Αυτό που ορίζει την τέχνη και της δίνει την δύναμη που διαθέτει, είναι η  συγκίνηση που προξενεί.                                                                                                                                                                                          Arthur C. Danto     Πώς μπορώ λοιπόν να δώσω μια απάντηση στο ερώτημα; Θα μπορούσα να πω με δυο λέξεις ότι το μυστικό βρίσκεται απλά στη δύναμη που έχουν κάποιες εικόνες να μου κόβουν την ανάσα. Για λίγα δευτερόλεπτα η για...

 Giannis, looking at your work on your site, I remember your early photographs – the ones I saw when we first became friends on Facebook: even though the technique was clear, there was something very special about them. It can’t really be described but perhaps ‘vulnerability’, ‘dreamlike’, ‘tenderness’, and other similar words come close. You say that you were inspired by certain movements and that you wanted to give a painterly feeling to those pictures. What were those movements and what was the feeling that you...

“The power of the image lies in the image itself and not in its story. It is in the nature of the mind to want to know: it needs stories, labels, logical correlations. But when we think we know, we lose the meaning.”     I had gone down to Piraeus. It was early December but the weather was still very good. Even though I had now been in Greece for about a year, I kept forgetting that I had moved, often giving people my parents’ address by mistake, just by force of habit. So that Saturday, when I visited...

These pictures are taken in ‘available light’, and this is important. ‘Available light’ is a term often met with in photography, and it seems quite straightforward. However, it has ideological weight. It came into use during the 1920s and 1930s, and is often associated with the development of the Leica and Ermanox cameras. It is used with respect to documentary and reportage. It belongs to democratic and liberal cultures, and to their ethics. The idea is that ‘available light’ presents the subject in a natural light...

A conversation of Haris Kakarouhas with Ian Jeffrey.   January 2003.   London.   Q. Why did you choose Cuba? A. I could call upon reasons like the living memory of one of my teenage heroes, – I refer to Che of course-, as much as the particularity of the political system; or maybe the fact that I had already acquired a stimulating though slight flavour of the place a few years ago, when on the occasion of a photographic exhibition in Phototeca de Cuba -in which I participated-, I was given a first chance...