Since the beginning
Works in Limassol Cyprus

NeMe is a non profit, non government, Cyprus registered cultural organisation founded in November 2004. NeMe works on two platforms - a virtual and an itinerant one - and focuses on contemporary theories and their intersection with the arts.

NeMe's itinerant platform, the "IMCA" (Independent Museum of Contemporary Art) presents NeMe projects which include, exhibitions, performances, new media events, symposia and archives. The form of the IMCA is determined as a practice or process by the nature of each project with the notion of the exhibition "space" being constantly revised and redefined.

NeMe resides in two sites:

* provides a service by publishing critical texts and filtered cultural information which includes arts news, calls as well as providing a forum for public discussion. documents of all NeMe off and on line activities.
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Wed Nov 04, 2009 00:00 - Sat Oct 24, 2009


NeMe n collaboration with the Department of Multimedia and Graphic Arts of the Cyprus University of Technology

A retrospective look at all the videos created for IDEODROME.

Videos by: Yiorgos Sisamos, Dinos Hatdjidemetri, Yiannis Yiapanis, Helene Black, Natalie Demetriou, Andros Zemenides, Yiannis Colakides, Yiannos Economou, Konstantia Sofokleous, Ioakim Mylonas, Diomedis Nikitas, Klitsa Antoniou, Sophia Hadjipapa-Gee, Demetris Rousos, Panayiotis Fotiou, Eva Korae and Monika Herodotou, Nicos Synnos, Elias Demetriou, Adonis Florides.



Sat Oct 31, 2009 00:00 - Sat Oct 24, 2009


A 30 minutes event continuously looping

A Denial can be conscious or sub-conscious. It can be personal or social. A sub-conscious personal denial is often a defence mechanism. A psychological condition in which we can not accept a real fact or situation as such. A conscious denial is closely related with the personal or social resistance to something which we consider as wrong or immoral. Social consciousness is built upon such conscious denials.

Participants: Klitsa Antoniou, Sophia Hadjipapa-Gee, Demetris Rousos, Panayiotis Fotiou, Eva Korae and Monika Herodotou, Nicos Synnos, Elias Demetriou, Adonis Florides.


The Disappearance of Signs in a Landscape of Deceptions

NeMe is happy to announce our latest addition, The Disappearance of Signs in a Landscape of Deceptions by Lanfranco Aceti to our Texts archive.


The artwork A Dream Came Through started as an idea in 2006 and was developed in 2008 before the current capitalistic crisis and temporary rebirth of a social conscience in the Western World. 2006 was a time when a critique of the capitalist models of production of riches and their lack of distribution was neither fashionable nor intellectually sensible.

The focus of the artwork is on the interpretations and re-interpretations of the roles of the migrant and the politics of labor. The performative element of the project also challenges and questions the structural frameworks of labor by highlighting a condition of commodification and exploitation that is globally enforced.

A Dream Came Through exploits the idea of being paid to do 'nothing' by asking a group of local workers to be paid to fan themselves for the duration of a working day - eight hours. The clash between the oneiric representation of a life-long ideal 'being paid to do nothing' and the reality of exploitative labor frameworks reveals the impossibility of any labor to be other than an institutional process of enslavement.

The artwork questions the representations of 'dream societies' that, having promised economic liberation, deliver no more than an experience of commodification and enslavement within the hierarchical realities of economic exploitation.

The art world, in this context, with its systems of art production does not escape these phenomena of commodification but rather, by presenting itself as a form of liberation and empowerment, reproduces the very hierarchies that declares to be fighting.

Complete text on

As always comments are welcome


Locative Media and Spatial Narratives

The 1000th post in is marked with Martin Rieser's text
Locative Media and Spatial Narratives in our Texts archive.


This paper explores the debates around past and present locative practice and sets them against such models drawn from a broad range of cultural artefacts and their potential lessons for contemporary locative media art and interactive public art practice. Specifically examined are issues of architecture and ritual space, and the spatialisation of narrative, including Aboriginal Australian, Amerindian, Celtic, Hindu and Christian sacred architectures and land art.

read the complete text.


Rhizomatic Cartography

We just posted a new text by Jeremy Hight:
Rhizomatic Cartography: Modulated Mapping and the spatial net
which can be found on

He writes: Mapping, or cartography to use the fancier term, is simply a tool that answers the question: where are we? This tool’s face and structure has only shown signs of fluidity in terms of name changes and borders, but deeper and subtler signs of fluidity and both physical and cultural evolution have yet to change the map’s nature until now with such technology as GIS and GPS. However, mapping in tools used is no longer static. We are in a time, arguably, that is the greatest cultural return to cartography and, in tandem, progression of mapping and related tools in several hundred years. GPS units in cars and in phones are now ubiquitous and continually progressing in interface design and functionality. Locative media in several areas from art to modes of annotation of spaces are also evolving at a rapid rate. A confluence with increasingly sophisticated modes of social networking and data insemination of mapping and spatial augmentation, needs to occur.


As always comments are encouraged and welcomed.