A series of objects reflecting on the notions of kin through an expansion of the definitions of ecology and economy, are used as spinal elements to speak about a longing for the communal and the mutual. The personal desire that affects and is being affected by what a collective memory embeds becomes in this series, more apparent. The project works and plays with fragments of histories searching for their generative poetics and their esoteric symbolisms as processes for approaching and sensorially touching the idea of home. Both the words economy and ecology, are thought through in this project taking as starting point of reference the semantics and possibilities of their etymologies. The prefix ‘eco’, a derivation of the greek word ‘oikos’, meaning the extended family as well as its property is coming along with both ‘logos’ and ‘nomos’. Logos is, in this work, invoked partially, signifying the gesture of speech, of confession and promise. Ecology then, becomes, through a re-arrangement of the initial linguistic scheme, an invitation for homecoming; it provokes instructions and memories. The prefix ‘nomos’, arising from the ancient greek verb ‘nemein’, meaning to distribute, to share comes in the work in order to fill in the gaps that ‘logos’ is missing.


How does the home then, a micrography, a demography of a larger system of affiliations can be redefined and reinvent vicinities and kins among its members? ‘Fables and World Cups’ focuses on the overlaps between these two, addressing transience and progress through taking a step back (homecoming) in order to dwell forward. Haptically the exhibition of this project was including a series of mobiles employing the craft of a local artisan from Spain. His “oficio” was generational, until his offspring migrated to larger urban areas. His skill, history and community were therefore dying out. Mays’ worked with him, to create mobile sculptures out of materials that were autochthonous, affiliated with a cultural vicinity. The objects produced implied the notions of socio-political circulation, movement, interaction and activation; they became performative. A furry football, walking canes made out of olive trees, bones for dogs and uncooked beans are the elements completing the installation surrounding the textual format of the work. Their collision allows a proximity to pasts, currents and futures, to cultural and labour analyses, to rational and occult practices

[excerp from text by Ioanna Geradiki]