{"id":2,"date":"2009-05-08T13:14:51","date_gmt":"2009-05-08T12:14:51","guid":{"rendered":"http:\/\/maria.creativechamber.com\/?page_id=2"},"modified":"2026-01-17T18:40:55","modified_gmt":"2026-01-17T17:40:55","slug":"about","status":"publish","type":"page","link":"https:\/\/www.mariageorgoula.com\/?page_id=2","title":{"rendered":"CV"},"content":{"rendered":"

Born 1978 in Athens, Greece
\nLives and works in Athens, Greece<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<\/tr>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Education<\/strong><\/td>\n<\/tr>\n
2016-2017<\/td>\nPostgraduate Certificate in Education, University of Buckingham<\/td>\n<\/tr>\n
2006-2008<\/td>\nMFA Fine Art, The Slade School of Fine Art, University College London<\/td>\n<\/tr>\n
2001-2004<\/td>\nBA Fine Art, Goldsmiths College, University of London<\/td>\n<\/tr>\n
1995-2001<\/td>\nArt & Marketing (Double Major), University of La Verne<\/td>\n<\/tr>\n
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Solo Exhibitions\/Events<\/strong><\/td>\n<\/tr>\n
2020<\/td>\n‘Hypnopompic’, Hyle[Matter], Athens<\/td>\n<\/tr>\n
2019<\/td>\n‘D\u00e9cor & Gymnastics’, New Court Gallery, Repton, Derbyshire<\/td>\n<\/tr>\n
2015<\/td>\n‘Pom Pom Expedition’, Curated by Radical Reading, Circuits & Currents, Athens School of Fine Arts Project Space<\/td>\n<\/tr>\n
2013<\/td>\n‘Gorilla Split’, New Court Gallery, Repton, Derbyshire<\/td>\n<\/tr>\n
2011<\/td>\n‘The Nauru Project’ with performers Polyxenie Savva & Thanassis Petropoulos, Frown Tails, ReMap KM 3, Athens<\/td>\n<\/tr>\n
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Group Exhibitions\/Events<\/strong><\/td>\n<\/tr>\n
2025<\/td>\n\u2018Common Ground’, Big Table, Athens<\/td>\n<\/tr>\n
<\/td>\n\u2018Mythologies of Collapse’ curated by Giorgos Kontis & Dionisis Christofilogiannis, Cynefin, Athens<\/td>\n<\/tr>\n
<\/td>\n\u2018The Air Is Subtle Yet It Moves’ curated by Panos Giannikopoulos, AMA House, Athens<\/td>\n<\/tr>\n
2024<\/td>\n\u2018Home: My Nest, My Noose’ curated by Hara Piperidou, Misc, Athens<\/td>\n<\/tr>\n
<\/td>\n‘Cynefin\/\u039a\u03b9\u03bd\u03ad\u03b2\u03b7\u03bd’ curated by Neal Rock, Cynefin, Athens<\/td>\n<\/tr>\n
2023<\/td>\n‘Social Pedagogies’ curated by Gigi Argyropoulou, Vassilis Noulas & Kostas Tzimoulis, Eight\/\u03a4\u03bf \u039f\u03c7\u03c4\u03ce, Athens<\/td>\n<\/tr>\n
2022<\/td>\n\u2018The Revival of Rocks\u2019 curated by Stella Christofi, Troupakis-Mourtzinos Fortress, Kardamyli, Peloponnese<\/td>\n<\/tr>\n
<\/td>\n\u2018Beautiful South\u2019 curated by Olympia Tzortzi, King George Hotel, Athens<\/td>\n<\/tr>\n
2021<\/td>\n\u2018The Right to Breathe\u2019, curated by Dr Sozita Goudouna, Undercurrent, New York<\/td>\n<\/tr>\n
<\/td>\n‘Mr Robinson Crusoe Stayed Home’ curated by Kostis Velonis & Polina Kosmadaki, The Benaki Museum, Athens<\/td>\n<\/tr>\n
<\/td>\n‘Decorated Bread’ community project by Maria Varela, Tavros, Athens<\/td>\n<\/tr>\n
2019<\/td>\n‘In Dialogue’, Mansions of the Future, Lincoln<\/td>\n<\/tr>\n
<\/td>\n‘A Message to Iceland’ curated by Oliver Basciano, Marshall House, Sequences Festival, Reykjakiv<\/td>\n<\/tr>\n
<\/td>\n‘Apathia’, Mykonos Biennale, Mykonos, Greece<\/td>\n<\/tr>\n
<\/td>\n‘Summer Camp Show Reel’, East Side Projects, Birmingham<\/td>\n<\/tr>\n
<\/td>\n‘Out-Score’ curated by Sozita Goudouna, Aixoni Sculpture Theatre, Glyfada, Greece<\/td>\n<\/tr>\n
<\/td>\n\u2018Curved Arrows\u2019 curated by Kostis Velonis, Kunstraum am Schauplatz, Vienna<\/td>\n<\/tr>\n
2018<\/td>\n‘Oh That I Had A Thousand Tongues’ curated by Nikola Dietrich, Tinos Quarry Platform, Tinos, Greece<\/td>\n<\/tr>\n
<\/td>\n‘Amaranthine’, curated by Dan Coopey, Kupfer, London<\/td>\n<\/tr>\n
<\/td>\n‘The Salon’, Embassy Gallery, Edinburgh<\/td>\n<\/tr>\n
<\/td>\n‘Stopping Point’, curated by Kostis Velonis, Daily Lazy Projects, Athens<\/td>\n<\/tr>\n
2017<\/td>\n‘Face to Phase’, curated by Tzeni Argyriou & Vasilis Gerodimos, Athens School of Fine Arts, Athens<\/td>\n<\/tr>\n
<\/td>\n‘PIY Paint Lounge’, Sluice Biennial, Hackney, London<\/td>\n<\/tr>\n
<\/td>\n‘God & Sausages’ curated by Maria Georgoula, Lekka & Perikleous\/Stoa Zerbini, Athens<\/td>\n<\/tr>\n
<\/td>\n‘Corfu in Colour’ curated by Sozita Goudouna, Ionian Parliament, Corfu<\/td>\n<\/tr>\n
<\/td>\n‘The Library Show’, Eleftheria Tseliou Gallery, Athens<\/td>\n<\/tr>\n
2016<\/td>\n‘Drawn to Affect’, Rogue Artists’ Studios Project Space, Manchester<\/td>\n<\/tr>\n
<\/td>\n‘We All Have a Problem with Representation’, Screening, The Showroom, London<\/td>\n<\/tr>\n
<\/td>\n‘Regarding Nicolas Calas’, Conference & Research Exhibition, Athens School of Fine Arts, Athens<\/td>\n<\/tr>\n
2015<\/td>\n‘Cascading Relevant Information’, curated by Crown Building Studios, Open Eye Gallery, Liverpool<\/td>\n<\/tr>\n
<\/td>\n‘1cubed’, Gallery No.1, Repton, Derbyshire<\/td>\n<\/tr>\n
<\/td>\n‘Showdown’, Bloc Projects, Sheffield<\/td>\n<\/tr>\n
2014<\/td>\n‘Contemporary Visual Art Programme’, Various Venues, Wirksworth Festival, Derbyshire<\/td>\n<\/tr>\n
<\/td>\n‘Ghost Songs’ presented by the Libby Sacer Foundation, Cheap Art, Athens, Greece<\/td>\n<\/tr>\n
<\/td>\n‘Survival of the Fullest: Feeding & Sharing in Crisis Times’, A Collaborative Meal with Dan Coopey, Oliver Basciano and Hettie Judah, Delfina Foundation, London<\/td>\n<\/tr>\n
2013<\/td>\n‘Contemporary Treasures’, curated by Katerina Nikou, Ileana Tounta Contemporary Art Centre, Athens, Greece<\/td>\n<\/tr>\n
<\/td>\n‘Thrills & Chills’, curated by Christina Androulidaki & Daily Lazy Projects, CAN Gallery, Athens, Greece<\/td>\n<\/tr>\n
2012<\/td>\n‘Utopraxia’, curated by Evangelia Ledaki, The Art Foundation, Athens<\/td>\n<\/tr>\n
<\/td>\n‘The Islets of Langerhans’, curated by Maria Georgoula, Trace Group, Hosted In Athens, Daily Lazy, Organisation of Greek Archaeologists, Athens<\/td>\n<\/tr>\n
<\/td>\n‘The Nauru Project’, Hosted In Athens, Daily Lazy, Online<\/td>\n<\/tr>\n
<\/td>\n‘Artists for Athens Pride IV’, curated by Andrea Gilbert, The Breeder, Athens<\/td>\n<\/tr>\n
2011<\/td>\n‘The Non-Existent Hand’, curated by Kostas Sahpazis, ReMap 3, Athens<\/td>\n<\/tr>\n
2010<\/td>\n‘Utopia Project 2006-2010’, Institute of Greek Contemporary Art, Athens<\/td>\n<\/tr>\n
<\/td>\n‘I Do’, Collaborative Group Project, curated by Konstantinos Dagritzikos, Six D.O.G.S, Athens<\/td>\n<\/tr>\n
<\/td>\n‘\u75d5\u8ff9 \/ Trace, Sanhe Museum, Hang Zhou, China<\/td>\n<\/tr>\n
<\/td>\n‘Meteor’, curated by Oliver Basciano, New Court Gallery & Gallery No.1, Repton School, Repton, Derbyshire<\/td>\n<\/tr>\n
2009<\/td>\n\u2018Giatrakou 28 \u2013 The Neutrality of this Section is Disputed\u2019, ReMap 2, Athens<\/td>\n<\/tr>\n
<\/td>\n\u2018The Culture Industry; Folklore and Clich\u00e9s\u2019, VOX, Athens<\/td>\n<\/tr>\n
<\/td>\n\u2018IRP goes Live\u2019, Secrets, Southwark Playhouse, London<\/td>\n<\/tr>\n
<\/td>\n\u2018The Voice And Nothing More\u2019, Slade Research Centre, London<\/td>\n<\/tr>\n
2008<\/td>\n\u2018Urchin Eater\u2019, curated by Dan Coopey, Guest Projects, London<\/td>\n<\/tr>\n
<\/td>\n\u2018Illumination\u2019, The Service Point Building, Manchester<\/td>\n<\/tr>\n
<\/td>\n\u2018Calypso\u2019, Videotheque, Sala Rekalde, Bilbao<\/td>\n<\/tr>\n
<\/td>\n\u2018Taenu\u2019, Tactile Bosch, Cardiff<\/td>\n<\/tr>\n
<\/td>\n\u2018Notations\u2019, Research project marking the 40th<\/sup>\u00a0anniversary of John Cage\u2019s publication \u2018Notations\u2019 investigating the \u2018score-object\u2019, Slade Research Centre, London<\/td>\n<\/tr>\n
2007<\/td>\n\u2018Studio\/Storage\/Gallery\u2019, Project Studio 9, Curated by Theresa Liang, William West and FormContent, Slade Research Centre, London<\/td>\n<\/tr>\n
<\/td>\n\u2018The Works of Others\u2019, Whitechapel Library, London<\/td>\n<\/tr>\n
2006<\/td>\n\u2018Flat Pack\u2019, Reception Space, London<\/td>\n<\/tr>\n
<\/td>\n\u2018Exploding Cinema\u2019, various venues, Peckham, London<\/td>\n<\/tr>\n
<\/td>\n\u2018Artfest\u2019, Nursted House, Petersfield<\/td>\n<\/tr>\n
2005<\/td>\n\u2018Festival for Lies\u2019, Fournos – Centre for Digital Culture, Athens<\/td>\n<\/tr>\n
2004<\/td>\n‘Oh Contraire’, St. Pancras Church Catacombs, London<\/td>\n<\/tr>\n
2003<\/td>\n‘Miasma’, Hexagon Space, London<\/td>\n<\/tr>\n
<\/td>\n‘Show Reel’, Whitechapel Project Space, London<\/td>\n<\/tr>\n
2001<\/td>\n‘Trash Art’, Technopolis, Ozon Magazine & Municipality of Athens<\/td>\n<\/tr>\n
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Residencies\/Awards<\/strong><\/td>\n<\/tr>\n
2017<\/td>\n‘Interdisciplinary Resident’, Hospitalfield, Scotland<\/td>\n<\/tr>\n
2010<\/td>\n‘Legitimate Possession’, Group Residency, Kardamyli, The Mani, Greece<\/td>\n<\/tr>\n
<\/td>\n‘Utopia Project 2010’, International Residency organized by the Athens School of Fine Arts, Rethymno Annex, Crete<\/td>\n<\/tr>\n
2008<\/td>\nJean Spencer Bursary, The Slade School of Fine Art, UCL<\/td>\n<\/tr>\n
2007<\/td>\nSlade Bursary, The Slade School of Fine Art, UCL<\/td>\n<\/tr>\n
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Lecturing\/Teaching<\/strong><\/td>\n<\/tr>\n
2023-Present<\/td>\nHead of Arts, Byron College, Athens<\/td>\n<\/tr>\n
2020-2023<\/td>\nTeacher of Art, Byron College, Athens<\/td>\n<\/tr>\n
2017-2020<\/td>\n Associate Lecturer, BA Fine Art, Nottingham Trent University<\/td>\n<\/tr>\n
2016-2018<\/td>\nAssociate Lecturer, BA Fine Art, University of Derby<\/td>\n<\/tr>\n
2012-2020<\/td>\nTeacher of Art & Artist-in-Residence, Repton School, Derbyshire<\/td>\n<\/tr>\n
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Bibliography<\/strong><\/td>\n<\/tr>\n
2021<\/td>\n\u2018Slapstick & Sculpture\u2019, (In Greek), by Kostis Velonis, Avgi Newspaper, July<\/td>\n<\/tr>\n
<\/td>\n\u2018Contemporary Art at the Benaki Museum. Do it like Robinson\u2019 (In Greek) by Yannis Konstantinidis, Lifo, May<\/td>\n<\/tr>\n
2018<\/td>\n\u2018Seeking freedom from preconceived meanings\u2019 (In Greek), by Dimitirs Athinakis, Kathimerini, August<\/td>\n<\/tr>\n
2017<\/td>\n\u2018Artists are schools\u2019 latest big draw\u2019 by Greg Hurst, The Times, January<\/td>\n<\/tr>\n
2015<\/td>\n‘Libidinal Sculpture’ (In Greek) Reviewed by Kostis Velonis, Avgi Newspaper, May 2015<\/td>\n<\/tr>\n
<\/td>\n‘Maria Georgoula. Pom Pom Expedition’ Reviewed by Michelangelo Corsaro, ArtReview Magazine, May 2015<\/td>\n<\/tr>\n
<\/td>\n\u2018Pom Pom Expedition by Maria Georgoula at Exarheia\u2019 (In Greek) previewed by Ioanna Gomouza, Athinorama, April<\/td>\n<\/tr>\n
<\/td>\n\u2018Radical Reading; the need for a radical reading of art and context\u2019 (In Greek) interview with curators Radical Reading, Despina Zefkili, Athinorama, April<\/td>\n<\/tr>\n
2014<\/td>\n‘The Ready-Made as Fetish’ (In Greek) by Evangelia Ledaki, Avgi Newspaper, February 2014<\/td>\n<\/tr>\n
2011<\/td>\n‘La Mad’, Impulsive Random Platform, Issue 14<\/td>\n<\/tr>\n
<\/td>\n‘ArtReview Future Greats 2011’, profile by Oliver Basciano, ArtReview Magazine, March 2011<\/td>\n<\/tr>\n
2010<\/td>\n‘Meteor’, reviewed by Dan Green, May 2010, a-n magazine<\/td>\n<\/tr>\n
<\/td>\n‘Meteor-Derby’ previewed by Robert Clark, The Guardian Guide, March 2010<\/td>\n<\/tr>\n
2009<\/td>\n‘September roundup – A selection of artists from the network’ by ArtReview Online<\/td>\n<\/tr>\n
<\/td>\n\u2018Urchin Eater, at Yinka Shonibare\u2019s New Space\u2019 reviewed by Georgia Korossi, Kaput, Issue 04<\/td>\n<\/tr>\n
2008<\/td>\n\u2018Art-house, as yet, Undone\u2019 by Rebecca Geldard, Phillips Art Expert Forum<\/td>\n<\/tr>\n
<\/td>\n\u2018Exhibition Preview: Urchin Eater\u2019 by Jessica Lack, The Guardian<\/td>\n<\/tr>\n
<\/td>\n\u2018Urchin Eater at Yinka Shonibare\u2019s new space, London\u2019 by Ashley Eldridge-Ford, Saatchi Online<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Born 1978 in Athens, Greece Lives and works in Athens, Greece Education 2016-2017 Postgraduate Certificate in Education, University of Buckingham 2006-2008 MFA Fine Art, The Slade School of Fine Art, University College London 2001-2004 BA Fine Art, Goldsmiths College, University of London 1995-2001 Art & Marketing (Double Major), University of La Verne Solo Exhibitions\/Events 2020 […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.mariageorgoula.com\/index.php?rest_route=\/wp\/v2\/pages\/2","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.mariageorgoula.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.mariageorgoula.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.mariageorgoula.com\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mariageorgoula.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2"}],"version-history":[{"count":48,"href":"https:\/\/www.mariageorgoula.com\/index.php?rest_route=\/wp\/v2\/pages\/2\/revisions"}],"predecessor-version":[{"id":2194,"href":"https:\/\/www.mariageorgoula.com\/index.php?rest_route=\/wp\/v2\/pages\/2\/revisions\/2194"}],"wp:attachment":[{"href":"https:\/\/www.mariageorgoula.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}