01.



My body is confused. It thinks that its own parts are a threat, and it attacks them. My body is confused. It needs to get constantly reminded, what is the limit between itself and the world. My palms and soles become stiff like rocks, impenetrable shields, a constant reminder of the barrier between the inside and the outside. They protect me, but with a cost. I myself, cannot touch, feel, understand. The barrier becomes thicker and thicker in its attempt to protect my singularity.

But there are still these two holes up on my head, two big holes that remain wide open, and poor in, this threatening outside. With her eyes, Matilde the little witch, could move objects around. With my eyes, I destroy them. All I have to do is stare, and my impatient hand touches, caresses, destroys. The more I paint the more I scratch this surface, this impenetrable skin, and open up this hole for me to exist.




02.bedroom and you were 
Part of
‘miss information’

Banu Cennetoğlu, Nicole Coson, Manolis D. Lemos, Stamos Michael, Liliana Moro, Christodoulos Panayiotou, Eleni Tomadaki, Thanasis Totsikas, Iris Touliatou

Sylvia Kouvali

2025 (ongoing)
Sylvia Kouvali
Piraeus
Greece

Reality is being hijacked and distorted by unknown forces and by the attitudes of the engine itself, challenging established notions of truth and (historical) accuracy. Digitisation has become a process of dematerialisation and disembodiment that has left us with hollow corps and empty shells. Information has been sucking us constantly and this exhibition presents phantom like objects and paintings or traces that look like paintings, that tell stories, represent human life and though full of texts they are not permeated by information. The works selected are surfaces within which other stories lie underneath what is seen and narratives are hidden in the form of image, sculpture or sound.


Installation view
Installation view
Installation view
Detail - Eleni Tomadaki, bedroom and you were, 2025, oil on linen, 240 x 200 cm

Eleni Tomadaki, bedroom and you were, 2025, oil on linen, 240 x 200 cm
Installation view
Installation view
Eleni Tomadaki, it usually isn’t but this one was, 2025, oil on canvas, 100 x 110 cm
Detail - Eleni Tomadaki, it usually isn’t but this one was, 2025, oil on canvas, 100 x 110 cm
03.some paintings 2025



Eleni Tomadaki, of the thing behind the fence, 2025, oil on linen, 180 x 210 cm
Detail - Eleni Tomadaki, of the thing behind the fence, 2025, oil on linen, 180 x 210 cm
they all bend mother they all bend, 2025, oil on linen, 85 x 100 cm
Detail
somewhere in the woods and I got angry how, 2025, oil on linen, 70 x 80 cm
Detail
04.I’ll be waiting in the car

part of 
‘Everynight’

Shaheen Ahmed, Eleni Bagaki, Shadi Habib Allah, Sky Hopinka, Katerina Komianou, Simon Lässig, Manolis D. Lemos, Bahar Noorizadeh, Valentin Noujaïm, Louiza Ntourou, Lydia Ourahmane, Leslie Thornton, Eleni Tomadaki
Various locations

2025 (ongoing)
curated by Panos Fourtoulakis
Alphaville cinema
Greek Film Archive
Athens
Greece

everynight invites thirteen international artists from Algeria, France/Lebanon, Germany, India, Iran/Canada, Palestine, Greece and the USA to present moving-image works drawing on experienced and imagined dreams. Using the dream as a lens, everynight explores how the sleeping mind offers a means to reclaim reality. Anchored in the ever-evolving urban landscapes of Athens, the project traces an intimate cartography of the city and the world, in which Athens serves as both subject and backdrop.


Eleni Tomadaki, I’ll be waiting in the car, 2025, 2d animation, 3:00
05.they say some animals can never get fully domesticated

Duo booth with

Eleni Tomadaki
Maria Konti
Art Athina

2025
Project Spaces
booth C2, Cypher
Athens
Greece

they say some animals can never get fully domesticated, they say this wolf that this man kisses on camera doesn’t love him back, and it would eat him if the man didn’t know how to handle it,

Installation view
what could it be everyone was after me they were blocking the ways out they were coming, 2025, oil on linen, 240 x 200 cm
Detail - what could it be everyone was after me they were blocking the ways out they were coming, 2025, oil on linen, 240 x 200 cm
Detail - what could it be everyone was after me they were blocking the ways out they were coming, 2025, oil on linen, 240 x 200 cm
Installation view
I held it with both my hands slowly put it in my mouth and tried to chew it but it was tasteless spongy and wet I could not swallow it, 2025, oil on linen, 130 x 150 cm
Detail - I held it with both my hands slowly put it in my mouth and tried to chew it but it was tasteless spongy and wet I could not swallow it, 2025, oil on linen, 130 x 150 cm
Installation view
I must have done something bad, 2025, oil on linen, 70 x 85 cm
Detail
 ate a little boy once and it was very very tasty, 2025, oil on linen, 20 x 25 cm
06.broken bench I & II

Part of
Deserts of love

Ana Castillo, Lydia Delikoura, Philip Hinge, Charalambos Kourkoulis, Ioanna Limniou, Zoe Metra, Johnna Sachpazis, Sasha Streshna, Eleni Tomadaki
Haus N Athen 

2025
curated by Amalia Vekri
Haus N Athen
Athens
Greece



broken bench I, 2025, oil on linen, 40 x 55 cm
broken bench II, 2025, oil on linen, 40 x 55 cm
broken bench I & II, 2025, oil on linen, 40 x 55 cm
07.Aaaaa,aa

Solo show

Eleni Tomadaki
Cypher

2025
co curated with Ioanna Gerakidi
Cypher
Athens 
Greece

Artist note*

Each stroke signifies decisions that reply to questions. Questions concerning the medium, the limits of the medium, the limits of the self. A painting striving to set its outlines and be-come in the context of contemporary painting. A body that does the same to be-come in the context of contemporary society. I see painting as a process of becoming: A chaos, a nothing, is slowly getting baptized by the marks of the paint on the surface, and whilst passing through this threshold, it decides to which laws and up to what extent it will submit; And how much of it will remain. The painting surface becomes a battlefield in between chaos and order, the animal and the human, the body and the mind. A body that strives to set its outlines and become. A fighting body. How much freedom to give to a body to express itself without letting it erase itself completely? When I paint, there’s a point in which I let my hands free – and why not to? Why not get out of the lines, break the borders? What if I mess it all up, what if I make the figures, the shapes, the forms lose everything that signifies them? What if I don’t submit to order, to the expectation of making something skillful, aesthetically appealing or technically complicated? When I give my hands the freedom they are asking for, they destroy; Nothing; that’s what’s left. And then more nothing. To become a subject one has to submit (Butler). To question the context which defines one, is to question oneself (Kristeva). I obey. My free hands have to occasionally stop. In front of a line, a shape, a figure. They follow. Some lines have not to be surpassed in order for the painting to exist, but how many of them to follow? The way that I treat my surface is informing the way that I position myself in society, personally and politically. I am seeking to find a balance between order and chaos, love and anger. I fail. Again and again. Silence is louder than the loudest scream, a tutor once told me. Let it be. My body resists. My body is angry, my body wants to fight, to dance, to get pleased. It is not about communicating a story but a state. All I aim for is a pause. A breath.



Installation view
Installation view
Installation view - Fall, 2025, oil on linen, 180 x 210 cm
Fall, 2025, oil on linen, 180 x 210 cm
Installation view
Installation view - full moon, 2025, oil on linen, 180 x 210 cm
full moon, 2025, oil on linen, 180 x 210 cm
Installation view - in the night it gets dark, 2025, oil on linen, 90 x 100 cm
Installation view
Installation view - / , 2025, oil on canvas, 20 x 60 cm
/ , 2025, oil on canvas, 20 x 60 cm
Ιnstallation view
Installation view - I just had a bite, 2024, oil on linen, 200 x 240 cm
I just had a bite, 2024, oil on linen, 200 x 240 cm
Someone is crying, 2025, oil on linen, 100 x 110 cm
Installation view
V, 2025, oil on linen, 180 x 210 cm
Installation view
Installation view - Untitled (hands), 2024, oil on linen, 40 x 60 cm
Untitled (hands), 2024, oil on linen, 40 x 60 cm
Installation view - Sfgdd, 2024, oil on linen, 20 x 60 cm
Installation view - Sfgdd, 2024, oil on linen, 20 x 60 cm
Sfgdd, 2024, oil on linen, 20 x 60 cm
08.There must have been a question

in the context of
Aaaaa,aa

Eleni Tomadaki
Jeph Vanger
Cypher

2025
co performed with Jeph Vanger
Cypher
Athens 
Greece

If Aaaaaaa is a scream, then Aaaaa,aa is a tamed one. The smallest of symbols - in this case, a comma - transforms the raw cry into a song. It introduces it to structure, language, the law. In much the same way as the paintings in the exhibition, this piece moves through the liminal space between body and mind, chaos and order. Eleni is weaving overlapping narratives, at times embodying characters through her voice. Jeph manipulates Eleni’s words and voice to generate sound, effects, and rhythm.


Clip - Eleni Tomadaki, There must have been a question, 2025, sound performance, 15:00
09.touch

part of
CIRCA

Alina Akbar, Alice Bucknell, Bernice Mulenga, Bhenji Ra, Camille Henrot, Christelle Oyiri-K, Darryl Daley, Eleni Tomadaki, Gabriel Massan, H M Baker, Ivan Cheng, Jala Wahid, Jazz Grant, Jebi Labembika Ndimuntoh, Jonas Brinker, oshua Antiporda Serafin, Josiane M H Pozi, Laisul Hoque, Maeve Brennan, Marianna Simnett, Ming Poon, Mohamed Sleiman Labat & Matthew Galloway, Oliver Beer, Rebecca Salvadori, Rohan Ayinde + Tayo Rapoport, Romeo Roxman Gatt & Costas Kazantzis, Sara Cwynar, Soumeya Ait Ahmed, Yalda Afsah and Yumna Al-Arashi


CIRCA

Circa Prize 2024

Piccadilly Lights screen, Piccadilly Circus, London, UK
Berlin Limes Kurfürstendamm screen, Berlin, GER
EssilorLuxottica screen in Cadorna Square, Milan, IT

Touch, 2021-2024, 2d animation, 2’30’’
Circa 2024, Piccadilly Circus, London, September 25th, 2024
Circa 2024, Piccadilly Circus, London, September 25th, 2024.
Circa Symposium
Circa 2024, Piccadilly Circus, London, September 25th, 2024.

10.score 1

part of
Metal and the Flesh

Nina Davies Christian Friedrich Esther Gatón Sinaida Michalskaja Daniel Moldoveanu Aaron Ratajczyk Eleni Tomadaki Ahren Warner


Horse and Pony

curated by Aaron Ratajczyk
Horse and Pony
Berlin
Germany


Night beverage, 2024, pencil and oil on paper, 29.5 x 42 cm
Installation view - Night beverage, 2024, pencil and oil on paper, 29.5 x 42 cm
Score 1, 2024, oil on linen, 40 x 50 cm
Detail - Score 1, 2024, oil on linen, 40 x 50 cm
Installation view
Detail -