The art of Haris Epaminonda is a matter of incisions, splices, folds and pleats; it ceaselessly rends itself along unsuspected lines, then stitches the remnants together in enigmatic and startling ways. It is an art exercised not so much by the venerable theme of the fragment, as by the interstices between fragments: the infinitely svelte horizons, seams or fissures that separate one image from another. (She reminds us, in fact, that fragmentary art has always been about the in-between, that its substance is an excuse for slipping empty spaces into the work.) In Epaminonda’s photographic collages and videos, images abut each other not with the stark insistence of classic montage, but with a sort of sly insinuation: they slowly enfold themselves in one another’s embrace. Collage here is always in movement, suggesting new sym-metries, new differences, new gestures and rituals that remain subtly indistinct.

(Brian Dillon. Auszug aus/excerpt from “Sutures”, zuerst erschienen/first published in Old earth, no more lies, I’ve seen you, Kat. Pavillon Zypern/cat. Cyprus Pavilion, 52. Biennale di Venezia)