If at some point you’ve ever dreamt of staging a screening
on the rooftop of your block of flats, then Vangelis Kolotsios’
event will certainly grant you your wish. The futuristic im-
ages of Metropolis meet the pop sensibilities of Two or Three
Things I Know About Her in a screening about the change to
and the evolution of the urban landscape. One block of flats
becomes a cinema, and two films about the city converse
with Thessaloniki itself.
The installation includes two films: The futuristic-looking Me-
tropolis, under the authority of the overseer, the sole tyrant com-
manding both machine and development; and, the pop-tinged
Two or Three Things I Know About Her, ruled by a contemporary
society led by multiple choice, consumption and the mask of
modernisation. This unique pairing draws out various issues and
raises many points, which could be interpreted by the viewer in
a variety of ways (as can occur in the case of almost any film).
The visitor walks inside the block of flats, juxtaposing it with the
world found in his or her mind, as the installation forms a course
/ evolution with a beginning, middle and end. This is rearranged
according to the direction chosen-from the Entrance of ques-
tioning, to the Lift of the Word, to the Rooftop of the society of
the spectacle and the areas of consumption (and the reverse).
on the rooftop of your block of flats, then Vangelis Kolotsios’
event will certainly grant you your wish. The futuristic im-
ages of Metropolis meet the pop sensibilities of Two or Three
Things I Know About Her in a screening about the change to
and the evolution of the urban landscape. One block of flats
becomes a cinema, and two films about the city converse
with Thessaloniki itself.
The installation includes two films: The futuristic-looking Me-
tropolis, under the authority of the overseer, the sole tyrant com-
manding both machine and development; and, the pop-tinged
Two or Three Things I Know About Her, ruled by a contemporary
society led by multiple choice, consumption and the mask of
modernisation. This unique pairing draws out various issues and
raises many points, which could be interpreted by the viewer in
a variety of ways (as can occur in the case of almost any film).
The visitor walks inside the block of flats, juxtaposing it with the
world found in his or her mind, as the installation forms a course
/ evolution with a beginning, middle and end. This is rearranged
according to the direction chosen-from the Entrance of ques-
tioning, to the Lift of the Word, to the Rooftop of the society of
the spectacle and the areas of consumption (and the reverse).
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