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A R T E M I S  C H R Y S O S T O M I D O U

She will be a fellow artist of Frankfurt LAB for 2021,

she will present her new work Manipulation and other romantic stories

while she will participate in TRAVERS multidisciplinary project

at Copenhagen Contemporary

and she will be one of the mentors of the TRANSMISSION X2 workshop

by ALTER EGO (X) compagnie de théâtre européen in Paris.


In 2020 she was a fellow artist of TEMPORARS

by Muzeum Susch, Art Stations Foundation Switzerland,

she wrote and directed the play Mortality, hooray

about beauty tips, science and love stories

for the 2020 EXPO Festival, English Theatre Berlin,

while with H. Riipinen they received the synergy funding of

Kulturrådet, Arts Council Norway

for the pre-projects Butter knife and Lost Boys.

In 2019 she wrote and directed the play

A guide on how to prevent daily life accidents

about the fear of death and love between women

at the Main Stage of BIOS exploring urban culture in Athens,

she was awarded the fellowship of the

European Theatre Convention as a European Emerging Artist 2019,

she worked at Theater Magdeburg for Düsterbusch, City Lights by Alexander Kühne,

participated in the International Theatre Conference in Dresden

and her text Utopia and Absence

was presented at the Ejerslev Dreaming Festival in Denmark.

In 2018 she was awarded the

State Prize of Literature, Best Young Writer 

for her book Dogs don’t bark in France | Sculpture.


From 2015 to 2017 she collaborated with VASISTAS theatre group on dramaturgy

for Apologies 4&5 by Efthimis Filippou at the International Athens Festival

and Divine Comedy by Dante Alighieri at the SGT Onassis Foundation.


In 2012-2013 she co-directed with a molecular immunologist 

an interdisciplinary educational program in Scotland and Cyprus.


In 2011 she wrote and directed in Thessaloniki

the performances The flesh has its own spirit,

a work about lust which has been presented in a former Greek tannery,

Words like Oedipus I, The cost of life

and Words like Oedipus II, Death came as half a human

about patriarchy and the desperate need for intimacy.

h e r  w o r k

Moving through different languages and genres

she uses the observation as a study of phenomena and beyond.

She deals with accurate wording and reactions

as existential humorous poetry, considering that:

aesthetics are an ethical statement which manifests our presence.

Performative, writing and exhibition space

are areas of great consistency and high risk

in the terms of reality and absurdity,

simplicity and precision, tenderness and bravery.

Art is no longer interested in a story but in the acceleration of thought.

 
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