The work is inspired by the disastrous and historically unprecedented flooding which hit the western suburbs of Attica in 2017, drawing from the personal experience of the artist and his family in Mandra, Attica —Kanakis’ birthplace and one of the main areas affected by the disaster.
The work showcased here constitutes a fragile monumental topography, subject to constant, threatening oscillations. The resulting glass landscape is sensitive to external forces, ever changing, constantly vibrating, deteriorating, cracking, with parts of it being destroyed every day. What will be left after the destruction-exhibition? What fills the space between what we strive to salvage and what finally manages to survive? In the state of emergency, everything reverts to a single organic matter: the living, the human material, all crystallize into a volume orchestrating a deceleration of its cycle of existence.
State of Emergency stages the climax of an ongoing drama: the outbreak of a natural disaster and the exact moment of declaring the state of emergency —right when all other natural elements are seen as posing a threat to human life. The tragic realisation of a preordained mass retreat: the painful dichotomisation of a holistic ecosystem giving rise to an unbearably simplified juxtaposition opposing man to nature. The memory of the trauma of a violent separation, the sense of truly missing the time when we used to be “one”.
