“Counting Rests” serves as an expression of the artist’s fascination with how various mechanisms ofhuman memory – as described in Pierre Huyghe’s “The Third Memory” – influence personal and collectivememory and our notion of reality. ‘Sound’ is a strong memory mechanism. His works shed light on thecorporeal memory through his personal knowledge of techniques of Greek traditional instrument makingwhich are based on oral tradition passed on from generation to generation. Therefore, the artist translateshis more than six years' experience as an instrument-maker into elaborate and intriguing new woodenpaintings, sculptures and sculptural installations. Additionally, the exhibition will feature a collection ofhistoric pre-war moulds in dialogue with one of the artist's new moulds, utilized in the creation of some ofthe showcased artworks. This inclusion not only illuminates the artistic process and research behind theproject but also seeks to foster a dialogue between the past and the present, establishing a profoundconnection through time.At the same time, Tzourovits’ new works presented in the exhibition examine the relationship between‘play’ and ‘conflict’ and how these can generate both humour and a feeling of uncertainty. In the core ofhis artistic practise lays the 21st-century Heidegger-influenced school of object-oriented ontology (OOO)and the belief that all materials are memory carriers. Thus, he selected for example in some cases to useappropriated basketball floor to create sculptures, that refer to deconstructed forms of basketballs,hybrids between a basketball and a musical instrument. The wall sculptures with a shape resembling theinfinity sign, are in fact two-dimensional views of the design of a ball.‘Counting Rests’ reflects upοn the artist’s fascination with the notion of the dynamic role of silence asexpressed in Jacques Lacan's theory of the ‘Symbolic Order’, a term with which the French Phychoanalystdescribed the system of language and culture that shapes human experience and the construction ofsubjectivity. Silence, within this framework, can be seen as an interruption or disruption of the ‘SymbolicOrder’. It might represent moments when language fails to capture the full complexity of an individual'sthoughts and feelings. At the same time, is associated with the Real, the domain of the unrepresentableand the ineffable. At the same time, Tzourovits’ artworks – potential musical instruments, draw fromWalter Benjamin’s philosophy of conceiving silence as a space of receptivity and contemplation. Thus the

artworks presented in the show at Kalfayan Galleries embrace the notion that silence prompts the viewerto pause, reflect, and engage more deeply with the artwork.As the artist states:“I meticulously craft sculptures and installations infused with traditional techniques, possessing thepotential to produce sounds reminiscent of musical instruments. However, instead of filling the space withaudible vibrations, I embrace the power of silence, inviting viewers to immerse themselves incontemplation and imagination, evoking the possibilities these silent objects hold.Through this exhibition, my intention is to orchestrate a symphony of silence, encouraging viewers toenvision the sounds these silent objects could produce if the silence were to give way. My aim is to sparkcontemplation and introspection, prompting each viewer to reflect on the intriguing interplay of silenceand memory within the realms of their own lives. “Special thanks to Christos Spourdalakis and his workshop .In this exhibition, Antrea Tzourovits incorporates a collection of historic pre-war moulds (bodysoundboard)for musical instrument making, which exceed 80 years in age. These are a valuable loan forthe show by Christos Spourdalakis and his workshop.