Project Syntagma (2016), multimedia installation and performance. 3 vitrine tables, 3 cube monitors, 3 original LP's, used posters, maps, documents, archival photos.

Project Syntagma, focuses on the Syntagma Square, in down town Athens, as a politically contested territory. Having as part of the title the word ‘Syntagma’ (in English, ‘Constitution’), the work references the major political and social changes that are connected with the long history of the square. From the Greek junta, to political campaigns and the recent anti-austerity demonstrations of the indignados, the Syntagma Square is the epicenter of politics in Greece.

The project brings together different independent works and different disciplines, as well as archival photographs, audio documents and transcripts of several political speeches that took place in the square, alongside a series of performances, happenings and interventions around Syntagma Square itself. With these interventions, Tsivopoulos attempts to disrupt the daily life of the square, aiming for a dialogue with the square's history of sociopolitical turmoil and unrest. Traces of these interventions are preserved and presented in the gallery alongside other archival material creating an interdisciplinary installation, in which each object is the result of a direct dialogue with the public domain.

One Too Many (2016), Two performers (a male and a female), 200 b&w photographs dimensions variable, two cardboard boxes each 30cm x 40cm x 40cm. Duration 10 minutes.

In the performance One Too Many, each performer presents intermittently a series of photographic archives of crowds from different political rallies from the era of Metapolitefsi in Greece. The Metapolitefsi (Greek: Μεταπολίτευση, translates as "regime change"), was a transitional political period period that started after the fall of the Greek military junta (1967–74) in 1974 with the first free elections and ended with the entry of Greece in the EU and the Euro in 2002. Metapolitefsi marked a new era of democracy and the official end of the civil conflict but also solidified populism, nepotism and a polarization in the Greek political system. 

This ideological polarization was marked by massive political rallies that took place exclusively on Syntagma Square. The colors of the three main parties Green (Socialist), Blue (Christian democrats) and Red (Left), are not rendered in these black and white images and even the written slogans cannot be distinguished from one part to another. The images are mixed, in such a way that parties and ideologies are seemingly lost and eventually unimportant. What's left is the “image” of an anonymous crowd.

The performers pick the photographs from inside the cardboard box one by one, and show them just for a brief moment. Each new photo is displayed in a new manner,  as the performers use their bodies as structures to executes a series of scripted and improvised movements, ranging from dry stiff postures to eloquent choreographic gestures, that amplify a dialogue between the presence of the body and the content of the images.