What was, ten years ago, described as the arrival of the post-digital era is now a solid predicament. Which parameters define the Greek post-digital experience vis a vis the ongoing strengthening of an expanded tourist industry? What do we reckon of the human forces that are training to build and recruit the future wellness clinics? The positions exercised by this group of -mostly Gen Z- digital natives demarcate a strategy for repurposing the post-digital self: They experiment with relapsing, crafty impersonations – vigilantes that lurk in spaces of hardship, rogue zones of Greek society. Their works repurpose small industry, craft and self-masquerade to interrogate the fantasies permeating contemporary Greek politics.

Markella Ksilogiannopoulou (ASFA Lab 12) employs her Ninjakos character to vandalize three works by male artists (Wolf Vostell, Francis Alÿs, Santiago Sierra) by situating them within an alienating material/urban framework, full of bitter references. Christos Fousekis (ASFA Studio 9) participates with a ceramic sculpture that is meant to reverse the function of the fetish, by exploring some “less-compelling” dimensions of his personal fetishes. Additionally, he impersonates the “Law enforcement artist”, a grotesque materialization of a “culturally impossible” position. With the “Safety last” performance, Stathis Chalkias (ASFA Lab 11) evokes the labor conditions at the ship-construction zone of Perama (Region of Attica) by becoming the gaffer for a group of disobedient workers, at the basement of ViZ. Next to Chalkias’s workers, Savvas Tsimouris (ASFA sculpture studio 1) performs the Chameleon, an exhibitionist bass player, maneuvering in the dark to resist the inquisitive gaze of Greek society. Vassilis Bacalis (ASFA Lab 11) transforms the iconic/traditional Greek grandmother into a malicious witch. Ilias Tafaruci (ASFA Lab 11) presents ΕΚΤΕ ΜΠΗΝ ΠΡΑ, a series of digital illustrations that mirror and distort friends and acquaintances.