“Klitsa Antoniou is an interdisciplinary visual artist and researcher in the field of Fine Arts. Her work critically examines the complex politics of space and belonging, exploring the tensions that arise around borders, separation, and contested territories. Drawing on critical theory, philosophy, and geopolitics, Antoniou investigates how personal and collective histories are constructed, obscured, and transmitted across social and spatial landscapes. Through performative strategies, she activates the instability of place and identity, transforming space into a field of ritual, resistance, and assertiveness. Her immersive installations disrupt linear narratives, embracing fragmentation and ambiguity to reveal that which defies representation.

Antoniou studied at Wimbledon School of Art and Saint Martin’s School of Art and Design (BFA) in London, and at Pratt Institute (MFA) and New York University (DA) in New York. Since 2014, she has held a PhD in Theory and Philosophy of Art. She has participated in numerous international seminars, workshops, conferences, and artist residencies, receiving various awards and distinctions. Antoniou has presented more than 26 solo exhibitions worldwide, including Vital, Sentinel Species and The Order of the Third Bird, The Opening Gallery, New York (2024), Hydor_is_Land, I land. Cyprus, Biennale of Contemporary Art of the Mediterranean Islands, Theatro Polis/Nimac Cyprus (2023), Making Waves, Porvoo Art Hall, Finland (2022); De Skyddssökande, Norrköping, Sweden (2019); Parallelotopias, MIET, Thessaloniki, Greece (2012); Tall Tales: Lovely Landmarks, Exhibit Gallery, Golden Lane Estate, Barbican, London, UK (2010); Frames of the Elusive, Stoa Gallery, Finland (2006); Atlantropa: Episodes of Domestic Nature, Eastlink Gallery, Shanghai, China (2005); and Atlantropa: Stories of Dystopia, Chinese European Art Centre, Xiamen, China (2004).

She has also exhibited in major museums, galleries, and institutions worldwide, including The Hidden Third, National Gallery of Skopje, N. Macedonia; Wanderlust/All Passports, Schliemann-Mela Mansion, Athens, Greece (2024); Viridien Chronicles, Apollonia Art Exchanges, Strasbourg, France (2023); The Butterfly Effect, El. D. Mouzakis SA–Butterfly, Athens, Greece; Visual Intrusion, Biennale of the Art Colony Galichnik, Mala Stanica, Republic of North Macedonia (2021); The Right to Silence?, Anya; and Andrew Shiva Gal, lery, John Jay College, New York, USA (2020); Experimental Storytelling, Norrköping City Museum, Sweden (2019); (meta)fourisms, Spazju Kreattiv, Valletta, Malta (2018); Is This the Time for Art?, Modern Art Museum Örebro Konsthall, Sweden (2017); Fusion, Nanjing Museum of Art, China (2017); Il Diritto al Futuro, 100th Anniversary of the October Revolution, Museum of the Arts of the 20th and 21st Century, St. Petersburg, Russia (2017); So Close Yet So Far Away…, Museum of Contemporary Art, Petach Tikva, Israel (2017); Facts Don’t Speak for Themselves – Art on Migration and Borders, Skånes konstförening, Malmö, Sweden (2016); Soul, Sarajevo Historical Museum; and The Location of Culture, Pulchri Studio, The Hague, Netherlands (2011). In 2019 she represented Malta at the Venice Biennale with her work Atlantropa-X.

For her full cv visit https://www.klitsa-antoniou.com/about.html
For her complete portfolio visit https://www.klitsa-antoniou.com/gallery.html ”

Klitsa Antoniou is an internationally acclaimed artist, researcher, and Professor of Fine Arts. Her transdisciplinary practice engages with trauma, displacement, and the fragility of memory, often interrogating the entangled politics of space, belonging, and the tensions that emerge around boundaries and separation. Drawing from critical theory, philosophy, and geopolitics, Antoniou investigates how individual and shared histories are formed, hidden, and communicated across social and territorial landscapes. Through performative strategies, she evokes the instability of place and identity, transforming space into a site of ritual and reclamation. Her installations challenge linear narratives, embracing fragmentation and uncertainty to reveal what resists representation. Influenced by Lyotard’s idea of the impossibility of total recall, her work gives shape to the immemorial—those elusive traces that persist beyond memory and forgetting—revealing the unseen forces of historical, existential, and affective power.