Skin-Air is a rhythmical exploration of air pressure on our skin. Skin-Air has two auras: The silent one, where the body becomes the ear, pointing to new sensoperceptual experiences. And the noisy one, where the ear is enjoying the sound of the formative power of air on our bodies. Two auras, which raise questions between tangibilty and (im)materiality, by merging the notions of material and immaterial through the continuity of movement. Skin-Air has further diverse implications, like air-drumming (without physical contact of a beater), development of musical instruments like aerophones and memranophones, research on rhythm perception, an instrument for the hearing impaired to sense and play in rhythmical ensembles, formation of hybrid ensembles challenging and enhancing the difference between personal, group and subgroup experience, a sound instrument by itself, immediate audio to visual physical action, and enjoying the idea of air acupuncture. Skin-Air also plays with the rhythmical explorations of verbal languages, while sensing the wind of breath-“πνοή” of other people to one’s own skin. Skin-Air reveals the formative power of air on our bodies, thus leading or being led by a desire to be formed by air as land is. For the "Autumn series of Skin-Air" sound/unsound installations, Skin-Air invites George Sioros, who creates a rhythmical composition based on rhythm perception principles.

 Cliffs and human

 Cliffs and Air Valves

 Explorations and Experiments


                        Many thanks to Alexandros Kontogeorgakopoulos and Olivia Kotsifa from the EASTN project, as to
                        George Sioros,  Hartwig Mayer,  Mario Gomes,  Takis Aggelopoulos  and  Liav Gabay for exploring
                        Skin-Air in their own unique way.