Dr Euripides Altintzoglou

Senior Lecturer in Fine Art & Photography

Dr Euripides Altintzoglou
Email address: E.Altintzoglou@wlv.ac.uk Phone number: 01902 321948 Location: George Wallis Building, MK702 Faculty: Faculty of Arts School/Institute: Wolverhampton School of Art Areas of expertise: Fine Art, Sculpture, Photography


Euripides Altintzoglou’s practice explores the correlation of being, politics, and change. He is the co-editor (with Martin Fredriksson) of Revolt and Revolution: The Protester in the 21st Century (Oxford, UK). His work is shown internationally in private galleries, public museums, and biennales.

Research interests


In May 2011, Dr Altintzoglou launched a research journal Desearch, that aims at producing a reflective and critical approach to research methodologies in Fine Art, Cultural Theory and Philosophy. The journal aims at providing publishing opportunities to post-graduate students and its editorial board consists of academics from various British HE institutions. In January 2011 Dr Altintzoglou was presented with the ‘Higher Education Social Entrepreneurship Award’ by HEFCE for his work on Desearch.


Since 2009 Dr Altintzoglou has been engaged with Obituaries, a critical theory project that analyses the implications of the gradual decline of radical and emancipatory cultural phenomena. This series of short essays discusses various declining cultural phenomena, covering areas such as fashion, music, cooking, politics, education, television, sports, film and theatre from the perspective of key critical theory and philosophical concepts that originate in the works of Plato, Descartes, Kant, Hegel, Marx, Nietzsche, Lacan, Debord, Barthes, Foucault, Badiou, and Ranciere. The underlining intention of Obituaries is to trace the social imprint of our political system’s subservience to the capitalist economic order and identify the ways by which this interrelation can potentially deflate the critical potential of everyday cultural practices. In 2011 Dr Altintzoglou was commissioned by Flash Art International to produce a series of radio shows based on these essays which were broadcasted in the second half of 2012 by radio stations in Athens, Berlin and New York. A second series of radio shows is currently under production.



  • 2018 Portraiture and Critical Reflections on Being, Routledge, New York, U.S.A (forthcoming)
  • 2016 Grand Detour, Beton7 Arts, exhibition catalogue essay for Grand Detour show, Athens, Greece
  • Revolt and Revolution: The Protester in the 21st Century, co-edited with Martin Fredriksson, Inter- Disciplinary Press (ISBN: 978-1-84888-456-4), Oxford, U.K.
  • 2013 The Ends of Art, Beton7 Arts, exhibition catalogue essay for The Ends of Art show, Athens, Greece
  • 2011 Reversible, Beton7 Arts, exhibition catalogue essay for Reversible solo show, Athens, Greece

Edited Publications

  • 2013 Issue 3, Desearch: Postgraduate Journal of Art & Contemporary Culture, U.K.
  • 2012 Issue 2, Desearch: Postgraduate Journal of Art & Contemporary Culture, U.K.
  • 2011 Issue 1, Desearch: Postgraduate Journal of Art & Contemporary Culture, U.K.

Other Publications

  • 2012 Obituaries (Series 1), radio shows, broadcasted by Flash Art International Radio, New York, USA & Beton7 Art Radio, Athens, Greece

Conference Presentations & Artist Talks

  • 2017 Towards the Transcended Event: The Role of Light in Photographic Re-Presentation, Imaging Ourselves, 8th International Conference on the Image, Venice International University, San Servolo, Venice, Italy
  • The Critical Invariant: Avant-Garde & Change, University of Lincoln, U.K.
  • Euripides Altintzoglou:  A Critical Review, The Collection, Lincoln, U.K.
  • 2016 The Emperor’s Only Clothes:  Avant-Garde & Perpetual Change, Agency and Crisis: Scenes from Political Philosophy and Contemporary Art, University of Wolverhampton, U.K.
  • Digital Realities and Virtual Ideals: Portraiture, Idealism and the Clash of Subjectivities in the Post-Digital Era, Face Value: Personification and Identity in a Post-Digital Age, 7th International Conference on the Image, Liverpool John Moores University, Liverpool. U.K.
  • 2015 Photography and Its Violations, Panel Chair, Open Eye Gallery, Liverpool, U.K.
  • 2014 Deflowered Revolution: An Ethical Examination of Neo-liberal Tactics of Pacification, Revolt & Revolution: 2nd Global Conference, Prague, Czech Republic
  • Erosion and Illegibility of Images: Blocked Vision and Self-Reflexivity in Contemporary Art, Panel Chair, New Art Gallery Walsall, Walsall, U.K.
  • 2012 Illuminated Nature: Presentation & Re-Presentation in Photography, Photography & The Art of Print, University of Wolverhampton, Wolverhampton, UK
  • 2008 A Classic Modernism, Forgotten Modernisms, University of Wolverhampton, Wolverhampton, UK

Experience in industry

The Ends of Art

In July 2013 Dr Altintzoglou curated The Ends of Art at Beton7 Arts, Athens, Greece, including works by himself and other British artists such as Jim Abernethy, Andrew Bracey, Cornford & Cross, Matthew Dalgleish, Dean Kelland, Adam Kossof, John Timberlake, and Alistair Payne.

The group of works included in the show addressed the conservative tendency of historians to declare the ‘death of art’ every time art goes through a critical stage in its course of development. Instead of abiding to such regressive doctrines the works in the exhibition turn to critical self-reflective strategies that echo the spirit of conceptualism in order to understand the new conditions of artistic production offered by recent technological advancements and social-political changes. Each work included in the exhibition dealt solely with the changing nature of a given discipline through another. In doing so, the exhibition investigated cross-disciplinarity as the means for a radical and thorough process of examination of the changing nature of art. This methodology is driven by a twofold intention: 1) to establish critical self-reflection as a recurring means for facilitating change in the arts, and through which 2) to eradicate the last remaining traces of humanism in art history: the dissolution of distinct art disciplines for the means of theoretical analysis.


Reversible, Dr Altintzoglou’s most recent solo exhibition at Beton7 Gallery, Athens, Greece (22/09/11 – 15/10/11), included two bodies of work (photographic installations, object-based and readymade appropriations) that examine the individual and collective dimensions of change as a response to the recent European economic crisis. The first room included a series of radical portraits focusing on the psychoanalytical dialectics between a desire for change and a concurrent reluctance for progress. The notion of change expanded onto the socio-political domain as the second room was occupied by a group of object-based installations that drew on issues around knowledge, trust and systemic flaws identifying ‘what needs to be done’ once a new individualism has been established.

In Soulseeker – a radical full figure self-portrait that consists of a set of x-rays mounted on a lightbox – we witness the problematization of the dualist religious ideology through the scientific methodology of the work (x-rays). The reflective properties of the mirror in the triptych Untitled encourage collaboration by opening up the process of production of meaning beyond the personal concerns of the artist while the employment of text of psychoanalytical nature enforces a confrontation with various prohibitions that impede on our personal development. Representation and truth is the focus of Trust, an installation that questions the representational validity of photographic verisimilitude. The dialectics of action and reaction are explored through an edition of twelve stamps that print the word ‘No’ in all major dialects. Finally, Panacia – an installation consist of 1,200 syringes filled with €12,000 spelling the acronym ‘S.O.S’ – confronts the dominant role of economics and their association with modern notions of well-being.

See Through Me: Walsall

In 2010 Dr Altintzoglou was commissioned to carry out a collaborative installation (See Through Me: Walsall) at the New Art Gallery Walsall, which ran throughout August, September and October 2010. The work took the form of a radical photographic group portrait, exploring aspects of identity and forms of representation through collective modes of production with the participation of the gallery’s audience. The I-D format (passport-sized photos) was employed in order to address these issues through the creation of an installation, which consisted of the remaining frames of numerous passport-size snapshots, where the face is cut off. The installation presented a mosaic of more than 500 people – or rather a collective self-portrait of the gallery’s visitors – represented by their clothing, haircut, race, gender, etc., signs of which remain evident after the initial removal of the facial area.

Further information

Forthcoming Exhibitions


The Sunbeam project consists of a typology of gates of abandoned industrial sites in the Wolverhampton area. Its aim is to address recent economic developments in local history through a contemporary method driven by ‘New Objectivity’ and the Düsseldorf School of Photography.

All images were shot in a positive manner under complimentary bright daylight in order to avoid common melancholic approaches to similar subjects and, thus, revisit Walter Benjamin’s notion of the ‘ruin’ from a positive perspective. As a result these gates and by extension the industrial history of the local area are celebrated as monuments of a glorious past. In return, this allows for conflicting dialectics to come into play, which reconfigure the historical notion of the ‘ruin’ and revise the ‘straight’ and objective methodology that drives photographic typologies after Bernd and Hilla Becher, and the Düsseldorf School of Photography.


Solo Exhibitions

  • 2016 Grand Detour, Beton7 Arts, Athens, Greece
  • 2011 Tupperware Project, 3rd Biennale of Athens, Athens, Greece (with Nick Charalampidis)
  • Reversible, Beton7 Arts, Athens, Greece
  • Beginnings, 17th International Short Film Festival, Drama, Greece
  • 2010 See Through Me, The New Art Gallery Walsall, Walsall, U.K.

Group Exhibitions

  • 2017 Capital(e) Lumière, Maison Victor Hugo, Besançon, France
  • 2016 Midpointness, Airspace Gallery, Stoke-upon-Trent, U.K.
  • Vidéo Capitale 2016, Champlitte, France
  • 2014 Making of Mordor, Wolverhampton Art Gallery, Wolverhampton, U.K.
  • (detail), H-Space, Bangok, Thailand; Transition Gallery, London, U.K.
  • 2013 Vidéo Capitale 2013, Fresne-Saint-Mamès, France
  • The Ends of Art, Beton7 Arts, Athens, Greece

Curated Exhibitions

  • 2013 The Ends of Art, Beton7 Arts, Athens, Greece