[{"data":1,"prerenderedAt":106},["ShallowReactive",2],{"i-mdi:facebook":3,"i-mdi:instagram":8,"content-\u002Fen\u002Fexhibitions\u002Fh-ntoylapa":10},{"left":4,"top":4,"width":5,"height":5,"rotate":4,"vFlip":6,"hFlip":6,"body":7},0,24,false,"\u003Cpath fill=\"currentColor\" d=\"M12 2.04c-5.5 0-10 4.49-10 10.02c0 5 3.66 9.15 8.44 9.9v-7H7.9v-2.9h2.54V9.85c0-2.51 1.49-3.89 3.78-3.89c1.09 0 2.23.19 2.23.19v2.47h-1.26c-1.24 0-1.63.77-1.63 1.56v1.88h2.78l-.45 2.9h-2.33v7a10 10 0 0 0 8.44-9.9c0-5.53-4.5-10.02-10-10.02\"\u002F>",{"left":4,"top":4,"width":5,"height":5,"rotate":4,"vFlip":6,"hFlip":6,"body":9},"\u003Cpath fill=\"currentColor\" d=\"M7.8 2h8.4C19.4 2 22 4.6 22 7.8v8.4a5.8 5.8 0 0 1-5.8 5.8H7.8C4.6 22 2 19.4 2 16.2V7.8A5.8 5.8 0 0 1 7.8 2m-.2 2A3.6 3.6 0 0 0 4 7.6v8.8C4 18.39 5.61 20 7.6 20h8.8a3.6 3.6 0 0 0 3.6-3.6V7.6C20 5.61 18.39 4 16.4 4zm9.65 1.5a1.25 1.25 0 0 1 1.25 1.25A1.25 1.25 0 0 1 17.25 8A1.25 1.25 0 0 1 16 6.75a1.25 1.25 0 0 1 1.25-1.25M12 7a5 5 0 0 1 5 5a5 5 0 0 1-5 5a5 5 0 0 1-5-5a5 5 0 0 1 5-5m0 2a3 3 0 0 0-3 3a3 3 0 0 0 3 3a3 3 0 0 0 3-3a3 3 0 0 0-3-3\"\u002F>",{"id":11,"title":12,"artist":13,"artworks":14,"body":24,"dateMessage":94,"description":33,"endAt":95,"extension":96,"meta":97,"name":75,"navigation":98,"path":99,"robots":94,"seo":100,"sitemap":101,"startAt":102,"status":103,"stem":104,"__hash__":105},"exhibition_en\u002Fη-ντουλάπα.md","Η Ντουλάπα","George Harvalias",[15,18,21],{"name":16,"image":17},"2025, thermal transfer on fabric, 150×200cm","\u002Fmedia\u002Fγιωργος-χαρβαλιας-θερμομεταφορά-σε-πανί-150x200εκ.jpg",{"name":19,"image":20},"Diptych 2025, thermal transfer on fabric, 280x220cm","\u002Fmedia\u002Fγιώργος-χαρβαλιάς-δίπτυχο-θερμομεταφορά-σε-πανί-280x220εκ.jpg",{"name":22,"image":23},"Excerpt from a diptych 2025, thermal transfer on fabric, 218x138cm","\u002Fmedia\u002Fγιώργος-χαρβαλιάς-απόσπασμα-δίπτυχου-θερμομεταφορά-σε-πανί-218x138εκ.jpg",{"type":25,"value":26,"toc":90},"minimark",[27,34,37,40,52,55,58,61,64,67,70,77,87],[28,29,30],"p",{},[31,32,33],"strong",{},"GEORGE HARVALIAS",[28,35,36],{},"’’ the wardrobe’’",[28,38,39],{},"DIARY OF A CRISIS — SEVEN VARIATIONS ON AN IMAGE",[41,42,43,49],"blockquote",{},[28,44,45],{},[46,47,48],"em",{},"“Nothing appears as it should in a world where nothing is certain.\nThe only thing certain is the existence of a secret violence that\nmakes everything uncertain.”",[28,50,51],{},"— Antonioni referring to Lucretius, The Architecture of Vision, pp.\n39-40, translated by Carlo di Carlo and Giorgio Tinazzi",[28,53,54],{},"The wardrobe as a topos, field of crisis and memory, a space of identity\nfor the subject.",[28,56,57],{},"The image: Empty shells of shirts—these familiar objects, charged\nthrough use and repetition, no longer belong to anyone. They seem to be\nin limbo, stuck in the moment of fall that never completes—a visible yet\nunresolved fall that lasts.",[28,59,60],{},"The diary of a crisis: this is not the time of a personal mythology; it\nis the time of displacement and repetition.",[28,62,63],{},"Seven variations on an image: Seven attempts to complete the same image\nin vain; each reiteration is yet another rendering of this failure. Each\nimage affirms the unattainability of determinacy or stabilization; it is\nan attempt to capture something that, even though it has already\nhappened, still goes on. Each image continues to return to the same\ntopos: the mental state of uncertainty.",[28,65,66],{},"These are clothes taken from a wardrobe that was opened, emptied,\nexposed—and ultimately kept nothing inside.",[28,68,69],{},"I only retained the structure, beginning from the intensity of\nrepetition to visual rupture. The images, from intimate, have turned\ninto organized systems of relations, disconnected from myself—they no\nlonger belong to me. Tracing their own trajectory, they do not need my\nstory anymore nor do they yearn for my definite interpretation. If they\nmean something, if they hold any value, it is only because they invite\nus toward new interpretative paths.",[28,71,72,73,76],{},"The ",[46,74,75],{},"Wardrobe"," opens not to reveal but to disperse and bifurcate. It\ndoes not constitute the narration of an event or experience. Every image\nreturns to the same point, without exhausting it. Repetition does not\nstabilize the image, it erodes it. Variation does not alter it—it\ndisplaces it. Anything that pertains to the intimate has been cut off or\nwithdrawn. In the newly created void, the gaze searches for the\naffective body. Each image is an attempt to reconstitute it, one that\ncontinuously fails, and, precisely for that reason, persists.",[41,78,79,84],{},[28,80,81],{},[46,82,83],{},"“Poetry is not a turning loose of emotion, but an escape from\nemotion; it is not the expression of personality, but an escape from\npersonality. But, of course, only those who have personality and\nemotions know what it means to want to escape from these things.”",[28,85,86],{},"— T.S. Eliot, Tradition and the Individual Talent, 1919",[28,88,89],{},"G. H.",{"title":91,"searchDepth":92,"depth":92,"links":93},"",2,[],null,"2026-06-20 00:00:00","md",{},true,"\u002Fh-ntoylapa",{"description":33},{"loc":99},"2026-04-22 00:00:00","running","η-ντουλάπα","9mGajzKV9S7rCii5inLQDWVc1Tn30sCxsdEbNA7Nq90",1776868529640]