NIGHT Award - 18th Festival Internacional Signos da Noite, Lisbon, PT “for Film, which represent reality in an ambivalent and enigmatic way, avoiding
stereotypes of representation and simple conclusions”


A film about time and femininity, questioning how the erotic body gradually becomes a body that insists, how time is registered within the promise of youth which becomes marital duty.

International Short Film Festival Oberhausen 2020 International Competition, Oberhausen, DE (shortlisted)

22nd Thessaloniki International Documentary Film Festival, Thessaloniki, GR

18th Festival Internacional Signos da Noite, Lisbon, PT 

18th Festival international Signes de Nuit, Paris, FR

10th Athens Ethnographic Film Festival ETHNOFEST, Athens, GR

3d Balkan Can Kino Symposium, Athens, GR 

Girls in flower

Combining performance and archive material, the video creates a hypothetical landscape where western world fantasies about the city of Athens and contemporary Greek culture are scrutinized. 

 Co- creation and performance: Dimitris Tampakis 
 Featuring: Vitoria Kotsalou

Theoretical Archaeology Group (TAG) 2019 at UCL - 
Archaeology and the camera truelle: theorising archaeology through the moving image, Dec 18 

Nostalgia for lost futures

The shepherd is a short encounter with a shepherd playing his flute somewhere in Arcadia, Greece.

2021 East End Arts Festival, Samos, GR

The shepherd

A monument to the mythical women who became trees and animals to avoid abduction and rape. An everlasting reminder of violence against women. The film reflects on the nature of myth. To what extend does it represent overt concerns of the society? Abduction and rape are a recurrent theme in ancient Greek mythology. The statue of Hippodamia' s abduction, in the center of Athens, becomes the springboard of an associative editing of images, leading to the creation of a memorial to women -mythical and real- victims of sex-related violence.

The final show of Station One AIR Residency “Hippodamia In Context” by Victoria Square Project in collaboration with Counterpoints Arts and the Stavros Niarchos Foundation Public Humanities Initiative (SNFPHI) at Columbia University


11th Aegean Film Festival, Spetses GR

The Poem Returns as an Echo Dialogues with Theresa Hak Kyung Cha (1951 – 1982), Curated by Caterina Stamou, June 14 – July 31, 2024, at Contemporary Greek Art Institute

Laurel trees thrive in the shade

a series of images as notes on the form that landscapes and taskscapes share in time. It does not refer to a place on the map, since landscapes cannot be shown or named in themselves, as fixed forms. Instead, they are here treated as paintings in progress, as performative acts in constant motion. 

A drawn-out process of observation -  bodies, dry stone walls, erosion, the tide - collapses the notion of segmentation in a landscape. The very features that identify boundaries and difference are themselves an integral part of this landscape. 

Dry stone walls embody the artists’ positioning in the landscape. Embodiment as a movement of incorporation rather than inscription. These walls are often referred to as “she” by their builders and are seen as consisting of body parts. Filling out the central part of the wall  is called “hearting”. In archaeological terminology, walls are thought to have faces. Shifting the focus to the non-human, dry stone walls serve as shelters too.

The title is a phrase borrowed from Flann O’ Brien ‘ s second novel “The Third Policeman”.

1st Xeno Festival, Sigri Lesvos, GR

The Glenkeen Variations, Krespo Haus, Frankfurt, Curated by Ben Livne Weitzman, Program Coordinator Glenkeen Garden Residencies, and Christiane Riedel, Chairwoman of the Crespo Foundation.

The distance we walked in this country I do not know

Seven (7) essay films, each in dialogue with an archaeological find or an object of ethnographic value from the research project’ s material corpus. The films focus on the familiar, the seemingly insignificant manifestations of the everyday, in order to question the symbolic values attributed to museum objects. 
Commissioned by “Finds Stories: Addressing Mobility through Object and People Biographies”, a research project by Bristol University, Cardiff University, Zagreb Archaeological Museum, and the Australian Archaeological Institute in Athens.

Finds Stories: Addressing Mobility through People and Object Biographies, Archaeological Museum in Zagreb, April - May 2023, Zagreb, Croatia (video installation)

European Association of Archaeologists Annual Meeting, August 2023, Belfast, Northern Ireland

All the stories I know I inherited from the men in my family

The poetic documentary film about the creation of Glenkeen garden was made by the Greek artists Christiana Chiranagnostaki (*1981) and Konstanza Kapsali (*1989). It includes memories and flashbacks of the garden’ s origins, while also showing the heterogeneity of the garden today. Through this film Ulrike Crespo’ s work in the exhibition, remain tiedto the site of their creation. The cast of characters includes Ulrike Crespo planting beds, Michael Satke discussing the idea of the garden layout, Piet Oudolf designing the flowering grasses and perennials meadow, the sculptor Ulrich Rückriem setting up a sculpture, alongside plants, animals, and the voices of other gardeners who continue to care for Glenkeen Garden to this day. 

(exhibition text “Floralia: Merian – Schultz – Crespo”)

Floralia: Merian – Schultz – Crespo, 8 Septembre - 3 Decembre 2023, Senckenberg Naturmuseum, Frankfurt, DE

Fastnet Film Festival 2023, Schull, West Cork, IE

Glenkeen Garden

Public Award - 7th Balkan Can Kino Symposium

Against the backdrop of the beachfront of the Nea Chora district, two women, Elsa and Olga, enjoy their last, autumnal baths in the sea. As the everyday life of the two women is registered in the space of the neighborhood through their conversations, their daily presence there, and their relationship with the filmmaker, issues emerge regarding female friendship, the appropriation of space, and the creation of bonds based on care and friendship in the third age.

Supported by Open Sails festival, municipality of Chania.

In A Bright Green Field, curated by Gary Carrion-Murayari, Kraus Family Senior Curator, New Museum, at the Benaki Museum 12.6.2025–13.9.2025. Catalog published by the DESTE Foundation.

Art and Polarization by Research Unit Image, Sint Lucas Visual Arts, Carre, Campus Ghent

Elsa & Olga

Newsreels and travelogues mostly from the 1960s and 1970s interact with the filmed performance of the creation of a contemporary sculpture. Irony and the juxtaposition of images and concepts are enlisted to construct a hypothetical landscape where Western world fantasies of the city of Athens meet contemporary Greek art production. Monumentality, the image of the working body of the artist, the construction of the national narrative, and the selectiveness of history and its symbols reside in the contrasting qualities of the moving images.

Metapolitefsi, curated by Xenia Kalpaktsoglou, Christoforos Marinos, Christos Chryssopoulos, Athens and Epidaurus Festival, 5–7 June 2024

One drum of a column was laid over another

In 'The potential stored in ordinary things' Konstanza Kapsali focuses on the multiple aspects of death and memory and explores their complex and often contradictory place in life. Through a multi-level narrative that mixes the personal with the collective, the tangible with the distant, and the ritualistic with the spontaneous, the artist approaches death both institutionally—from the viewpoint of tradition and organized religion—and through personal testimonies.

Her research was triggered by the discovery of a recorded account of the death of a beloved person and the visit to their library. The research then evolves on how we tell our stories, on modes of narrativity and the fabulation of everyday events. The artist combines elements of archaeological theory with ethnographic and artistic practices and hybrid filmmaking to focus on what remains. Kapsali’s video is a dense composition of images, words, and sound which immerses us into the materiality of loss and the existential need for narration. The title of the film is inspired by Kathleen Stewart’s work.

Created within the context of Anargyros Art Residency, Spetses, Greece.

School of Transitions, 20 June – 20 July 2025, Curated by Eva Vaslamatzi, Participating Artists: Konstanza Kapsali, Rowena Hughes, Natalia Manta, Ioanna Paraskevopoulou