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	<title>Thousand Julys</title>
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	<description>Thousand Julys</description>
	<pubDate>Fri, 17 Apr 2026 17:14:41 +0000</pubDate>
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		<title>Exhibitions</title>
				
		<link>https://thousandjulys.cargo.site/Exhibitions</link>

		<pubDate>Wed, 18 Oct 2023 09:08:23 +0000</pubDate>

		<dc:creator>Thousand Julys</dc:creator>

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	2026
Kakia Catselli / Ballon d’essai
2026
Marietta Mavrokordatou / Keep the music for yourself
2025
VIMA Art Fair / Mariel Kouveli



2023
Mariel Kouveli / Reel time
2023Marietta Mavrokordatou / GIRL

2022
Marietta Mavrokordatou / Our misfortune
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		<title>Artists</title>
				
		<link>https://thousandjulys.cargo.site/Artists</link>

		<pubDate>Sun, 29 Oct 2023 10:11:00 +0000</pubDate>

		<dc:creator>Thousand Julys</dc:creator>

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	Marietta Mavrokordatou

Mariel Kouveli
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		<title>Marietta Mavrokordatou_Our misfortune</title>
				
		<link>https://thousandjulys.cargo.site/Marietta-Mavrokordatou_Our-misfortune</link>

		<pubDate>Wed, 12 Jul 2023 08:13:08 +0000</pubDate>

		<dc:creator>Thousand Julys</dc:creator>

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						Marietta Mavrokordatou

Our misfortune15 Sep - 18 Nov 2022

					
				
			
		
	

In this body of work, Mavrokordatou’s material are the people closest to her and the city she grew up
in, documented while going for a walk.

						
Within these walks, familiar subjects (friends, family) and familiar backdrops (the city) build a fictional
narrative. A story that never existed is materialised and documented. Friends become subjects, role models,
fashion models, commercialised, adored, perceived, depicted. Public sites become temporary structures to
the new narrative.

						
In the process of building the narrative, a vocabulary consisting of experiential or personal associations is
gathered, and then used for the purpose of being ignored, escaped, re-written. A fictional reality created
out of the need to escape a supposed condition; the unbearable heat, the burden of predictability, the
anxiety of her generation. Unavoidably, the new reality is born out of the very things its trying to escape,
becoming a shinier, sexier, more poetic version of itself. The artist’s material is what surrounds her, what
touches her on a daily basis- you can’t become without existing.

						
This body of work introduces a new framework for Mavrokordatou’s practice. Consisting of 24 individual
photographs and one collage, it was taken on a single walk in late July.-Marietta Mavrokordatou (b. 1996, Nicosia, Cyprus) is a visual artist based between London and
Nicosia. Mavrokordatou is currently studying at The Slade School of Fine Art, London, UK, obtaining her
MFA in Fine Art Media. She received her BA in Fine Art Photography from Camberwell College of Arts,
London, UK in 2019. Her first solo exhibition, Rotten Sun, took place at TESTDRIVE, DriveDrive,
Nicosia, Cyprus (2019).

						
Selected group exhibitions include Social Sculptures BEUYS100, Goethe Institut Cyprus, Nicosia, Cyprus
(2021); Seeking Roots, curated by Ioulita Toumazi, NiMAC, Nicosia, Cyprus (2021); ...vida digna de ser
vivida, curated by Peter Eramian, Phytorio Association, Nicosia, Cyprus (2019); Weltanschauung, Copeland
Gallery, London, UK (2018).

					
				
			
		
	


	
		
		
	
	
		
			
				
					
						------------------------------------------------------------------

Artist talk: Notes on the darkroom&#38;nbsp;Watch

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[There are joules, jewels, Julys]

						
Wherever you put a comma in a room, that’s its center. There are commas separating these
photographs— like hot neurons or the quick change in feeling when you pass through a slice of
shade. Punctuation is more liquid than you think. A walk is one sentence. The photographer
places commas as she proceeds, the one she’s capturing pays attention or not at all; the sentence
structure of their walk imitates the glowing fog of light it’s in; the commas dilate and become tiny
heirs of this pictured friendship, its sleepy conduction through the street. One comma and she is
nuanced— nubes, Latin for clouds— one more comma and she is a numen of light that has a
tendency for sleep, another comma and arms, legs, and bellies dissolve either from heat or an
extremity of glow.

						
The photos are granting me permission to look, then permission to follow, thenpermission to turn— turn left, turn to myself, turn over. The lens picks its turns indolently, as if it
possesses some generational knowledge that this heat will simply keep increasing. Carefully, the
lens winds through this sentence-walk and stops without stopping as one does when meeting a
comma. Dramatic, hot, quiet, voltaic. A mutual thought wonders how one happens to inherit heat;
[...] Rend open the heat, / cut apart the heat, / [...] Fruit cannot drop / through this thick air— / fruit cannot
fall into heat [...]

						
The scientific unit of energy is joules (J); the heat in these photographs measures to about
one thousand Julys. The textures appear fragile against the conviction of the model, who I will
now call Goddess, as she is progressively convincing me she is fit for it. Goddess performs a persistent
dance: it makes its entrance only to abandon the decision a comma later; I guess that’s fitting for a
goddess in melting light. It’s a liquid world. The colour picks its own ambiguous fantasy; wiped out
because of the bleaching heat or is it tearing the heat apart to bring cold. How invasive can you
be. The photographer swims from one frame to the next and wads of things— skirts, bellybuttons,
exasperation— are caught in the word play between joules and jewels.

					
				
				
					
						
Text by Penelope Ioannou

					
				
			
		
	



	
		
		
	
	
		
			
				
					
						
1 Politics of Friendship, essay by Jacques Derrida2 The Complete Untitled Film Stills, exhibition by Cindy Sherman
3 My Year of Rest and Relaxation, novel by Ottessa Moshfegh
4 Heat, lines cited (1-2 &#38;amp; 4-6), poem by H.D
5 Caryatids and Promiscuity, text by Moyra Davis
6 The Unnamable, novel by Samuel Beckett
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		<pubDate>Tue, 08 Apr 2025 19:19:30 +0000</pubDate>

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						Marietta Mavrokordatou
GIRL
29 Sep - 5 Nov 2023
Thkio Ppalies, Nicosia
Curated by Thalia Spyridou



					
				
			
		
	

The transition period between girlhood and adulthood labelled coming-of-age is also a period of coming to terms, with things being lost or things left forever undiscovered. 

In her third solo exhibition, Marietta Mavrokordatou enters the psychological state of this moment in time, in an obsessive, repetitive process of searching for something lost that is never found. 

Moments of clarity are presented as flashes in between, where the artist’s body moves in front of the lens and colour enters the picture. Hard floor against flesh, legs kneeling and hands grasping into emptiness - the search is not abstract, it gains a presence and a form. The artist chooses to move from the blurred to the defined, as adulthood perhaps happens when you start moving from the abstract to the form. 

In the use of old machines and photographic processing that are becoming obsolete, in trying to source equipment and knowledge that is becoming harder and harder to find as technology develops, there is maybe an attraction towards the comfort of the past, or an enthusiasm for what’s about to be lost. The manual handling of the film, the feel of machines that are sturdy and straight-forward, present a seemingly controlled environment that also allows more room for error.

The rhythmic sound of the projectors is exaggerated through the volume of the speakers, moving throughout the room, introducing a stability that is unorganised. The mechanical starts to sound organic, seeming at once like a panicked heartbeat or the wild galloping of a horse. In a one-time performance that sets off the exhibition, this sound starts to become violent, distressing in its repetition. The sacrificial experience of coming-of-age is about letting go, and being one with the noise.

In its horizontality and repetition the work is seemingly sequential. However, as in the process of finding and losing, the story is always beginning but never ending.
-Marietta Mavrokordatou (b. 1996, Nicosia, Cyprus) is a visual artist based between London and
Nicosia. Mavrokordatou is currently studying at The Slade School of Fine Art, London, UK, obtaining her
MFA in Fine Art Media. She received her BA in Fine Art Photography from Camberwell College of Arts,
London, UK in 2019. Her first solo exhibition, Rotten Sun, took place at TESTDRIVE, DriveDrive,
Nicosia, Cyprus (2019).

						
Selected group exhibitions include Social Sculptures BEUYS100, Goethe Institut Cyprus, Nicosia, Cyprus
(2021); Seeking Roots, curated by Ioulita Toumazi, NiMAC, Nicosia, Cyprus (2021); ...vida digna de ser
vivida, curated by Peter Eramian, Phytorio Association, Nicosia, Cyprus (2019); Weltanschauung, Copeland
Gallery, London, UK (2018).

					
				
			
		
	

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						“We can’t return, we can only look”1
Dust, skin, hair. It was late August, when everyone was at a loss. Promises were made in June: we’d brush our hair, we’d drink the sun, we’d let our limbs grow long in the heat. And we did, for these were promises universally accepted, a rite of passage: just as girls bloom into women, carrying flowers, wisdom and swelling forward on a tray. They bloom, and their fidelities shift. This happens laboriously and noisily. It happened laboriously and noisily to us, and it was not always welcome. Panic as the motor fired up: oil, hydraulics and cogs with serrated teeth, clicking like fireworks or open fire. Did we manage to appreciate the light, its magic? It was over so quickly. In the blink of an eye! Everyone always says ‘Youth is wasted’, etc. etc. Well ok. The years are what we have now, their repetitive nature. Up, down, up, down. 

In the commotion hearts and sunglasses and hair ties were misplaced. Lazy images, full of longing: those foam toe separators speckled with lint, the rubber bed of an eyelash curler, the pool that needed skimming. We searched for what got left behind by kneeling close to the floor: in prayer, or sex, or both. Gestures that take place in the dark, a hand grasping around. Mostly, everyone fucks this way: with a question. They called it the staging of an appearance as disappearance&#38;nbsp;2. 

An explanation we accepted readily. ‘Yes,’ we said, ‘of course’. The most erotic portion of a body is where the garment gapes.’&#38;nbsp;3 But inwardly this logic saddened us. It implied the infinitude of things unseen. All the things we could not keep. 

Dust, skin, hair. 


	
		
		
	
	
		
			
				
					
						
1  Joni Mitchell, The Circle Game
2&#38;nbsp;Roland Barthes, The Pleasure of The Text3&#38;nbsp; Ibid.Text by Hannah Regel
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The exhibition was supported by the Deputy Ministry of Culture, Department of Cultural Services.
	
	


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</description>
		
	</item>
		
		
	<item>
		<title>Mariel Kouveli_Reel time</title>
				
		<link>https://thousandjulys.cargo.site/Mariel-Kouveli_Reel-time</link>

		<pubDate>Wed, 18 Oct 2023 07:59:36 +0000</pubDate>

		<dc:creator>Thousand Julys</dc:creator>

		<guid isPermaLink="true">https://thousandjulys.cargo.site/Mariel-Kouveli_Reel-time</guid>

		<description>
	

	
		
		
	
	
		
			
				
					
						

	
		
		
	
	
		
			
				
					
						Mariel Kouveli
Reel time
20 Oct - 11 Nov 2023
Presented within the framework of Limassol Art Walks, at Christodoulos Panayiotou StudioAgora Anexartisias #34, 3036, Limassol


					
				
			
		
	

the cotton 
tank-top
on back of
chair is a 
photograph
Thousand Julys presents Reel time, a solo exhibition by artist Mariel Kouveli. Kouveli’s work presents a reverence for the mundane or leisurely moments in everyday life, manifesting in photographs with a documentary or archival style that attempt to observe and understand humanity, its origins and idiosyncrasies.
In Reel time, snapshots accumulate to create a record of images that captures an unfiltered, raw state of human experience. What is prevalent in Kouveli’s work is a sense of the photographer’s silence, who takes the position of the observer rather than director. The camera acts as an eye which records her field of vision, resulting in ‘pictures that feel like seeing’.
In their distinct lack of drama and unaestheticised style, the weight of the photographs moves beyond the photographer’s perspective, putting the attention onto the subject, or rather using attention as a subject itself. What is highlighted are moments of wonder, discovery, surprise or amusement. These come from the connections, or lack thereof, between the subjects and their surroundings, the histories they carry, the contexts they are found in.

At its core, the work is very much autobiographical, as there are various recurring themes, which she always goes back to, related to people she grew up with: her grandfather’s obsession with history and archaeology and his collection of books, her grandmother’s love for travel and all the gathered seashells that filled her house, her dad’s vividly descriptive and surreal storytelling.
Without inserting ‘romance’ into the pictures, which connotes a remoteness from everyday life, in this series of works, we are instead placed directly in the midst of modern life and its components. Nevertheless, a sense of accidental beauty permeates the work, captured while fleeting.1. Gerard Malanga, Scent, for Sally Mann, Mythologies of the Heart, 1996, p.1022. Stephen Shore, https://www.youtube.com/watch?v=Y5xAxqbtz9o


					
				
			
		
	


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For prices and availability please contact us at info@thousandjulys.com.
	
	


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</description>
		
	</item>
		
		
	<item>
		<title>VIMA Art Fair 2025</title>
				
		<link>https://thousandjulys.cargo.site/VIMA-Art-Fair-2025</link>

		<pubDate>Sun, 04 May 2025 14:24:35 +0000</pubDate>

		<dc:creator>Thousand Julys</dc:creator>

		<guid isPermaLink="true">https://thousandjulys.cargo.site/VIMA-Art-Fair-2025</guid>

		<description>

	

	
		
		
	
	
		
			
				
					
						

	
		
		
	
	
		
			
				
					
						
Mariel KouveliThink Twice (Before the Sun Sets)VIMA Art Fair

15 - 18 May 2025In Mariel Kouveli’s photography, there is an inherent thread of experiential traces. Suspended between the stillness of the arrested image and the movement of cinematic time, her photographs leave behind signs of a life before and a life after. Patterns emerge through implicit gestures, subtly revealing - in glimpses - the role of chance in both difference and repetition. Think Twice (Before the Sun Sets) suggests a duality in parallel motion; twice occurs simultaneously or consecutively, finding its midpoint suspended between what has passed and what flickers just beyond view.

Subtle shifts in movement introduce a quiet distortion. Transparency gives way to reflection; clarity flickers into opacity. Water, in its fluid nature, becomes both mirror and veil. It reflects everything around it, then retreats. A slight change in perspective, and the surface turns black, solid, then clear again. A haptic presence is embedded in the image: the sensation of glass tilting, of motion lingering. 
Motion’s trajectory is caught again in turns, while people in posed pauses remain still. A disrupted sun organises shadows, merging the hard and soft materiality of habitation. Built and organic forms intertwine, patterning the surface with layers of light and exchanging visual rhythms between the real and the virtual. 

The fragmentary nature of the snapshot implies a brief encounter with vision - like the act of a glimpse or the moment of turning one’s head twice in disbelief. Yet in Kouveli’s images, there is a sense of longevity, gestural in its essence. The longer one looks, the more is revealed. Meaning emerges gradually through intangible correlations - connections formed in the act of looking at a life once lived. Through shifting proximities, way-ins and ways out, Kouveli’s photographs portray an extended reality that constructs, echoes, dissolves, and unveils within the frame.
Text by Marietta Mavrokordatou
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List of works
Glass I, 2022, Archival Giclée Print on Photographic Paper, 60 x 90 cmGlass II, 2022, Archival Giclée Print on Photographic Paper, 60 x 90 cmSun Trajectory, 2025, Archival Giclée Print on Photographic Paper, 58 x 80 cmPaper Leaves, 2025, Archival Giclée Print on Photographic Paper, 58 x 80 cmSun is shining, Clock is ticking, 2024, Archival Giclée Print on Photographic Paper, 58 x 80 cmCar, 2024, Archival Giclée Print on Photographic Paper, 58 x 80 cmTulip, 2025, Archival Giclée Print on Photographic Paper, 60 x 90 cmShoot me, 2024, Archival Giclée Print on Photographic Paper, 100 x 66 cmAll Edition of 5 + 1 AP
	
	

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</description>
		
	</item>
		
		
	<item>
		<title>Marietta Mavrokordatou_Keep the music for yourself</title>
				
		<link>https://thousandjulys.cargo.site/Marietta-Mavrokordatou_Keep-the-music-for-yourself</link>

		<pubDate>Fri, 17 Apr 2026 17:00:37 +0000</pubDate>

		<dc:creator>Thousand Julys</dc:creator>

		<guid isPermaLink="true">https://thousandjulys.cargo.site/Marietta-Mavrokordatou_Keep-the-music-for-yourself</guid>

		<description>

	

	
		
		
	
	
		
			
				
					
						

	
		
		
	
	
		
			
				
					
						
Marietta MavrokordatouKeep the music for yourself
 Curated by Thalia Spyridou 
eins, Limassol
7 February - 4 April 2026










The Music begins in the shape of a sphere; an eye, a planet, a stress ball. A glass ball slips from my hands and falls onto the ground, beginning to roll around a house, my house. It travels across desks and floors. It moves through rooms without pause, registering surfaces and scenes. They are encountered sequentially, without emphasis. The camera follows. The view is partial, curved, distorted, and inverted. The lens magnifies minor shifts in texture and light, producing a compressed field of view that resists orientation. The inhabited space is recorded through contact and motion rather than description. A solitary act is exposed and made available to others. 


The house is mapped through circulation rather than narrative. Domestic objects appear as mere reflections of themselves. This space is neither documented nor staged; it is re-entered and re-seen. 


Parcan20 spotlights diffuse light in a restrained manner, accommodating the quiet nature of the works. Their function is permissive rather than directive. The smaller Parcan16 fixtures, the smallest of the stage lights, are known as birdies. These ones are called The Birds. 
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List of works



1. The Music, 2026,12 photographs, archival pigment print, 50 x 50 cm 


2. The Birds, 2026, 11 Parcan20 spotlights 
	
	

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</description>
		
	</item>
		
		
	<item>
		<title>Kakia Catselli_Ballon d'essai</title>
				
		<link>https://thousandjulys.cargo.site/Kakia-Catselli_Ballon-d-essai</link>

		<pubDate>Fri, 17 Apr 2026 17:14:41 +0000</pubDate>

		<dc:creator>Thousand Julys</dc:creator>

		<guid isPermaLink="true">https://thousandjulys.cargo.site/Kakia-Catselli_Ballon-d-essai</guid>

		<description>

	

	
		
		
	
	
		
			
				
					
						

	
		
		
	
	
		
			
				
					
						Kakia CatselliBallon d’essai
 Curated by Thalia Spyridou 
Phytorio, Nicosia
27 - 29 March 2026










Flow is the default. Control is imposed upon it; a threshold, a governing principle, a mechanism that ensures a balanced amount enters and leaves at any given moment. A valve does not produce or destroy; it regulates passage.

Memory is less precise. It is porous. It dissolves and it grows, absorbs from the present even as it attempts to hold the past. It has gaps, it lets things through. In this sense, it leaks in both directions. Photography functions here as imprint and trace. It does not represent; it records consequence.

Rhythm in the space is first heard, then seen. The ball moves from one side to the other, marking time through repetition rather than narrative. In each exchange, the players respond to one another, sustaining a field of relation. 

The exhibition begins with four balloons. Each day, for its three-day duration, one is released. One remains, exposed to the elements, withstanding the passage of time. An attempt to endure, and an agreement to the consequences of enduring.&#38;nbsp; 

Across still images, found objects, and film, a shared grammar operates through different materials, exposing the gap between what is happening and what is registered. The exhibition unfolds between control and surrender. Neither is final, both are necessary.
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List of works
1. Three Photographic Takes, 2015, archival pigment print on baryta paper, 20 × 20 cm
2. Valve, 2026, metal valve
3. Suspended Fabric Aperture, 2026, linen panels, dual weave (open / herringbone)
4. Tennis Film, 2026, shot on Bencini Comet, 2 minutes 42 seconds, looped, with sound
5. Balloons, 2026, Latex balloons, helium-filled 
	
	

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	<item>
		<title>Marietta Mavrokordatou</title>
				
		<link>https://thousandjulys.cargo.site/Marietta-Mavrokordatou</link>

		<pubDate>Sun, 29 Oct 2023 10:14:10 +0000</pubDate>

		<dc:creator>Thousand Julys</dc:creator>

		<guid isPermaLink="true">https://thousandjulys.cargo.site/Marietta-Mavrokordatou</guid>

		<description>
	

	
		
		
	
	
		
			
				
					
						

	
		
		
	
	
		
			
				
					
						Marietta Mavrokordatou(b. 1996, Nicosia, Cyprus)



					
				
			
		
	
Marietta Mavrokordatou is a visual artist based between London and
Nicosia. Mavrokordatou’s practice explores the possibilities of image making. Employing autobiographical elements, she reimagines these from the spectator’s point of view, finding ways to relate anew. The presentation of Mavrokordatou’s narratives, leads back to the photographic medium itself, where she directly addresses its formal parameters. The photograph becomes at once a depiction of both itself and the artist. Usually working with a succession of photographs, the fiction is created in the rhythm found somewhere between the gestures, the gaps and the disruptions.
 Mavrokordatou received her MFA in Fine Art at The Slade School of Fine Art, London, UK and her BA in Fine Art Photography from Camberwell College of Arts,
London, UK in 2019. Recent exhibitions include: Image as Trace, Brunette Coleman, GIRL, Brunette Coleman, London (2024), TOUR LIFE, Radio Athènes, Athens (2024), THE ALREADY PICTURES, Akwa Ibom, Athens (2024), Scenario, wieoftnoch, Karlsruhe (2024), GIRL, Thkio Ppalies, Nicosia (2023), Our Misfortune, Thousand Julys, Nicosia (2022), KM S/S 2024, Akwa Ibom, Athens, Ah, This! (curated by Helena Papadopoulos), Felix Gaudlitz, Vienna (2023).


	
	
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	<item>
		<title>Mariel Kouveli</title>
				
		<link>https://thousandjulys.cargo.site/Mariel-Kouveli</link>

		<pubDate>Sun, 29 Oct 2023 10:34:34 +0000</pubDate>

		<dc:creator>Thousand Julys</dc:creator>

		<guid isPermaLink="true">https://thousandjulys.cargo.site/Mariel-Kouveli</guid>

		<description>
	

	
		
		
	
	
		
			
				
					
						

	
		
		
	
	
		
			
				
					
						Mariel Kouveli
(b. 1993, Nicosia, Cyprus)



					
				
			
		
	
Mariel Kouveli is a Cypriot artist living and working in Nicosia. She received her MA in Photography from London College of Communications, UAL in 2018.

Kouveli’s work focuses on the leisurely or mundane moments in everyday life, in an obsessive and repetitive observation into the human nature, the origins and idiosyncrasies of humanity and the perception of one’s surroundings. Through digital and cellphone photographs, scanned and archival images, the subjects often become characters observed from a distance, yet feeling strangely familiar.Recent exhibitions include: Think Twice (Before the Sun Sets), Thousand Julys at VIMA Art Fair, Limassol, 2025;&#38;nbsp;Reel time, Thousan Julys at Christodoulos Panayiotou Studio, as part of Limassol Art Walks, 2023; Not knowing now, possibly not knowing ever, curated by Thalia Spyridou, Pylon Art &#38;amp; Culture, Limassol, 2023.&#38;nbsp;
	
	
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