transpolia (fragments re-set)
TRANSPOLIA dot com houses SPOLIA – elements transplanted from their original contexts into new structures. Fragments found when TRANSlating for others. Disparate texts discovered inside disparate texts, pulled out and placed here. Imbued with traces of their origins, in this space they are (together) new.
A ballad ⋮ beloved.
A life ⋮ forever here.
A mutilated ⋮ death.
All ⋮ in and of itself.
All that I ⋮ back.
An all-round driver of ⋮ systems.
An earthquake ⋮ himself.
An opportunity⋮ precedes syntax.
And ⋮ the land.
Are you afraid ⋮ comrade.
Banana falls ⋮ over.
Betrayal comes from ⋮ another.
Boughs ⋮ like ink (Egyptian).
But rejection ⋮ at night.
Don’t ⋮ bare, bereft.
Down on the ⋮ floor.
Each night, ⋮ tears.
For better or ⋮ return.
Ghost boy ⋮ killer.
I am ⋮ weeping.
I asked him ⋮ to dance more.
I come ⋮ cover up.
I find a plaque ⋮ fascinating.
Inside ⋮ its warm embrace.
It is ⋮ everything.
Let me ⋮ never come.
Like ⋮ the smell of earth.
Look now ⋮ and grow tame.
Me – the material ⋮ necessity.
Miss! Pride and ⋮ bows.
Nightmarish forest of ⋮ our own.
Noon ⋮ lies ahead.
Painting ⋮ with the body.
Plunged in ⋮ our gaze.
Rose-like ⋮ all the flowers.
The catharsis ⋮ of proportion.
The difference ⋮ is absurdity.
The migratory moves ⋮ immense.
The things ⋮ now behind.
This here ⋮ (from Brazil.)
This place of ours is ⋮ sky.
Today ⋮ forever more.
I asked him ⋮ to dance more.
I asked him once:
“How does it feel to be called a loghotékhnis?”
[Greek akin to “wordsmith” or “litterateur.”]
His answer:
“These two words
lóghos and tékhni
[‘the word’ and ‘art’]
stuck together leave me uneasy.
I prefer the lightness of the word
kímeno [‘text’]…
“There aren’t any nice [Greek] words
to describe those who write.
Senariográfos [‘screenwriter’] isn’t nice.
Syngraféas [‘author’] isn’t nice either.
“Isn’t it tragic? To write,
but for the words
that describe what you do
to be horrible?
“Whereas khoreftís, for example,
now that’s a lovely word
to describe those who dance
– simple, with a nice ring to it,
it’s a word that only makes them
want to dance more.”
Efthimis Filippou answers a question posed by Julia Tsiakiris
Μια φορά που τον είχα ρωτήσει «Πώς σου φαίνεται αν σε αποκαλούν λογοτέχνη;» αποκρίθηκε:
«Αυτά τα λόγος και τέχνη κολλημένα μου προκαλούν δυσφορία. Μου αρέσει πιο πολύ η ελαφρότητα της λέξης κείμενο… «Δεν υπάρχουν ωραίες λέξεις γι’ αυτούς που γράφουν. Ούτε το σεναριογράφος είναι ωραίο ούτε το συγγραφέας. Δεν είναι τραγικό να γράφεις και οι λέξεις που περιγράφουν την ιδιότητά σου να είναι άσχημες; Ενώ για παράδειγμα το χορευτής είναι μια ωραία λέξη γι’ αυτούς που χορεύουν, εύηχη, απλή τους κάνει να θέλουν να χορέψουν κι άλλο».
Anecdote taken from an oral introduction to the work of Efthimis Filippou given by Julia Tsiakiris at the presentation of the Noon book collection, held at Hyper Hypo in Athens on 27 February 2025.
For Julia’s thoughts in full, see the dubitandum “coldness ⋮ complexity” (in the yellow boxes below).
Translated for the love of it.
see also
Noon ⋮ lies ahead.
This here ⋮ (from Brazil.)
arkhæio
NOON
dubitanda
coldness ⋮ complexity constantly ⋮ faithful documents ⋮ inaccurate
I come ⋮ cover up.
i come in(side) take off my coat take off my shoes go to the bathroom shower dry myself off. head to the kitchen eat something drink water go out onto the balcony look out. come back in lie down on the bed tuck myself in.
[or else]
come in(side) / coat off / shoes off / go to bathroom / shower / dry off / go to kitchen / eat something / drink water / go out onto balcony / take in view / come back in(side) / lie down on bed / cover up
Simon Tsakiris describing the actions
of Dimitris Papaioannou’s Inside (2011)
μπαίνω μέσα βγάζω το μπουφάν βγάζω τα παπούτσια μου μπαίνω στο μπάνιο κάνω ντους σκουπίζομαι. πάω στην κουζίνα τρώω κάτι πίνω νερό βγαίνω στο μπαλκόνι κοιτάζω έξω. ξαναμπαίνω ξαπλώνω στο κρεβάτι σκεπάζομαι.
[ή αλλιώς]
μπαίνω μέσα / βγάζω το μπουφάν / βγάζω τα παπούτσια μου / μπαίνω στο μπάνιο / κάνω ντους / σκουπίζομαι / πάω στην κουζίνα / τρώω κάτι / πίνω νερό / βγαίνω στο μπαλκόνι / κοιτάζω έξω / ξαναμπαίνω / ξαπλώνω στο κρεβάτι / σκεπάζομαι
Translated for the love of it (twice – five years apart, in 2011 and 2016, for different purposes).
This short poetic text by Simon Tsakiris (who also performed) was used to build a graphic documentation of the full (six-hour-long) Inside choreography for the installation/performance’s programme book.
Initially collaged by hand (with paper and scissors and paste) in partnership with the performers, this textual trace of bodies moving through space was laid out by Antidot Design Studio (Christopher Brellis, Eleni Mitrou) across twenty-eight pages.
see also
(this transpolium lives alone)
arkhæio
DOCUMENTING INSIDE INSIDE
dubitanda
stare ⋮ absorbed
I find a plaque ⋮ fascinating.
I find a plaque of hieroglyphics and
a modern neon sign equally fascinating.
Niki Kanagini (date unknown)
Με γοητεύει το ίδιο μια πλάκα με ιερογλυφικά και
μια σύγχρονη επιγραφή νέον.
The artist Niki Kanagini (1933–2008) on the inscribed things she finds fascinating (irrespective of time). Consider in relation to her Manuscripts series.
For more context, see the dubitandum titled “neon ⋮ hieroglyphics” (yellow box below).
Translated for (and taken from) an exhibition of her work – “An Ode to Things. Niki Kanagini. Retrospective” – held at the National Museum of Contemporary Art Athens (EMST) in 2026 and curated by Tina Pandi.
see also
All ⋮ in and of itself.
An opportunity ⋮ precedes syntax.
The migratory moves ⋮ immense.
arkhæio
ODE TO THINGS
dubitanda
neon ⋮ hieroglyphics
Inside ⋮ its warm embrace.
Inside the penguin constellation
beside a very little fire
we’re sat in two knit beanies
playing games with bits of ice
from back when we were young.
Yesterday, we ran away from home.
Now the frozen lake lies all around us.
Hush, don’t cry…
Kaleidoscope-like, the cosmos is unfurling
in shattered colours, luminous glass shards.
Just say the word
and this night will be made a spaceship
lit bright by our secrets.
Inside the penguin constellation
in the silence of deep space
we count out dying comets
and night-echoes rising from dark planet Earth…
…that creaks away on giant cogs
with churches for invisible gods
and all around are killers and the dead
with armies, jails, insane asylums
and acts of love transacted –
but don’t you fear, we two are here.
Inside the penguin constellation
beside a very little fire
we’re sat in two knit beanies
playing games with bits of ice
from back when we were young.
Our old lives now are scattered away
and what tomorrow brings no-one can say.
Hush, don’t cry…
Tonight we’re lost in space so vast
but you and I will be each other’s nest.
Just say the word and the white bear
will come to us at midnight
and gather us two up, tight in its warm embrace…
Lyrics of the song “Inside the Penguin Constellation”
by Lena Platonos & Marianina Kriezi (1981)
Στον αστερισμό του πιγκουίνου
πλάι σε μια μικρή μικρή φωτιά
καθόμαστε με δυο πλεχτά σκουφάκια
και παίζουμε παιχνίδια με παγάκια
των καιρών που ήμασταν παιδιά.
Το σκάσαμε απ’ τα σπίτια μας εχτές
τώρα γύρω μας η παγωμένη λίμνη.
Σώπα, μην κλαις…
Ο κόσμος ανοίγει σαν καλειδοσκόπιο
με χρώματα σπασμένα, γυαλιά φωσφορικά
μια λέξη πες
κι η νύχτα θα γίνει ένα διαστημόπλοιο
φωτισμένο απ’ τα δικά μας μυστικά.
Στον αστερισμό του πιγκουίνου
μέσα σε μια σιωπή διαστημική
μετράμε τους κομήτες που πεθαίνουν
κι απόηχοι της νύχτας που ανεβαίνουν απ’ το σκοτεινό πλανήτη Γη…
…που τρίζει πάνω σε γιγάντιους τροχούς
με ναούς για τους αόρατους θεούς
και γύρω γύρω δολοφόνους και νεκρούς
με στρατούς, ψυχιατρεία, φυλακές
και την αγάπη σε συναλλαγματικές
μα μη φοβάσαι εμείς οι δυο είμαστε εδώ
Στον αστερισμό του πιγκουίνου
πλάι σε μια μικρή μικρή φωτιά
καθόμαστε με δυο πλεκτά σκουφάκια
και παίζουμε παιχνίδια με παγάκια
των καιρών που ήμασταν παιδιά.
Σκορπίσαν οι παλιές μας οι ζωές
και το αύριο κανένας δεν το ξέρει.
Σώπα, μην κλαις…
απόψε χαμένοι στο μεγάλο διάστημα
ο ένας για τον άλλο θα γίνουμε φωλιά
μια λέξη πες
κι η άσπρη αρκούδα θά ’ρθει τα μεσάνυχτα
να μας πάρει στη ζεστή της αγκαλιά…
Translated for (and taken from) a screenplay titled Northpole written by Yannis Veslemes.
The film (currently in development) is being produced by Fenia Cossovitsa.
see also
(this transpolium lives alone)
It is ⋮ everything.
It is that thing whose first experience you fear.
A thing too hard to handle. A thing too hard to face.
It is that thing that when you finally give in
becomes a life essential that changes everything.
Yorgos Marinos, taken from his song “Sex” (1984)
Κι είναι εκείνο που φοβάσαι να γνωρίσεις
Να το κουλαντρίσεις και να τ’ αντιμετωπίσεις
Είναι αυτό που όταν ξέρεις να το ζήσεις
Γίνεται ουσία και σου αλλάζει τη ζωή
Translated for (and taken from) the essay “Our Army of Lovers” by Mare Spanoudaki that appeared in Issue One (“The Cultural and Political Memory of HIV”) of Octopus, the EMST magazine.
see also
But rejection ⋮ at night.
Ghost boy ⋮ killer.
arkhæio
HIV MEMORY
dubitanda
before ⋮ death emotive ⋮ realm
Let me ⋮ never come.
Let me go see with mine own eyes
how my beloved spends his time.
Might he have found some other love
and left me all alone?
Who was it told you that, my little sapling?
Who said I love you not, my little hatchling?
Was it the sun afar? It shall not rise again.
And so the morning star shall never come.
Lyrics from a traditional Greek folk song
of the Peloponnese
Ας πα’ να δουν τα μάτια μου
πώς τα περνά η αγάπη μου.
Μην’ ηύρ’ αλλού κι αγάπησε
και μένα μ’ απαράτησε;
Ποιος σ’ το ’πε, δεντρουλάκι μου,
δε σ’ αγαπώ, πουλί, πουλάκι μου;
Κι αν σ’ το ’πε ο ήλιος να μη βγει,
τ’ αστρί να μην ξημερωθεί.
Translated for (and taken from) the script for a pilot episode of the tee-vee series Antigone’s Son, written by Adam Adamopoulos and Spiros Krimbalis.
see also
(this transpolium lives alone)
Like ⋮ the smell of earth.
…Like a plank off some sorry wreck,
so drifts our Old World
…Sure, it once loved
the ideals of humankind,
but the birds
were flying off ahead
Harsh, heartless world
that never once opened an umbrella
over the tree being drenched
But at night, how lovely it is,
the smell of earth…
Tasos Leivaditis, from the poem “Nighttime Redolence”
in the 1990 collection Autumntime Manuscripts
(published two years after his death)
…Σὰ σανίδα ἀπὸ θλιβερὸ ναυάγιο
ταξιδεύει ἡ γηραιά μας ἤπειρος
…Βέβαια ἀγάπησε
τὰ ἰδανικά της ἀνθρωπότητας,
ἀλλὰ τὰ πουλιὰ
πετοῦσαν πιὸ πέρα
Σκληρός, ἄκαρδος κόσμος,
ποῦ δὲν ἄνοιξε ποτὲ μίαν ὀμπρέλα
πάνω ἀπ᾿ τὸ δέντρο ποὺ βρέχεται
Ἀλλὰ τὰ βράδια τί ὄμορφα
ποῦ μυρίζει ἡ γῆ…
This Tasos Leivaditis poem was also set to music by Yorgos Tsangaris to create the 1993 song “But at Night…” sung by Vassilis Papakonstantinou and narrated by Yorgos Michalakopoulos.
Translated for (and taken from) the essay titled “I Am Nature (Who’s There?)” written by Thouli Misirloglou for the Thessaloniki Documentary Festival publication On the Threshold (TiDF25).
see also
A mutilated ⋮ death.
All that I ⋮ back.
Rose-like ⋮ all the flowers.
Words ⋮ seem unrecognisable.
arkhæio
ON THE THRESHOLD
Look now ⋮ and grow tame.
Look now oh just look,
at the amaranth, all look!
At that never fading flower,
how it roots up on the peaks!
Look just how it roots,
how it roots where none dare tread.
Takes root where none dare tread,
in among the stones and scree.
Never, oh no never…
No never is it watered!
Oh never is it watered
nor its tender tips clipped.
Eaten, oh ’tis eaten
by mild deer that drop down dead.
Deer eat it and drop dead,
wild beasts eat it and grow tame.
Lyrics taken from the traditional Soufli Greek folk song titled “Amaranth” (date unknown)
Αχ, για ιδέ καλέ για ιδέ
για ιδέστε τον αμάραντο!
Για ιδέστε τον αμάραντο
σε τι βουνό φυτρώνει καλέ!
Αχ φυτρώ καλέ φυτρώ
φυτρώνει μες στα δύσβατα.
Φυτρώνει μες στα δύσβατα,
στις πέτρες στα λιθάρια καλέ.
Αχ, ποτέ καλέ ποτέ.
Ποτέ του δε ποτίζεται!
Ποτέ του δε ποτίζεται
και δε κορφολογιέται καλέ.
Αχ, τον τρών’ καλέ τον τρών’,
τον τρών’ τα λάφια και ψοφούν.
Τον τρών’ τα λάφια και ψοφούν,
τ’ αγρίμια κι ημερεύουν καλέ.
A choral version of this song is heard in Takis Kanellopoulos’ feature film Glory Sky (1962), orchestrated by Kostas Vogiatzis. This same version also features in The Last Spring (1972) by the same director.
Taken from the essay titled “The Never-fading Cinema of Takis Kanellopoulos” written by Manolis Kranakis for the Thessaloniki International Film Festival publication Reflections.
see also
This place of ours is ⋮ sky.
arkhæio
REFLECTIONS
Me – the material ⋮ necessity.
Phase One: me – the material,
I destroy – remake it.
Phase Two: two different materials
crashing into – repelling – attracting one another.
Phase Three: the material – the audience
reshape – reform it.
Phase Four: the material in and of itself
is altered – compressed – broken down – transformed.
My colour: red. Ever red, from very pale through to black.
My intent: humanity and its anguish, protests and conflicts, desertion and redemption.
Art is a biological necessity.
Stathis Logothetis on the four phases of his work (1971)
Φάση πρώτη: Εγώ – το υλικό
το καταστρέφω – το αναδημιουργώ.
Φάση δεύτερη: δυο διαφορετικά υλικά,
συγκρούονται – απωθούνται – έλκονται.
Φάση τρίτη: το υλικό – ο θεατής,
το μεταπλάθει – το διαμορφώνει.
Φάση τέταρτη: το υλικό μόνο του,
μεταβάλλεται – συμπιέζεται – διαλύεται – μεταμορφώνεται.
Το χρώμα μου: κόκκινο. Πάντα κόκκινο, από πολύ ανοιχτό μέχρι μαύρο.
Πρόθεση μου: ο άνθρωπος, η αγωνία του, η διαμαρτυρία, η σύγκρουση, η φυγή, η λύτρωση του.
Η τέχνη είναι μια βιολογική αναγκαιότητα.
Taken from an artistic statement – one of the few Stathis Logothetis ever made – in the catalogue for his first solo exhibition held at the Desmos Gallery in Athens in 1971.
Translated for (and taken from) the retrospective of his work – Earth to Earth – held at the National Museum of Contemporary Art Athens (EMST) in 2026 and curated by Stamatis Schizakis.
see also
Nightmarish forest of ⋮ our own.
arkhæio
EARTH TO EARTH
Miss! Pride and ⋮ bows.
Missolónghi! Pride and joy of History herself,
Promised Land! A century slips past…
So be it. Remembrance – timeless – down before you
ever bows.
Kostis Palamas, from his 1926 poem “Glory Be to Missolónghi”
Μισολόγγι! Χαρὰ τῆς ἱστορίας,
Γῆ ἐπαγγελμένη! Πᾶνε ἑκατὸ χρόνια,
κι ἂς πᾶνε. Ἡ θύμηση ἄχρονη μπροστά σου
θὰ γονατίζῃ.
Translated for (and taken from) the Distillery Trikené website.
These closing lines of the celebrated poem “Glory Be to Missolónghi” (“I dóxa sto Missolónghi”) were written by Kostis Palamas (author of the official Olympic Hymn) back in 1926 to mark the 100th anniversary of the Exodus.
They appear on a Collector’s Edition bottle of Ouzo Trikené designed by Laios Papazoglou and released in 2026 to mark the 200th anniversary of this major moment in modern Greek history.
see also
Each night, ⋮ tears.