Effy Yannaku
The Unbearable Lightness of Being Lightness
The tension between lightness and heaviness encapsulates one of the fundamental dilemmas of human existence: the struggle to find meaning in life, to reconcile the weight of our existence with the desire for freedom. Is the heaviness of life something to be despised? Is the allure of lightness truly liberating? While the burdens of our lives ground us, drawing us closer to the earth, the lightness that frees us from mundane reality offers a sense of transcendence, of immortality. Yet, this creates a paradox: can we say there is a clear distinction between the two? And, ultimately, which state—heaviness or lightness—holds greater value? This project draws inspiration from Milan Kundera’s The Unbearable Lightness of Being, as well as Nietzsche’s theory of the eternal recurrence. It explores the existential dichotomy of lightness and weight through a series of works on paper, each portraying a portrait. To heighten this contrast, only white paper is used. The technique employed—paper scraping—further underscores this exploration. At first glance, from a distance, the portraits appear as blank, empty sheets. However, as the viewer moves closer, under the right lighting, the forms of the portraits gradually emerge, revealing themselves from the surface. This subtle play between the visible and the invisible, the material and the ephemeral, mirrors the philosophical inquiry into the weight of existence. It is only through closer inspection, through deep engagement, that the hidden complexity and depth of each piece—and perhaps of existence itself—become clear.
The Unbearable Lightness of Being heaviness
The impossibility of taking a step forward or backward about introducing sense to one’s own existence and making its heaviness light, which is the most basic and common problem of mankind, makes the concepts of lightness and heaviness more complex in this sense. Is the heaviness of the existence really something hateable? Indeed is the lightness that appealing? Despite the heaviness of the burden, our lives get closer to earth…Whereas, on the other hand, getting away from the mundane being makes all our actions immortal and sets us free. In this case, is it possible to argue that there is no paradox here? And which one is better, heaviness or lightness?
A Glimpse of the Sacred
Sacred: Defined as being holy and deserving of respect, especially through a connection with a god. (Source: Cambridge Dictionary) Also, connected with divine purpose, invoking veneration, and regarded with profound reverence. (Source: Oxford Dictionaries) What is sacred? Can it be felt, touched, or even depicted? The concept of the sacred has always fascinated humanity, evoking admiration and awe, inspiring myths, traditions, and legends. In Christianity, this spiritual pursuit gave rise to Byzantine iconography, a visual language that sought to convey the divine. Throughout history, individuals have isolated themselves in caves, monasteries, and deserts, removed from society, to meditate and pray in search of the sacred. Some perished without recognition, others achieved enlightenment, and a few were gifted with glimpses of the divine, which they shared through their spiritual creations. These icons, imbued with a holy touch, have been passed down through centuries, capturing the essence of the sacred. Among the great masters of this tradition are Theophanes the Cretan (1490 AD), Manuel Panselinos (13th century AD), and the iconic Andrei Rublev (1360–1428). This exhibition invites the viewer on a mystical journey, starting with depictions of some legendary Byzantine iconographers and continuing to the present. The modern works presented here reflect a contemporary artist’s search for her own sense of the sacred, navigating the tension between chaos and order in the urban world. The intention is not to compare or contrast the past with the present, but rather to offer a passage from one spiritual realm—purer and more innocent—into another, contemporary yet still deeply spiritual and reverent. This journey serves as a bridge between the timeless essence of the sacred and its evolving interpretations in the modern world.
ME THAT TIME HAS NOT FORGOTTEN
Constanța 2024, Romania. In the central square of the old town, Ovidiu Square, women read ancient epitaphs. Two thousand years later, they respond to the call inscribed on each column and read aloud, as was customary in antiquity—thus, the dead regain their voice. As they read, they discover that their own emotions, actions, memories, and lives are also given voice.   This is a performance in situ. The funerary columns are located outside the Historical and Archaeological Museum of Constanța, in a public space that is a pedestrian extension of the square, leading toward the sea. The columns face modern-day passersby, "challenging" them not only to read the inscriptions but to spend time in front of them, as opposite each column there is a corresponding bench.   The square is where all major gatherings of the city take place: political rallies, protests, concerts, and, of course, personal meetings among friends. It’s as if Hermogenes, one of the deceased commemorated on the columns of Constanța, knew this when he wrote on his epitaph: "Friendship is a title of glory for everyone."
EXHIBITIONS
2015 ‘Starter’ 14 July – 31 August Aasiaat Museum, Greenland (Solo Exhibition) 2016 ‘Love, Peace, Faith’ and ‘Herbarium of the Magic Garden’ Nikola Marinov International Watercolor Painting Plainair Targovishte, Bulgaria (Nikola Marinov, Art Gallery) 2017 ‘The Face of Christ’ 28 April – 5 May Kozani (Municipality Museum), Greece 10 – 12 June Florence, Italy (Associazione Archeosofica Lungarno Guiccardini) 13 May – 15 May Bucharest, Romania (Municipal Museum Bucharest – Palatul Sutu)  2017 ‘A Glimpse of the Sacred’ 10 October – 19 October Aasiaat Museum, Greenland (Solo Exhibition) 2023 ‘The Unbearable Lightness of Being’ 13 November – 8 December Radauti, Romania (Art Gallery Traian Postolache) (Solo Exhibition)