They are rebels without names or faces, soldiers who decided not to represent one side or the other. They are domestic guerrilla fighters, improvised kamikazes dressed in rags, and they remind us that there is a present from which we must defend ourselves. They are members of small, clumsy troops in the middle of a battlefield. This is everyday life for them.
Efstathiadis’ Greece has seen this birth of a parallel universe, full of irony, that seems to exist outside of time itself: for 2010 was a year when austerity measures sanctioned by the European Union caused outrage for a people already oppressed by years of economic crisis. Athens was a battlefield, and media from all over the world reported the violence of demonstrations, the clashes with police, the explosion of molotov and cars in flames.
Out of this landscape Lohos rises: fictional characters that become the subjects of ephemeral installations made of everyday objects and trash. Tubes substitute ancient columns, the lids of litter bins become decorations in relief, pots and kitchen tools become weapons. They are soldiers of our time and they wear clothes and hats to disguise themselves. They are in chains; they protect themselves as they can from a war they did not want to fight.
Petros Efstathiadis (b. 1980) graduated from the University for the Creative Arts Farnham and now lives in his native country, Greece. In 2015 he exhibited photographs from “Prison” series at the Circulation(s)- Festival de la jeune photographie européenne, in Paris, and “Bombs” at the Athens Photo Festival, along with a solo exhibition at the CAN Gallery, in Athens. He has also participated in shows at the Serlachius Museum, in Finland; Xippas Gallery and the House of Cyprus, both in Athens; and the Hyères Festival, where he won the grand prize in 2013. Efstathiadis has been a guest lecturer at CEPV School of Photography and Zurich University of the Arts (ZHdK), both in Switzerland; and at the Royal Academy of Fine Arts in Antwerp. His work has been published in Wallpaper*, Monocle, Domus, Jeu de Paume, The Guardian, and Le Monde.