Authors of the Estate documentary
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Invisible Work, A Social Design Project in Collaboration with Generation for Change CY
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Sound-Walking, We Are Not Ghosts: Varosha Narratives. Directing and Editing for Nafia Akdeniz’s poetry.
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How to reduce systemic bias in Public Health Commissioning? NHS - Workshop & Toolkit
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Νιώσε Άβολα (feel uncomfortable )
Film
Νιώσε Άβολα (feel uncomfortable )
Film
Authors of the Estate documentary
From council houses to publishing houses — the story of a North West London neighbourhood rewriting itself.
This powerful documentary tells the story of how a North West London neighbourhood turned council houses into publishing houses - transforming lived experience into literature and rewriting how the world sees them, and how they see themselves.
Expect an evening of film, storytelling, and inspiration, as we celebrate resilience, creativity, and community voice on the big screen.
A journey behind the 200-page book that began on the St. Raphael's Estate, then the Chalkhill Estate and went on to achieve national recognition - now brought to life in film.
Credits: Executive Director + Director of 2nd Unit
Bunkerologies
Pame Kaimakli promotional material
Our performative installation explores the dead ends that punctuate Kaimakli. Through ethnographic research and drawing on existing scholarship on the edges of demilitarised zones, we navigate the duty of silence surrounding these tight, haphazard spaces. How does this duty vary along gendered lines, and how do we belong alongside their artefacts?
Reading participatory scripts with visitors
This research was also presented at the ‘Everyday experiences of conflict: the daily life, legacies & textures of war’ symposium at the University of Oxford.
Exhibition catalogue excerpt. Written by Ibrahim Ince and Rosanna O’Keeffe
Below are some slides outlining the artistic practice the duo, Andriana and Sophie, had undertaken for their Pame Kaimakli activation:
Mesaoria waits
People say, “think
outside the box all the time,
but I’m tired of all the options;
they overwhelm me.
I don’t know where to start from.
What if I need a box to understand
what I haven’t been given
the agency, the ok go;
to my agency to understand.
What if I needed a box within a
box within a box
A frame within a frame within a
frame to experience a portal
of Cypriot stalemates.
Where memories stay stale
and mates are only those
from leftist parties (Comrade mates)
and those who speak of
friendship in folklore commonalities
(primordial mates)
–
What if through frames
of frames of frames; time
gets decolonised (not on
purpose ofcourse) but in
bystanders.
The vacuum of Mesaoria is
being gazed upon from bunker frames
and it gets shy.
Bystanders can’t stand to
look closely. They’re afraid
of their own breath,
as they were very well taught to do so.
Alive in paradoxes
Mesaoria on the other hand
experiences itself in a different way.
She wakes up as a valley and sleeps as one.
No human steps on her so she has no complaints.
Other species flourish more, they move.
Yes the soil could’ve been turned a bit more but no complaints.
She’s not complaining cause she is gazed upon like she’s on a stage, and there’s audience on both sides admiring, anticipating her every move.
She is spoken of in Cypriot roots, Turkish - Greek weeds, English, Arabic, Romanian, African,
you get the jist.
She is sober by sobering up and facing the seasons
She is the field, the portal
and the distance to be crossed over.
Do you think her audiences will catch onto the fact that her bufferings are invitations for participation?
Nicosia, October 2025
Andriana Lagoudes
~ performed at ‘Bunkerologies’ performative installation by Andriana Lagoudes and Sophie Fetokaki at Pame Kaimakli Festival.
People say, “think
outside the box all the time,
but I’m tired of all the options;
they overwhelm me.
I don’t know where to start from.
What if I need a box to understand
what I haven’t been given
the agency, the ok go;
to my agency to understand.
What if I needed a box within a
box within a box
A frame within a frame within a
frame to experience a portal
of Cypriot stalemates.
Where memories stay stale
and mates are only those
from leftist parties (Comrade mates)
and those who speak of
friendship in folklore commonalities
(primordial mates)
–
What if through frames
of frames of frames; time
gets decolonised (not on
purpose ofcourse) but in
bystanders.
The vacuum of Mesaoria is
being gazed upon from bunker frames
and it gets shy.
Bystanders can’t stand to
look closely. They’re afraid
of their own breath,
as they were very well taught to do so.
Alive in paradoxes
Mesaoria on the other hand
experiences itself in a different way.
She wakes up as a valley and sleeps as one.
No human steps on her so she has no complaints.
Other species flourish more, they move.
Yes the soil could’ve been turned a bit more but no complaints.
She’s not complaining cause she is gazed upon like she’s on a stage, and there’s audience on both sides admiring, anticipating her every move.
She is spoken of in Cypriot roots, Turkish - Greek weeds, English, Arabic, Romanian, African,
you get the jist.
She is sober by sobering up and facing the seasons
She is the field, the portal
and the distance to be crossed over.
Do you think her audiences will catch onto the fact that her bufferings are invitations for participation?
Nicosia, October 2025
Andriana Lagoudes
~ performed at ‘Bunkerologies’ performative installation by Andriana Lagoudes and Sophie Fetokaki at Pame Kaimakli Festival.
Andriana Lagoudes & Sophie Fetokaki © 2025
Invisible Work
Project Description
After an in-depth focus group and a series of one to one interviews with selected research participants from a diverse group of refugees employed across various sectors in Cyprus, our team developed a set of narratives and information that made it to the posters’ storyline.
The awareness campaign poster series created by our leading designer Andriana Lagoudes will be revealed to the public for the first time. This poster campaign aims to raise awareness, advocating for the labour rights of various refugee and migrant demographics and is intended to provoke important discussions on such critical issues on the frontline of migration politics. After the reveal event the poster campaign will be placed all around the streets of Nicosia, extending the conversation to the general public and allowing the posters to create ripples to the city's urban narrative.
PROJECT DURATION: March - September 2024
RESEARCH STEPS: Desk Research > Focus Group > 1:1 Interviews
DESIGN METHODOLOGY: Social Design and Co-Design
EACH POSTER FOCUSES ON A PARTICULAR REFUGEE DEMOGRAPHIC PROFILE.
Creative Direction and Poster Design by ANDRIANA LAGOUDES
THE PRODUCTION OF THIS PROJECT WAS A RESULT OF THE EFFORTS OF GENERATION FOR CHANGE CY AND ANDRIANA LAGOUDES AND FUNDED BY THE ART FOR SOCIAL ACTION SMALL GRANTS PROGRAM (ASA).
RESEARCH STEPS: Desk Research > Focus Group > 1:1 Interviews
DESIGN METHODOLOGY: Social Design and Co-Design
EACH POSTER FOCUSES ON A PARTICULAR REFUGEE DEMOGRAPHIC PROFILE.
Creative Direction and Poster Design by ANDRIANA LAGOUDES
THE PRODUCTION OF THIS PROJECT WAS A RESULT OF THE EFFORTS OF GENERATION FOR CHANGE CY AND ANDRIANA LAGOUDES AND FUNDED BY THE ART FOR SOCIAL ACTION SMALL GRANTS PROGRAM (ASA).
POSTER TITLE: Embracing the Hijab.
AIM: This poster aims to dismantle harmful beliefs about the hijab and make way to reveal the complexity that lies behind its symbolism.
NUMBER OF RESEARCH PARTICIPANTS IN FOCUS: [2]
IDENTITY CHARACTERISTICS: [1] Early 20s, Able-Bodied, Muslim Woman [2] Late 20s, Able-Bodied, Muslim Woman.
COUNTRY OF ORIGIN: [1] Somalia [2] Somalia
TIME IN CYPRUS: [1] 2-3 years [2] 2-3 years
WORKED IN CYPRUS: Yes
THE WRITTEN CONTENT OF THIS POSTER WAS CO-CREATED WITH A SELECTED RESEARCH PARTICIPANT.
AIM: This poster aims to dismantle harmful beliefs about the hijab and make way to reveal the complexity that lies behind its symbolism.
NUMBER OF RESEARCH PARTICIPANTS IN FOCUS: [2]
IDENTITY CHARACTERISTICS: [1] Early 20s, Able-Bodied, Muslim Woman [2] Late 20s, Able-Bodied, Muslim Woman.
COUNTRY OF ORIGIN: [1] Somalia [2] Somalia
TIME IN CYPRUS: [1] 2-3 years [2] 2-3 years
WORKED IN CYPRUS: Yes
THE WRITTEN CONTENT OF THIS POSTER WAS CO-CREATED WITH A SELECTED RESEARCH PARTICIPANT.
POSTER TITLE: Work RoadMap of a Refugee in Cyprus
AIM: This poster maps one journey of an able-bodied refugee man into the labor sector in Cyprus. It aims to reveal the obstacles and learning processes that take place.
NUMBER OF RESEARCH PARTICIPANTS IN FOCUS: [1]
IDENTITY CHARACTERISTICS: Early 20s, Able Bodied Man, No Previous Work Experience
COUNTRY OF ORIGIN: Congo
TIME IN CYPRUS: 3 - 4 years
WORKED IN CYPRUS: Yes
THE WRITTEN CONTENT OF THIS POSTER WAS CO-CREATED WITH A SELECTED RESEARCH PARTICIPANT.
AIM: This poster maps one journey of an able-bodied refugee man into the labor sector in Cyprus. It aims to reveal the obstacles and learning processes that take place.
NUMBER OF RESEARCH PARTICIPANTS IN FOCUS: [1]
IDENTITY CHARACTERISTICS: Early 20s, Able Bodied Man, No Previous Work Experience
COUNTRY OF ORIGIN: Congo
TIME IN CYPRUS: 3 - 4 years
WORKED IN CYPRUS: Yes
THE WRITTEN CONTENT OF THIS POSTER WAS CO-CREATED WITH A SELECTED RESEARCH PARTICIPANT.
POSTER TITLE: Unheard Work Stories of refugees with (Dis)abilities, Digital Version.
AIM: This poster advocates for the visibility of a demographic of refugees that live their life with visible and invisible (dis)abilities.
NUMBER OF RESEARCH PARTICIPANTS IN FOCUS: [2]
IDENTITY CHARACTERISTICS: [1] Late 20s, Man with disability [2] Early 30s, Man with Disability.
COUNTRY OF ORIGIN: [1] Sierra Leone [2] Cameroon
TIME IN CYPRUS: [1] 4 years [2] 4 years
WORKED IN CYPRUS: Yes
THE WRITTEN CONTENT OF THIS POSTER WAS CO-CREATED WITH A SELECTED RESEARCH PARTICIPANT.
AIM: This poster advocates for the visibility of a demographic of refugees that live their life with visible and invisible (dis)abilities.
NUMBER OF RESEARCH PARTICIPANTS IN FOCUS: [2]
IDENTITY CHARACTERISTICS: [1] Late 20s, Man with disability [2] Early 30s, Man with Disability.
COUNTRY OF ORIGIN: [1] Sierra Leone [2] Cameroon
TIME IN CYPRUS: [1] 4 years [2] 4 years
WORKED IN CYPRUS: Yes
THE WRITTEN CONTENT OF THIS POSTER WAS CO-CREATED WITH A SELECTED RESEARCH PARTICIPANT.
At the event we revealed the posters and had a panel discussion focusing on racism and exploitation in Cyprus' labor sector. Our audience heard directly from refugees, migrants, and representatives from a migrant-focused organisation from the North. Additionally, individuals who have contributed to our project's research shared their personal experiences, providing a unique and valuable perspective followed by an open form Q&A conversations.
The Generation for Change team in collaboration with designer Andriana Lagoudes funded by the Art for Social Action sub-granting program (ASA) created a framework to research migrant and refugee experiences in the labor market in order to create an impactful awareness campaign.
An opportunity to gain impactful insights that arose from our interdisciplinary approach to this project of research and social design.
The Arts for Social Action sub-granting program (ASA) implemented by Visual Voices, the Civil Society Initiative, and The Management Center of the Mediterranean within the framework of Building Community - Arts for Social Action Project (BCASA), made possible by the generous funding from the European Union under the Financial Aid Programme for the Turkish Cypriot Community.
The Generation for Change team in collaboration with designer Andriana Lagoudes funded by the Art for Social Action sub-granting program (ASA) created a framework to research migrant and refugee experiences in the labor market in order to create an impactful awareness campaign.
An opportunity to gain impactful insights that arose from our interdisciplinary approach to this project of research and social design.
The Arts for Social Action sub-granting program (ASA) implemented by Visual Voices, the Civil Society Initiative, and The Management Center of the Mediterranean within the framework of Building Community - Arts for Social Action Project (BCASA), made possible by the generous funding from the European Union under the Financial Aid Programme for the Turkish Cypriot Community.
Sound - Walking
We Are Not Ghosts, Varosha Narratives
Sound-Walking, We Are Not Ghosts: Varosha Narratives is a poetic walk into Varosha public space memory, through narratives of forced displacement and desire of return, with the poems of Nafia Akdeniz. This poetry-based interactive sound walk draws on Akdeniz’s ethnographic research on Varosha narratives and is experienced as an immersive audio environment, on location and online in 3 languages: Turkish, Greek, English. The project is a collaboration between the poet Nafia Akdeniz and D6:EU and funded as part of the Art for Social Action sub-granting scheme.
Lagoudes developed the Visual Storytelling and Video Art for the project. You can watch the videos below. For the Greek version of the videos go here, for the Turkish versions here.
While the Varosha area is increasingly open to visitors, this work focuses on the human impact of Famagusta / Varosha history and aims at creating empathetic understandings for both locals and visitors. The poet explores place memory and refers to the interrupted life trajectory in Varosha, a place marked by forced displacement. By tapping into the collective memories of several public spaces, such as the Glossa Beach, the Municipal Park, the Municipal Agora, the Greek Gymnasium and others, Akdeniz aims to identify the familiar and foster a deeper understanding of the refugee experience and the complex realities of the Cyprus conflict. These geo-triggered poems are accessed through the application ‘Sound Walking’ on location and on-line with printed QR codes at specific locations in Famagusta.
The title, We Are Not Ghosts, echoes a common phrase used by Varosha refugees. It serves as a counter-response to labelling the city a “ghost town”. Instead, it reclaims the collective memory of its former inhabitants, and the possible future of the city.
WIth these poems, Akdeniz, skilfully navigates the memory of this historical place and merges it with the present experience of the city as a post-war site. This work is produced from Akdeniz's belief in poetry, aiming to enhance the human experience by involving all the senses and making both tangible and intangible aspects of human existence visible.
The sound walk is a collaborative work of the poet Nafia Akdeniz, curator Alessandro Vincentelli, cultural director Argyro Toumazou, sound designer Inal Bilsen, visual designer Andriana Lagoudes, and application developer Redif Ekinci. The project is produced by D6:EU, a visual arts organisation based in Cyprus, developing new opportunities for artists and cultural collaborations in Cyprus, Europe and the Middle East.
Poetry: Nafia Akdeniz
Visual Storytelling, Video Direction and Editing: Andriana Lagoude
Sound design: Inal Bilsel
Curation: Alessandro Vincentelli
Application development: Redif Ekinci
Cultural Direction: Argyro Toumazou
Video Still from poem'Barbed Tongue’
Poetry Nafia Akdeniz
Visual Direction Andriana Lagoudes
From the series of poems for Sound-Walking, We Are Not Ghosts: Varosha Narratives
2024
Poetry Nafia Akdeniz
Visual Direction Andriana Lagoudes
From the series of poems for Sound-Walking, We Are Not Ghosts: Varosha Narratives
2024