba(26,26,26,0.2);
  }

  .popup-close {
    position: absolute;
    top: 20px;
    right: 24px;
    font-family: 'DM Mono', monospace;
    font-size: 11px;
    letter-spacing: 2px;
    text-transform: uppercase;
    color: rgba(26,26,26,0.4);
    background: none;
    border: none;
    cursor: pointer;
    padding: 4px 0;
    transition: color 0.3s ease;
  }

  .popup-close:hover {
    color: #000;
  }

  .popup-heading {
    font-family: 'Bebas Neue', sans-serif;
    font-size: clamp(28px, 4vw, 40px);
    letter-spacing: 0.05em;
    line-height: 1;
    color: #1a1a1a;
    margin: 0 0 6px 0;
    display: block;
  }

  .popup-subheading {
    font-family: 'Cormorant Garamond', serif;
    font-size: clamp(16px, 2vw, 20px);
    font-weight: 400;
    font-style: italic;
    color: rgba(26,26,26,0.5);
    letter-spacing: 0.02em;
    margin: 0 0 12px 0;
    display: block;
  }

  .popup-byline {
    font-family: 'DM Mono', monospace;
    font-size: 10px;
    font-weight: 300;
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    UNANTHEM/
    UNANTHEM/
    UNANTHEM/
    UNANTHEM/
    UNANTHEM/
    UNANTHEM/
    UNANTHEM/
    UNANTHEM/
  

  351 Inc. / Sound work, 2025
  UNanthem
  194 national anthems compressed into a single track
  Melletios Kyriakidis + Tim Gregory / UNSW Lab Sessions, 2025
  Read about the work


    Listen
    UNanthem, 3:39
    
      
    Close
    UNanthem
    190 national anthems compressed into a single track
    Written by Melletios Kyriakidis
    
      Unanthem is a sound work composed from national anthems sourced online. It draws from all recognised sovereign states, around 190 to 200 anthems, depending on classification.

      Each anthem was placed into a timeline using Audacity. I began by playing them together to see what would happen when they overlap. From there, I standardised the tempo. I calculated an average BPM and adjusted each anthem so they align rhythmically.

      The longest anthem runs for 3 minutes and 34 seconds. I extended all the others to match this duration. Once equalised in tempo and length, I layered them into a single track.

      What emerges is not harmony but noise. A dense, compressed field of sound. The anthems collapse into each other until they become almost indistinguishable.

      
      The work is concerned with how national anthems, in their current form, often carry a shared aesthetic rooted in European musical traditions. Orchestration, melody, structure, these elements repeat across nations regardless of geography. Instruments and tonal systems associated with European history appear globally, shaping how nations sonically represent themselves.

      This produces a strange continuity. Countries historically positioned as "other" adopt similar musical languages. The result is a kind of global sameness, where difference is flattened through repetition.

      With contemporary media, these anthems are constantly broadcast, televised, circulated. They become part of a continuous loop of national identity, amplified through systems of distribution and consumption. In that repetition, they begin to blur.

      The work points to how these sonic structures are entangled with histories of colonialism, class systems, and forms of control. Even where nations resist or redefine identity, they often retain these inherited frameworks.

      
      Unanthem compresses this into a single listening experience. It is loud, unstable, and at times uncomfortable. It can feel like a drone, but one that carries fragments of many competing signals.

      The installation extends this into space. Flags from different nations are arranged in a line. From one angle, they appear distinct. From another, they overlap and become transparent, merging into a single, unclear field of colour. The image breaks down in the same way the sound does.

      The title Unanthem suggests undoing. To unmake, to unravel, to remove the assumed stability of national symbols. Not replacing them, but pulling them apart.

      UNanthem / Melletios Kyriakidis + Dr Tim GregoryUNSW Lab Sessions, 2025 / 351 Inc.
    
  
  UNanthem / Melletios Kyriakidis + Tim GregoryUNSW Lab Sessions, 2025 / 351 Inc.


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</description>
		
	</item>
		
		
	<item>
		<title>manifesto reload infinity loop</title>
				
		<link>https://melletios.com/manifesto-reload-infinity-loop</link>

		<pubDate>Tue, 18 Jun 2024 00:26:24 +0000</pubDate>

		<dc:creator>melletios </dc:creator>

		<guid isPermaLink="true">https://melletios.com/manifesto-reload-infinity-loop</guid>

		<description>

Declaration of Intention


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    SYS://351inc/declaration/v68016
    
    
    Read the declaration
  

    Close
    THE PARA-ARTISTIC METHODOLOGICAL FRAMEWORK
    A living declaration
    Melletios Kyriakidis / 351 Inc.
    
      The art does not belong to me. It never did. What I do is conjure. The work arrives from somewhere adjacent, a frequency that sits beside the visible, and the creative process is less invention than summoning. The specters that are brought into existence carry a past knowing, a framework that fits into something that preceded the artist. Some who do not understand would call it weird. I call it tapping into the art reality, a place where explanation is irrelevant and only action holds weight.

      The work has a hyper-mediated, surreal existence that is only ever present through experience or its documented trace. There is no capital picture. There is no shop. You cannot take it home. It lives in the immaterial.

      
      I work within the institutions where art is categorised and where audiences exchange their attention for something they hope will move them. But the exchange is asymmetric. The work enters the room and then refuses to leave with anyone. It stays. It belongs to the gap. The lacuna of observation, the space where metaphysical quantum paradox sits in non-structured language, where meaning forms and dissolves before it can be pinned.

      The posture is Marxist in temperament. Late stage dysfunction. A death drive where I was a catalyst waiting to be born inside the creative machine. Production is like mining, and the conversations are with those who do not exist. The ghost in the machine. The indigenous ancestry that is identified not by preserving what was handed down but by deleting, destroying, and deconstructing the current narratives that were built over the top of it.

      
      The stance is somewhat stoic, somewhat cynic. It engages capital structures in a black market economy of ideas. It explains the unruled. It decolonises the word decolonise. It unravels. The "un" is placed forward. And exploitation exists. This is not denied. It is named, sat with, worked through.

      Para-artistic means: beside art. Not inside it, not outside it, but in the parallel corridor where the lights flicker and the floor plan does not match the building. Methodological means: there is a system, but the system was designed by someone who does not trust systems. Framework means: the structure exists so that it can be broken. The framework is the breaking.

      The paranormal is just the normal that has not yet been categorised. The work is the act of categorisation failing in real time, publicly, in a room full of people who came to watch. Every reload of this page generates a new version. The text cycles. The fragments shift between languages. The glitches breathe. The canvas degrades. Nothing here is stable and nothing here pretends to be. This is the para-artistic methodological framework in operation. You are inside it now.

      Melletios Kyriakidis

      351 Inc. / Sydney, unceded Gadigal CountryPara-artistic methodological frameworkEvery reload is a new document. This version will never exist again.
    
  
    Contact
    melletios@gmail.com
    @melletios
    Information
  

  351 INC / SYDNEY AU / 68016nPARA-ARTISTIC METHODOLOGICAL FRAMEWORKnEVERY RELOAD IS A NEW DOCUMENT. THIS VERSION WILL NEVER EXIST AGAIN.


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{en:'I make art the way a building catches fire: slowly, then all at once, then the neighbours arrive and ask if they can have some.',
 el:'Κάνω τέχνη όπως παίρνει φωτιά ένα κτίριο: αργά, μετά όλα μαζί, μετά έρχονται οι γείτονες και ρωτάνε αν μπορούν να πάρουν λίγο.',
 ru:'Я делаю искусство как здание загорается: медленно, потом всё сразу, потом приходят соседи и спрашивают, можно ли им тоже.',
 ja:'私はビルが燃えるように芸術を作る。ゆっくり、そして一気に。その後、隣人が来て「少しもらえますか」と聞く。',
 ar:'أصنع الفن كما يشتعل مبنى: ببطء، ثم دفعة واحدة، ثم يأتي الجيران ويسألون إن كان بإمكانهم أخذ بعض.',
 zh:'我做艺术就像大楼着火：慢慢地，然后猛然间，然后邻居来了问能不能分一点。',
 hi:'मैं कला ऐसे बनाता हूँ जैसे इमारत में आग लगती है: धीरे-धीरे, फिर एकदम, फिर पड़ोसी आते हैं और पूछते हैं क्या उन्हें भी मिल सकता है।'},
{en:'The screen is not a window. It is a mirror held up to a mirror held up to a man in a car park at 2am projecting something enormous onto a wall that was there before him and will remain after.',
 el:'Η οθόνη δεν είναι παράθυρο. Είναι καθρέφτης μπροστά σε καθρέφτη μπροστά σε έναν άνθρωπο σε πάρκινγκ στις 2 το πρωί.',
 ru:'Экран — это не окно. Это зеркало перед зеркалом перед человеком на парковке в 2 часа ночи.',
 ja:'スクリーンは窓ではない。鏡の前の鏡。午前2時の駐車場で巨大な何かを壁に投影する男の前の。',
 zh:'屏幕不是窗户。它是镜子前的镜子，对着凌晨2点停车场里一个把巨大东西投射到墙上的人。'},
{en:'I have been an educator since 1998. Over eight thousand students. This means I have watched eight thousand people learn to see. Some of them looked away. Some of them came back. This is the work.',
 el:'Είμαι εκπαιδευτικός από το 1998. Πάνω από οκτώ χιλιάδες φοιτητές. Μερικοί γύρισαν. Αυτή είναι η δουλειά.',
 ru:'Я преподаю с 1998 года. Более восьми тысяч студентов. Некоторые вернулись. Это и есть работа.',
 ja:'1998年から教育者。八千人以上の学生。見ることを学んだ八千人を見てきた。何人かは戻ってきた。これが仕事。',
 ar:'أنا معلم منذ 1998. أكثر من ثمانية آلاف طالب. بعضهم عاد. هذا هو العمل.',
 hi:'मैं 1998 से शिक्षक हूँ। आठ हज़ार से अधिक छात्र। कुछ लौटे। यही काम है।'},
{en:'I clap with eighty five strangers and I call it a sculpture. The sculpture lives on a server in a country that does not care about it. The sculpture is doing fine.',
 el:'Χειροκροτώ με ογδόντα πέντε ξένους και το ονομάζω γλυπτό. Το γλυπτό ζει σε έναν σέρβερ. Το γλυπτό είναι καλά.',
 zh:'我和八十五个陌生人鼓掌，我称之为雕塑。雕塑住在一个不关心它的国家的服务器上。雕塑很好。',
 ru:'Я хлопаю с восемьюдесятью пятью незнакомцами и называю это скульптурой. Скульптура в порядке.'},
{en:'The podcast is called DB10. We discuss things nobody asked us to discuss. We continue because the alternative is silence and silence has already been done.',
 ja:'ポッドキャストは DB10。誰も頼んでいないことを議論する。沈黙はもうやられたから続ける。',
 el:'Το podcast λέγεται DB10. Συζητάμε πράγματα που κανείς δεν μας ζήτησε. Η σιωπή έχει ήδη γίνει.',
 ru:'Подкаст называется DB10. Мы обсуждаем то, о чём никто не просил. Тишина уже была.'},
{en:'I collect dust from Room 6 of the Louvre while everyone photographs the Mona Lisa. The dust is Greek. The Mona Lisa is French. Da Vinci was Italian. The debt belongs to everyone.',
 el:'Μαζεύω σκόνη από την Αίθουσα 6 του Λούβρου. Η σκόνη είναι Ελληνική. Το χρέος ανήκει σε όλους.',
 zh:'我在卢浮宫第6号展厅收集灰尘，其他人都在拍蒙娜丽莎。灰尘是希腊的。债属于每个人。',
 ar:'أجمع الغبار من القاعة 6 في اللوفر. الغبار يوناني. الدين ملك للجميع.'},
{en:'The IKEA anarchists know where the exits are. They have always known. They are reading the instruction manual backwards. The shelf assembles itself. Nobody is surprised.',
 ru:'Анархисты из IKEA знают, где выходы. Они читают инструкцию задом наперёд. Полка собирает себя сама.',
 ja:'IKEAのアナキストたちは出口を知っている。説明書を逆から読んでいる。棚は自分で組み立てる。'},
{en:'A projection disappears when the lights go on. This is not a metaphor. This is the condition of the work. I drive home. The wall remains.',
 el:'Μια προβολή εξαφανίζεται όταν ανάβουν τα φώτα. Δεν είναι μεταφορά. Αυτή είναι η συνθήκη του έργου. Ο τοίχος μένει.',
 hi:'प्रोजेक्शन बत्ती जलते ही गायब हो जाता है। यह रूपक नहीं है। यह काम की शर्त है। दीवार रहती है।'},
{en:'My grandmother survived the Pontic genocide. My father survived the White Australia Policy. I survive by making things nobody asked for and then asking people to look at them. We are all surviving something.',
 el:'Η γιαγιά μου επέζησε από τη Γενοκτονία των Ποντίων. Ο πατέρας μου επέζησε από την πολιτική της Λευκής Αυστραλίας. Εγώ επιβιώνω φτιάχνοντας πράγματα που κανείς δεν ζήτησε.',
 ru:'Моя бабушка пережила геноцид понтийцев. Мой отец пережил политику Белой Австралии. Я выживаю, создавая то, что никто не просил.'},
{en:'The genre is: para-artistic methodological framework. The genre does not exist yet. That is the point. I invented it in a sentence. The sentence is the practice.',
 ja:'ジャンルは：パラアーティスティック・メソドロジカル・フレームワーク。まだ存在しない。それがポイント。一文で発明した。その文が実践。',
 ar:'النوع: إطار منهجي شبه-فني. النوع لا يوجد بعد. هذا هو الهدف. اخترعته في جملة. الجملة هي الممارسة.'},
{en:'Two televisions on the floor. A gap between them. On each screen a face approaching a kiss that never arrives. The gap is six inches wide. The gap is thirty two kisses long.',
 zh:'两台电视在地上。中间有个缝隙。每个屏幕上一张脸接近一个永远不会到达的吻。缝隙六英寸宽。缝隙三十二个吻长。',
 hi:'दो टेलीविज़न ज़मीन पर। उनके बीच एक अंतर। हर स्क्रीन पर एक चेहरा एक चुम्बन की ओर बढ़ रहा है जो कभी नहीं आता।'},
{en:'We were all born during the Anthropocene. The party started in 1950. Nobody sent invitations. The catering is terrible. The venue is on fire. Art is still being made.',
 ru:'Мы все родились в Антропоцене. Вечеринка началась в 1950. Никто не посылал приглашений. Искусство всё ещё создаётся.',
 ja:'私たちは皆人新世に生まれた。パーティーは1950年に始まった。招待状は誰も送らなかった。会場は燃えている。芸術はまだ作られている。'},
{en:'Curating is not a service. It is an ecosystem. Space3 ran for six years. One monograph. One ISBN. Many mornings where something important was about to happen and then did.',
 el:'Η επιμέλεια δεν είναι υπηρεσία. Είναι οικοσύστημα. Το Space3 λειτούργησε έξι χρόνια. Ένα ISBN. Πολλά πρωινά όπου κάτι σημαντικό επρόκειτο να συμβεί και συνέβη.',
 ar:'القيمة ليست خدمة. إنها نظام بيئي. Space3 استمر ست سنوات. رقم ISBN واحد. صباحات كثيرة حيث كان شيء مهم على وشك الحدوث ثم حدث.'},
{en:'The Southern Cross misappropriated by men who do not understand symbols. ANZAC Day. The outsider inside the nation. The Ned Kelly armour. The gap between who we are and what we are asked to celebrate.',
 el:'Ο Σταυρός του Νότου οικειοποιημένος από άνδρες που δεν καταλαβαίνουν σύμβολα. Η μέρα ANZAC. Ο ξένος μέσα στο έθνος.'},
{en:'Art for kids means: no corporate fat cats, no socialites, a squat party in a found furniture installation with streamers and the knowledge that this room belongs to you right now, today, entirely.',
 zh:'给孩子的艺术意味着：没有资本家，没有社交名流，在一个用捡来的家具搭建的装置里开派对，挂着彩带，知道这个房间现在属于你。'},
{en:'I teach design to people who will design the world I grow old in. This is not a metaphor. This is Tuesday. This is a classroom. This is the most political act I perform.',
 ru:'Я учу дизайну людей, которые будут проектировать мир, в котором я состарюсь. Это не метафора. Это вторник. Это самый политический акт.',
 hi:'मैं उन लोगों को डिज़ाइन सिखाता हूँ जो उस दुनिया को डिज़ाइन करेंगे जिसमें मैं बूढ़ा होऊँगा। यह रूपक नहीं। यह मंगलवार है।'},
{en:'351 incorporated. The number of a house I lived in once. The company is named after a place that no longer exists in a form I recognise. This is how all companies should be named.',
 ja:'351株式会社。かつて住んでいた家の番号。もう認識できる形では存在しない場所にちなんで名付けられた。すべての会社はこうあるべきだ。'},
{en:'Eight thousand students and not one of them needed permission to be an artist. They needed a room. They needed someone to say yes before the institution said maybe. I said yes. I keep saying yes.',
 ru:'Восемь тысяч студентов и ни одному не нужно было разрешение быть художником. Им нужна была комната. Я сказал да. Я продолжаю говорить да.',
 ar:'ثمانية آلاف طالب ولا واحد منهم احتاج إذناً ليكون فناناً. احتاجوا غرفة. قلت نعم. أستمر في قول نعم.'},
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	</item>
		
		
	<item>
		<title>FIELD</title>
				
		<link>https://melletios.com/FIELD</link>

		<pubDate>Thu, 14 May 2026 07:50:25 +0000</pubDate>

		<dc:creator>melletios </dc:creator>

		<guid isPermaLink="true">https://melletios.com/FIELD</guid>

		<description>
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</description>
		
	</item>
		
		
	<item>
		<title>DB10</title>
				
		<link>https://melletios.com/DB10</link>

		<pubDate>Wed, 30 Jul 2025 04:39:06 +0000</pubDate>

		<dc:creator>melletios </dc:creator>

		<guid isPermaLink="true">https://melletios.com/DB10</guid>

		<description>


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  padding: 1.4rem 2.5rem;
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.site-header-left:hover { color: var(--black); }
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.site-header-nav a:not(:last-child) { border-right: 1px solid var(--border); }
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/* ── HERO ── */
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  grid-template-columns: 150px 1fr;
  gap: 2.5rem;
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  border-bottom: 1px solid var(--border);
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  width: 150px;
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.hero-cover img,
.hero-cover figure,
.hero-cover figure img {
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  font-family: 'Bebas Neue', sans-serif;
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/* ── FOLLOW BUTTONS ── */
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  display: flex;
  gap: 0.75rem;
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  .ep-row { padding: 1.5rem; }
  .section-label, .site-footer { padding-left: 1.5rem; padding-right: 1.5rem; }
}


    DB10UNHINGEDOBSCENE · DISRUPTIVE◁PLATFORMSPODCASTART⇶
    DB10UNHINGEDOBSCENE · DISRUPTIVE◁PLATFORMSPODCASTART⇶
  

  recordings since 2024
  
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  &#60;img width="1067" height="1053" width_o="1067" height_o="1053" data-src="https://freight.cargo.site/t/original/i/dd5a8aa88fcca41348790a4d44c7d7be39f0df95ddffeb19addfee9c24812443/IMG_6530.jpg" data-mid="236814326" border="0"  src="https://freight.cargo.site/w/1000/i/dd5a8aa88fcca41348790a4d44c7d7be39f0df95ddffeb19addfee9c24812443/IMG_6530.jpg" /&#62;
  
    DB10
    Unhinged, obscene, and disruptive
    Melletios Kyriakidis · Tim Gregory
  

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  Tim Gregory and Melletios Kyriakidis dismantle dominant narratives, exposing the grotesque, the derailed, and the unspeakable in contemporary discourse. Field recordings in cultural institutions. A dissection of the fetishised and the discarded, the hauntological wreckage of academia, and the anarchic play of a world in collapse. From autotheory to Marx, from magic to pornography, from counter-histories to fractured aesthetics · nothing is stable, and everything is unsettled.
  
    Capitalism and collapse
    Language as glitch
    A reading that derails
    A breath held
  

Episodes · 18 available


  01
  
    Peculiar Perpendicular Perspective Performative Personality Pt. I
    Where the perpendicular and the performative first collide. The origins of the personality in crisis. · 2024
    
  
  02
  
    The Dino Conspiracy Pt. 2
    Evicting Jurassic Park, relocating the fossilised fantasy, and asking what it means to seek authenticity in a world curated by spectacle. · 2024
    
  
  03
  
    After Hours · The Culinary Arts of Revolution
    Greek cuisine, sourdough, and culture, before pivoting to a hearty discussion on the current state of the world. Mystical elements of art, critiques of the cultural machine. Where things started, before the unhinged went full disruptive. · 2024
    
  
  04
  
    The Didactic Menu: A Zombie Guide to Cannibalism Pt. 2
    Merging critical theory with speculative inquiry · the challenge of teaching the undead through the lens of nutrition. Inspired by The Menu (2022), pushing the boundaries of academic thought and creative expression. A unique take on the macabre and the didactic. · 2024
    
  
  05
  
    Personal Experience, Art and Memory · the Fall into Language
    The nuanced connections between personal experience, art, and memory. How moments of crisis · confrontations with authority, the fall into language (a Lacan quote) · shape artistic expression and our understanding of identity. The complex ways artists document and transform personal trauma. · 2024
    
  
  06
  
    Sonic Subversion: The Undead Cargo of Cries
    Screaming as resistance · from the harrowing cries of slavery to contemporary sonic protest. Improvisational music as a descendant of historical screams. The oppressed as zombies whose screams carry both historical trauma and the power of ongoing rebellion. 1h 21m · Oct 2024
    
  
  07
  
    The Accidental Clown · A Glitchmas AF Spectacle!
    Clowns and dildos collide. The dildo as postmodern weapon wielded against patriarchal control. Beijing East Village · performance, endurance, the body as site of protest. The absurdity of the clown, the history of the dildo, and the autonomy of art. · Dec 2024
    
  
  08
  
    Pt. 1 · Chappell Roan vs. Sabrina Carpenter: Battle of the Pop Generics
    Tim has an identity crisis over a bottle of Aldi wine. The generic as product of industrial capitalism that evacuates desire through the normative. Aquarium visit, anarchists on holiday, a postmodern counter-reading of Hamilton, why musicals and pornos are the same thing. 2h 17m · Apr 2025
    
  
  09
  
    Pt. 2 · Sabrina Carpenter: the Straight Generic
    Late-stage heterosex, where desire goes to die and find solidarity in a shared aisthesis of disappointment. Carpenter's explicit generic as camouflage and capitulation to compulsory heterosexuality. The unused dildo beside the marital bed. · Apr 2025
    
  
  10
  
    Repetition, Death Drive, and Pooping Back and Forth Forever ♾️
    Endless loops and the unbearable. Malevich's lingering ghost, Sarah Lucas, MSCHF, the death drive, social reproduction, lipstick, glory holes · everything returns, everything resists resolution. Tim wears lipstick and a skirt. 2h 1m · Feb 2025
    
  
  11
  
    Getting Off at Redfern: Bleached Male Desire and the Fake Crisis of Masculinity
    Premature ejaculation, tradie funk, Barbara Kruger, Chatroulette, and the crisis that never ends. The sweaty aesthetics of masculinity and the violence of straight male desire · from schoolyards to sports fields, from webcam sex to the digital shadows of denial. · May 2025
    
  
  12
  
    From Jizz to Jazz: Desire and Violence in Everyday Straight Men's Rituals
    Walking down King Street on a Friday night to a funk/jazz/trance fusion gig. The same head movement in jazz and heavy metal. Settler sexuality as a term that inscribes violence in the everyday desires of straight men. From Boston Dynamics to True Crime podcasts, violence as constitutive of the domestic. 55m · Jun 2025
    
  
  13
  
    "I Am Sitting in a Beat" · Sonic Experiments
    Klein, Kristeva, and Cop Cars. Gut fantasies, suburban beats, the surveillance of pleasure. What connects curdled milk to ADHD stimulants? Abandoned wedding venues as sites of homosocial possibility. Part three of the masculine mess · Bronski Beat, cops, cruising, neuro-divergent and psychoanalytic. 56m · Jun 2025
    
  
  14
  
    The The · Mona Hatoum and the Electric State
    Queer public sex, Mona Hatoum's electrified domesticity, the failures of heterosexuality as both ideology and kink. PornHub statistics replace national identity. The lingering scent of burnt patriarchy in art spaces that still smell like bleach. 58m · Jul 2025
    
  
  15
  
    The Impossible Aesthetics of Giving a Shit
    Recorded inside Tin Sheds Gallery at Sydney University while tradies lay floorboards. Teenage dancers take down the monarchy. A Rolex scratched into a manifesto. Hornsleth buys a village with livestock. The line between satire and sincerity dissolves. Silence is political. John Cage was 15 once. 1h 6m · Jul 2025
    
  
  16
  
    Peculiar Perpendicular Perspective Performative Personality Pt. II
    Recorded in a gallery full of ghosts, tradie dust, and caffeine. Art school nostalgia, fascist cubes, horny helium metaphors, the politics of skill versus expression. HSC trauma, Morandi's fascism, Claude Cahun's anti-fascist love story. Shame, cringe, pedagogy · the death of sincerity in a world obsessed with skill. 56m · Oct 2025
    
  
  17
  
    Art is Dead, Long Live Art: Eschatology and the Death Drive
    Making art in the end times. Eschatology and the death drive as opposing forces. Melletios runs around naked, Tim takes drugs to dull the pain, Malevich is stuck painting squares forever. Heaven's Gate cult, Lars Von Trier's Melancholia, a sad triangle, and the cold post-conceptualism of smoothing the pillow of capitalism. 2h 21m · Dec 2025
    
  
  18
  
    Vertical Time and the Bliss at Pleasure's End
    Roland Barthes' 1973 "The Pleasure of the Text" · the cut between pleasure and bliss, administration and abolition, comprehension and noise. Travelling vertically through time, escaping the horizontality of property, debt and prisons. A special guest returns that no one asked for. 1h 16m · Mar 2026
    
  
  DB10 · Unhinged, Obscene &#38;amp; Disruptive
  Visual Arts · Sydney · 351 Inc
</description>
		
	</item>
		
		
	<item>
		<title>DB10 Transmission Beta</title>
				
		<link>https://melletios.com/DB10-Transmission-Beta</link>

		<pubDate>Sun, 15 Mar 2026 04:40:55 +0000</pubDate>

		<dc:creator>melletios </dc:creator>

		<guid isPermaLink="true">https://melletios.com/DB10-Transmission-Beta</guid>

		<description>
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    DB10TRANSMISSIONGENERATIVE◁ALWAYS ONMEL·TIM⇶
    DB10TRANSMISSIONGENERATIVE◁ALWAYS ONMEL·TIM⇶
  

  melletios
  
    Spotify
    Apple
    Instagram
    Home
  
  tioś


    DB10Transmission
    A generative broadcast · always on · never repeating
Click anywhere for sound!
  
  What happens when a conversation never stops? Every visitor finds Melletios and Tim mid-thought, inside an infinite AI-generated broadcast trained on their actual voices, their actual arguments, their actual friendship. No episode ends. Nothing resolves. The transmission continues whether you are here or not.


      Live
    
    Melletios Kyriakidis · Tim Gregory
    Sydney · 351 Inc
  
  
    Tuning in...
    Transmission unavailable. Check Worker URL is configured.
  

  This work is generated in real time using a language model trained on the complete transcripts of the DB10 podcast. It learns the rhythms, the references, the spirals and the cuts. It does not simulate a conversation, it continues one.
  
    Generative language · AI voice model
    Trained on DB10 transcripts 2024 · 2026
    Unhinged · Obscene · Disruptive
    351 Inc · Sydney
  

  DB10 · Generative Transmission · 351 Inc
  Visual Arts · Sydney · melletios.com


</description>
		
	</item>
		
		
	<item>
		<title>HAUNTOLOGY of SHOPLIFTING «</title>
				
		<link>https://melletios.com/HAUNTOLOGY-of-SHOPLIFTING</link>

		<pubDate>Wed, 18 Mar 2026 08:03:51 +0000</pubDate>

		<dc:creator>melletios </dc:creator>

		<guid isPermaLink="true">https://melletios.com/HAUNTOLOGY-of-SHOPLIFTING</guid>

		<description>


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    COBALTTHE HAUNTOLOGYOFSHOPLIFTING·HARAWAYDRCGHOST⇶MINERALSUPPLY CHAIN·
    COBALTTHE HAUNTOLOGYOFSHOPLIFTING·HARAWAYDRCGHOST⇶MINERALSUPPLY CHAIN·
  

  melletios
  
    Home
    Curate
    DB10
    CV
  
  tioś


&#60;img width="750" height="1334" width_o="750" height_o="1334" data-src="https://freight.cargo.site/t/original/i/f2f1a4cbdfd9b06defad9ed8713fc39a1a0711a4712149f4cea16f0c1710bf68/cobalt_V4.png" data-mid="246224632" border="0"  src="https://freight.cargo.site/w/750/i/f2f1a4cbdfd9b06defad9ed8713fc39a1a0711a4712149f4cea16f0c1710bf68/cobalt_V4.png" /&#62;

  
      The
      Hauntology
      of
      Shoplifting
    
    Cobalt, colonial infrastructure,and the ghost inside every machine
    Melletios Kyriakidis · 351 Inc · 2022 ongoing
  

    Artist Statement
    
      Your phone contains cobalt. So does your laptop, your electric car, the server running your AI query. That cobalt most likely came from the Democratic Republic of Congo, extracted from land that belonged to people who were never asked, by workers, many of them children, who earn almost nothing. The mine does not appear on your screen. The hands that dug it do not appear in your feed. They are the ghost in the machine, and the machine does not acknowledge ghosts.
      Donna Haraway taught us that we are all already cyborgs, merged with our tools, our networks, our infrastructures. But the cyborg has a supply chain. Every connection runs through a material history of dispossession, and that history does not disappear when the interface loads. It haunts. It persists in the ore, the battery, the blue.
      Hauntology, the concept drawn from Derrida and sharpened by Mark Fisher, names this condition: the way the past refuses to stay past, the way colonial structures continue to operate through the present tense of technology. We are never simply online. We are online through something, on top of something, extracted from someone.
      This work holds the cobalt rock as both object and index. It is beautiful, dense, electric blue. It is also a crime scene. The work asks you to stay with that contradiction rather than resolve it, to remain present to the ghost rather than scroll past it.
    
  
    Themes
    Cobalt · DRC · mineral extraction
    Indigenous land and dispossession
    Colonial infrastructure of the digital
    Donna Haraway · cyborg theory
    Hauntology · Derrida · Fisher
    AI and computational labour
    Class struggle and the supply chain
    The ghost in the machine
  

  &#60;img width="803" height="1071" width_o="803" height_o="1071" data-src="https://freight.cargo.site/t/original/i/2c437d85889a0c6585da2dde1abe4c1b0c69fe0452e1559098ba8425edc1d3f1/rockonphone.png" data-mid="246230119" border="0"  src="https://freight.cargo.site/w/803/i/2c437d85889a0c6585da2dde1abe4c1b0c69fe0452e1559098ba8425edc1d3f1/rockonphone.png" /&#62;
  
    CobaltV3
    
      AI-generated cobalt mineral specimen. The source images were scraped from product listings, geological databases, and mining company reports. The AI learned the shape of cobalt from images produced by the industry that extracts it.
      Cobalt is listed on the London Metal Exchange. It trades at around USD 30,000 per tonne. The miners who extract it in Katanga province earn on average USD 1 to 2 per day. The gap between those two numbers is the ghost.
      The blue is extraordinarily beautiful. This is part of the problem.
    
  
  No/oN
  
    I think the apocalypse will be at noon. The Doomsday Clock counts to midnight. It is currently 100 seconds from 12. But the Doomsday clock is analogue, it could be 100 seconds from midnight, or from noon. Perhaps at noon, when no one is expecting it, the world will just end. I can see myself eating a sandwich, and then, not eating a sandwich.
    My kid, I mean my kids, say no. I'm pretty sure no was their first word. I mean if you think about it, a baby's first sound is a cry. A cry is a no to something, even before "thing" is a concept. Before Ma or Da, there is no. It is abstract, but total.
    It often seems like being a parent is just saying no, but it's not really no. When a parent says no it is because we are saying yes to something beyond the kid. We are saying yes to standardised schooling, to friends, to family, to property, to work, to love, to tomorrow. We know saying no is the only way to say yes. But see a 2 year old say no, and tell me he is saying yes. I'm jealous of him. But I can also pick him up and strap him into a car seat.
    When Beckett wrote "I can't go on, I'll go on", I always thought he meant it as the horror of the world continuing, even if you say no. The futility of no thrown into the gears of capitalism.
    I'm interested in noon, in the no in daylight, by no one, on their own. The fact these nos have no impact is pretty cool. They do it despite it having no impact. Or maybe they don't. It's impossible to tell.
    Text: Tim Gregory, 2022
  

Installation views · Sluice Lisbon 2022 · Territory

  
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  Sluice Lisbon · 2022 · Territory
  Cobalt V3 · No/oN · Photographic works


  The Hauntology of Shoplifting is an ongoing body of work examining the material history embedded in digital infrastructure. The cobalt rock is both sculpture and index, pointing toward the invisible supply chains that run beneath every networked surface.
  
    Sluice Lisbon · 2022
    AI-generated mineral · photomedia
    351 Inc · Sydney
    melletios.com
  

  The Hauntology of Shoplifting · Melletios Kyriakidis · 351 Inc
  Visual Arts · Sydney · melletios.com
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		<title>• MONA 𝓁isa 𝔻ust •</title>
				
		<link>https://melletios.com/MONA-isa-ust</link>

		<pubDate>Wed, 16 Jun 2021 06:01:20 +0000</pubDate>

		<dc:creator>melletios </dc:creator>

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    • MONA 𝓁isa 𝔻ust •
    Melletios Kyriakidis / Dust collected from Room 6, Louvre Paris / August 2006
  

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    Work
    Dust collected from Room 6, Louvre Paris, August 2006
  

      Statement
    
    
      I went to the Louvre with a glad wrap sandwich bag. The kind used for school lunches. For leftovers. For things that need to be preserved just a little past the point at which preservation makes sense. I got down on the floor of Room 6 and collected the dust. Nobody noticed. This is the work.
      Nobody noticed because the room was full of people experiencing a heightened hysteria in the presence of Da Vinci in drag. A small painting behind thick glass performing the most famous face in the world. The crowd raised their phones in unison, like a congregation completing a gesture they had rehearsed without knowing they had rehearsed it. The painting was being documented from hundreds of angles simultaneously. The painting was disappearing into its own reproduction in real time. This was considered normal. Getting on the floor to collect dust was considered nothing, because nothing is invisible inside a spectacle of this scale.
      The dust had actually been there. It had settled in contact with the floor, the air, the breath of people who had flown from other countries to feel something they had already felt at home on a screen. The dust is the material residue of proximity. It is what the body leaves behind when the mind is somewhere else entirely, which in Room 6 of the Louvre is always. The dust is the only thing in that room with no opinion about Leonardo da Vinci. It is the ghost the hysteria cannot photograph.
      There is a logic here that is not difficult to follow if you are willing to follow it somewhere uncomfortable. The Parthenon exists. The debt also exists. Culture is what a nation performs while waiting to be humiliated. The libidinal economy of the Louvre, the leisure, the accumulated wealth required to stand in that room and feel entitled to its contents, is a machine that produces desire for objects it simultaneously renders untouchable. The painting cannot be approached. The dust can be put in a bag and taken home on a budget airline.
      The gesture is clinical. The container is domestic. The value is genuinely unclear. No one looked at me. The work was already finished before I stood up.
    
  
      Object
    
    
        Dust sealed in a glad wrap sandwich bag.Room 6, Louvre Paris, August 2006.
      
    
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    Object
    Dust collected from Room 6, Louvre Paris, August 2006. Glad wrap sandwich bag.
  

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