thalia raftopoulou
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• THE DANCEFLOOR
• The Dancefloor
• Dance Floor With Cacti
• Through Our Dirty Pop Corn
• The Dance floor - Hair

• WORLD OF MOUTH TRILOGY
• Stou Gialou Ta Votsalakia
• We've Loved Before
• Serenade from the Fans

• SOUND
• SEG FRIDGE
• Thursday Afternoon on a Saturday Night
• Chris '98
• MASTER SOUNDS

• GESTURES
• A conversation on "The Conversation"
• Is Caring for Bananas Caring for the Other
• Work of Art Alterations Store
• Kardamili's Armor
• .
• Highness
• Minimum Terror

• DRAWINGS - OBJECTS - INSTALLATIONS
• How Things Form
• Selected Drawings
• Kitchen Sink
• Ocean Rain
• Street Line
• Beards and Stones
• GDR Diary Posters
• To Look Alike
• Snow
• The Foldings of Holy Mary, Baby Jesus...
• Getting There

• PHOTOGRAPHY - VIDEO
• Still Lifes With A Biscuit
• Still Lifes With Roots I Wallpapers
• Jerusalem - KU
• Mountain

• COLLABORATIONS
• Mouravas-Raftopoulou-Sklavenitis
• Tuberous Morning Glory
• the bauhaus modulators
• Tupperwar
• CAETERIS SPARIBUS WASCHSALON
• weimar public

Nothing Personal Except My Keys, a conversation on "The Conversation" by Francis Ford Coppola,
Lecture Performance with the director Katerina Kalentzi

The performance has been hosted at CAMP, Athens, 8.3.2014 within the "Fones/Voice" exhibition
and at the exhibition "With Your Concent" by Akoo-o team, metamatic:taf, Athens, 12.04.2016.

Detailed documentation of the performance can be found in the publication "Fonés/Voices", nisos publishing, Athens, 2016.

For these two times I have talked on the film, I have been analyzing it together with the director Katerina Kalentzi, focusing on the fact that it is a case study on a surveillance expert, worked through sound and delivered through sound, on the deconstruction of the objectivity of the experience of listening. My main goal is to transmit the urge to watch the film again at another time. For this purpose I am inviting film directors to analyze details concerning how sound and voice have been dealt with and to speak in technical terms about the film’s structure, regarding the subject of surveillance.

I am interested in those moments when sharing what has been experienced and making the other “see” something from a specific point of view becomes an urgent matter. I try to bring these moments into an art context with different media, while I want to explore how this urgency is enunciated through the voice and can be efficient in transmitting the urge towards something. Primarily, I would like to approach the voice as a means of "self definition", then as a tool that can convince and graft, while it struggles to translate in speech what has been experienced.