Katerina Undo is a human artist and researcher exploring liminal notions of embodiment as processes of counter-transition, mediation and co-existence in complex environments. Katerina's work, primarily through multimedia installations, has been exhibited internationally.

​

Katerina studied at the Athens School of Law, Economics and Political Sciences, the Panteion University of Social and Political Sciences (MA in Economics), the Athens School of Fine Arts, the LUCA School of Arts (Master of Arts-Transmedia) and the HISK/Higher Institute for Fine Arts (Laureate). Katerina is currently a PhD candidate (joint scholarship) at KU Leuven, LUCA School of Arts and the University of Melbourne.

​

The notion of the hearing body (Master's thesis: The Notion of the Hearing Body Regarding the System Self-Others-World) has been a generous notion of Katerina's interest, prolonging intensive research on how technologies, and ultimately the force that drives them, are progressively incorporated into the contemporary body; what we assumed was definitely ours is migrating to external interfaces. Research into prosthetic devices used in the 19th and 20th centuries to improve hearing or detect sound has informed her work towards the ambiguous notion of inner speech, while processes of transposing embodied perception - as intimate as they are disturbingly coherent - have taken on an intensely social dimension in her artistic practice. In Katerina's work, there are more parts than there are wholes. The parts are unstable, fluid, vulnerable and dynamic. They are constituents of organisms, environments, networks, clusters, webs and swarms. They are atemporal and atopic, of nowhen and nowhere. They are subject to their own sympoietic processes. And, above all, they always already revolve around an alienating I that speaks in a place of becoming, where localisation is non-localised and borders morph to incorporate otherness. Contrary to the stability of origin, there is no original or copy, no beginning, middle or end, but rather entanglements, convolutions and extensions. The context is such that each part, as an organ of technical life, and each whole, as a body without organs, is inextricably linked to all contingencies, alterations and mutations. It even becomes its own antibody, undermining its defences, re(de)ciphering its code, so that it constantly escapes representation, constantly shifts its sources of origin, away from the matrix, carries its voice from a single body into a cloud, into an elsewhere. The process of symbiosis or contiguity of the self with the other is therefore a search for the active adoption of radically changing conditions of co-existence or processes of becoming, or the methodisation of the intention to confront oneself. From this perspective, the subject (always already at stake) seeks to open itself up to a profound becoming that entails its own undoing. Embracing both its condition and its im-possibility, it dissolves, transforms, invades and mutates in an evolutionary process towards the metabolisation of the co-constitutive milieu of relations between bodies, technologies and environments. It is within these processes of intra-acting intrinsic-extrinsic counter-transitions that the body often becomes an active site of transmutation in Katerina's work, expressed primarily through multimedia installations. And it is within this notion of becoming an active site of transmutation that Katerina's current research weaves an experiential futuring approach as a human-AI co-creative methodology for responding to (un)livable climates.​