Worlds of Antigoni Tsagkaropoulou
Antigoni Tsagkaropoulou is a multidisciplinary artist working across moving image, installation, performance, and sculpture. Their practice constructs speculative worlds and stories that move between reality and fiction, the physical and the digital, centering queer, femme, and non-human voices that exist at the edges of dominant social, technological, and economic systems. Through performative situations, cinematic atmospheres, and embodied technologies, they are creating spaces where meaning emerges through affect, sensing, materiality, non-linear time, and shared presence.
Tsagkaropoulou’s work unfolds through ambiguity, slowness, and sensory experience. They are interested in how bodies relate, rehearse roles, and form temporary alliances, allowing vulnerability, desire, and failure to remain present. Technology appears in their work not as a mode of progress or spectacle, but as a vehicle to reimagine new worlds of affective and planetary regeneration.
Their projects take the form of multi-channel video installations, experimental films, performative environments, and participatory sculptural structures that invite viewers to inhabit shared spaces over time. Cinema is approached as something spatial and collective, expanding beyond the screen into environments where stories are felt rather than explained. Materiality is not limited to aesthetics, but holds a political meaning. Collaboration—with artists, performers, friends, and sometimes machines—is central to their practice, grounding the work in relational and situated processes. Across different projects, Tsagkaropoulou returns to speculative worlding, visionary fiction, or remixing of the archive as a way to revisit neglected histories and imagine other modes of living together through a shared past, present and future.
Antigoni is a PhD candidate in Media Arts & Practice at USC School of Cinematic Arts. Their PhD research fields revolve around post-cinema and expanded moving image, queer performance and extended realities, and feminist & queer technoscience.
Their research focuses on understanding softness as an agential and queer quality with the ability to disrupt the rigidity and control of a techno-capitalist system of surveillance and heteronormative domination. They think about softness as something deviant, dirty, glitchy, ecological and agential, rather than clean, sterile, and predictable. Their background in sculpture and performance have deeply informed their filmmaking and media arts practice. At the moment, they are exploring “post-cinematic softness,” focusing on the materiality of the moving image itself, texture, time, affect, and embodiment, rather than a closed narrative, and how this speaks to a lineage of queer filmmaking, as well as feminist avant-garde and experimental video art. Their film practice, always comes back to their installation roots, creating spaces where softness becomes a material strategy and a political one, shaping how images are encountered, how time is felt, and how bodies can (trans)form.
They hold a BFA in Visual Arts and Sculpture from the Athens School of Fine Arts in Greece and an MFA in Media Arts from DMA-UCLA's School of the Arts and Architecture, supported by numerous scholarships, including those from the Fulbright Foundation, the Onassis Foundation, and the UCLA Stavros Niarchos Foundation. Their work has been supported and exhibited by institutions internationally such as Bristol’s Center for Contemporary Arts (Arnolfini), Honor Fraser Gallery, REDCAT (Roy and Edna Disney CalArts Theater), Los Angeles County Museum of Art (LACMA) x UCR as part of PST Art, Gray Area, Hebbel Am Ufer (HAU), Wrightwood 659, NRW-Forum Dusselforf, Onassis ONX, TRANSFER Gallery, and Thessaloniki Biennale, among others.
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