Esmeralda Kosmatopoulos is a multi-disciplinary conceptual artist working around language and identity. 

Born in Greece, raised in Paris, she now lives and works between Paris and New York. Her work investigates the definition and construction of identities, personal memories, culture and collective histories in the post-Internet age. She places herself as a translator, building connections between past and present, physical and virtual and ultimately between one and another. 

Her work was exhibited in galleries, institutions and public spaces in North America, Europe and Latin America including Kunsthal Charlottenborg (Copenhagen, Denmark), Künstlerhaus Wien (Vienna, Austria), AMA | Art Museum of the Americas (DC, USA), Palazzo delle Arti Napoli (Naples, Italy), Kunsthal Aarhus (Aarhus, Denmark), Museum Louis Braille (France).


My work is a reflection on language and communication in the digital age - how they are created, perceived and restricted by the physical limitations of time and space. I approach the question from an anthropological and sociological perspective, looking at the changes but also the similarities between physical and virtual world; translating the codes and behaviors from one world to the other; exploring how our humanity and emotions reflect on the virtual sphere and, on the other hand, what happen when the virtual world “gets physical”. I decontextualize everyday-life material objects; inherited cultural symbols and behaviors viewers can easily connect emotionally with and pair them with elements, codes and practices unique to the online world.

My role as an artist is to build connections: between past and present, physical and virtual and ultimately between one and another. My work is built upon a network of meaningful collaborations, incorporating participatory components at multiple stages of the creative process – from the participants I interview during the research phase of a given project and whose personal stories and memories I use as a foundation for a new work; to the exhibition visitors that may be invited to engage directly with the work or contribute to it. Each of these subjective personal experiences is unique in its form and content, but gathered within the same piece and disconnected from their original author, they become an anonymous public exposure of our human nature that transcends time, languages and cultures.

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