Imagine a museum display re-creating a trashy psychedelic party whose attendees include Catherine Deneuve dressed as a princess in Jacques Demy’s 1970 fairy-tale film Donkey Skin; Abe Sada, a woman notorious for erotically asphyxiating and severing her lover’s penis in 1930s Japan; and actress Isabelle Illiers, topless and wrapped in chains for her role in The Fruits of Passion, Shūji Terayama’s 1981 takeoff on The Story of O. The fete is staged in a building modeled on a Greek temple destroyed in an explosive apocalypse; the partygoers’ possessions are stored in ziplock plastic bags as if saved from an archaeological dig. That was Danai Anesiadou’s exhibition “Safino Mapola” (which, loosely translated from Greek slang, means, “I leave you with everything”).
In this flamboyantly theatrical set-up, sections of three walls housed paste-ups of large printed collageswhich Anesiadou
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