Georgia Sagri
Georgia Sagri (b. 1979, Athens, lives and works between Athens and New York) is a visual artist who explores political, social, philosophical, and ecological themes by pushing the boundaries of somatic experiences. Her practice includes sculpture, sound and installation, focusing on economy of means and aiming for self-recovery and collective care through performance art.
Sagri’s work has been shown internationally at institutions and biennials such as Kunstmuseum Liechtenstein, Vaduz; Skulpturenpark Köln, Cologne; Palais de Tokyo, Paris; Castello di Rivoli Museo d’Arte Contemporanea, Rivoli; Gropius Bau, Berlin; de Appel, Amsterdam; Mimosa House, London; TAVROS, Athens; Portikus, Frankfurt; the Museum of Cycladic Art, Athens; the Sculpture Center, New York; the KW Institute for Contemporary Art, Berlin; Kunsthalle Basel; MoMA PS1, New York; the Guggenheim Bilbao; and MoMA, New York; documenta 14; Manifesta 11, Zurich; 14th Istanbul Biennial; 12th Lyon Biennial; 76th Whitney Biennial. Sagri is the founder of the art space ΥΛΗ[matter]HYLE (hyle.gr).
City
2024
Performance, ca 40 min performed 21 September 2025
10 Posters, inkjet print on paper, 30 × 40 cm
Documentation of performance recorded at Kunstmuseum Liechtenstein, 2024, video, 4 min
Courtesy of the artist and The Breeder
The title City evokes the image of bodies as built environments – structures that are constructed, destroyed, and rebuilt. Like buildings, they mirror the human experience of collapse and renewal, both physically and metaphorically. In this performance bodies become architecture. A performer attempts to turn their own body into a pedestal, a support for the other – an act of balance, tension, and care. Parallel to these movements, a monologue unfolds: spoken, negotiated, translated, and sung.
Gone, Gone Beyond
2025
Fabric, polyester, air pump, guy ropes, 4.9 m x 2.7 m x 2.7 m
Performance September 20th, 2025
Courtesy of the artist and The Breeder
Georgia Sagri’s practice unfolds as an investigation into breath – the invisible yet material force that binds us. Her new work, comprising a sculpture and a performance, offers two parallel strategies for engaging the self, each reflecting on the shifting nature of the “I”. The project was conceived by the artist after encountering one of Greece’s most important contemporary poets, Katerina Anghelaki-Rooke, who composed her final work in a time of deep personal grief. In the performance, Sagri stages a dialogue with the self, asking how identity can be reassembled when coherence falters — how we pause and acknowledge sorrow, and take the next step towards connection.
The work examines how we perceive, fragment, and recompose ourselves in moments of rupture. The pressure-device sculpture functions like a living organism, and as it inhales and exhales the materiality of air, often dismissed as immaterial, becomes tactile and audible. Sculpture and performance share a single membrane: both in constant motion, both vanishing and returning. Together, they propose a coexistence of the visible and the invisible. Sagri’s work gives disappearance a form and presence a face, composing the self after the vanishing ego — gone, gone beyond — in the very moment of its healing.