Projects 96: Haris Epaminonda

Nov 17, 2011–Feb 20, 2012


Haris Epaminonda. Untitled #10 n/g (man) from Vol. VII. 2011. Found printed paper, 6 1/8 x 4 5/16" (15.5 x 11 cm). Courtesy the artist and Rodeo, Istanbul. © 2011 Haris Epaminonda
  • MoMA, Floor 2, Exhibition Galleries Exhibition Galleries

In her first solo museum exhibition in the United States, Berlin-based artist Haris Epaminonda (born Cyprus, 1980) constructs a world based on connections between a three-channel video projection—part of Chronicles (2010)—and a museological-style installation of antique pottery, columns, plinths, niches, and pictures culled from magazines and books of the past. Among the books are travelogues about archeological sites that are visually related to each other yet separated by centuries of history.

Composed of short Super 8 films (transferred to video) that the artist shot over several years, Chronicles eschews narrative in favor of fragmented images that probe the nature of time and assert the permeability of memory. One film shows ancient artifacts from different cultures either isolated on colored backgrounds or in images torn from the pages of an art history book, subtly animated by the slight motion of the handheld camera. In another film, views of the Acropolis exude a twilight state of entropy or decay. The third film simply portrays a pair of superimposed palm trees flickering in the wind in the middle of a barren landscape, remnants of a civilization in decline. The artist enlists a range of techniques, from long takes and unedited footage to fast cuts, narrative rupture, and intensified color. Because the films are looped and of varying lengths, the image combinations do not repeat. A single soundtrack of mixed instrumentation and natural sounds by the band Part Wild Horses Mane On Both Sides provides an acoustic link between the three projections. The moving images, in turn, inform the sculptural installation, creating a three-dimensional audio-visual montage that cuts across temporal and geographic borders.

Organized by Roxana Marcoci, Curator, Department of Photography.

The Elaine Dannheisser Projects Series is made possible in part by The Junior Associates of The Museum of Modern Art.

This year marks the fortieth anniversary of the Projects series, which has played a critical part in the Museum’s contemporary art programs.


Installation images

How we identified these works

In 2018–19, MoMA collaborated with Google Arts & Culture Lab on a project using machine learning to identify artworks in installation photos. That project has concluded, and works are now being identified by MoMA staff.

If you notice an error, please contact us at [email protected].


If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations).

MoMA licenses archival audio and select out of copyright film clips from our film collection. At this time, MoMA produced video cannot be licensed by MoMA/Scala. All requests to license archival audio or out of copyright film clips should be addressed to Scala Archives at [email protected]. Motion picture film stills cannot be licensed by MoMA/Scala. For access to motion picture film stills for research purposes, please contact the Film Study Center at [email protected]. For more information about film loans and our Circulating Film and Video Library, please visit

If you would like to reproduce text from a MoMA publication, please email [email protected]. If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to [email protected].


This record is a work in progress. If you have additional information or spotted an error, please send feedback to [email protected].