P.E.T. Projects

Small Steps, Accumulations Eleni Papazoglou: ‘And sometimes it is circumstantial, and others it is habit, but it can also be a way to keep searching in small increments; like tiny steps, which can be called accumulation and may be the practice.’ ‘Working with what gathers around you. Externalising your own institution through clear parameters. Managing expectations, your own and your collaborators’. Creating from a place of enoughness rather than lack. Recognising that constraints shape practice, and that naming them transforms them from problems to materials. As Arts Cabinet examines current conditions of artistic production, this editorial proposes models of work that are responsive, adaptive, intimate with their circumstances: daily and incremental, involved and recursive. Editorial: After once it has begun Eleni Papazoglou Arts Cabinet, 2026 From the dialogue piece between Eleni Papazoglou and Angelo Plessas (P.E.T. Projects founder): “what do I have what can I do” 🔗 Link in Bio

What Stays Angelo Plessas: ‘When a show comes down, there is always a small drop. [...] At P.E.T. Projects that moment usually makes me sad for a day or two, because the corridor has just been alive. Then the sadness flips into something else: a cleaner kind of attention. The space becomes receptive again. It turns into a listening device.’ What lingers isn’t a memory of objects but a shift in attention. Plessas: ‘You stop hunting for a single “main” thing and start noticing the helpers: supports, edges, functional bumps, the almost-invisible structures that allow everything else to happen. The corridor teaches you to look sideways, and that sideways look travels out of the space with you.’ He reflects: ‘After this one ended, I tried to erase it properly. I painted two coats, cleaned, reset. Still, up on the ceiling, there are remains of the column. [...] The space does not fully forget, even when it looks empty.’ What the building remembers becomes part of the conditions shaping future work. Editorial: After once it has begun Eleni Papazoglou Arts Cabinet, 2026 From the dialogue piece between Eleni Papazoglou and Angelo Plessas (P.E.T. Projects founder): “what do I have what can I do” Proposing Everything Twice was presented at P.E.T. Projects, Athens. 🔗 Link in Bio

Editorial: After once it has begun Eleni Papazoglou Arts Cabinet, 2026 From the dialogue piece between Eleni Papazoglou and Angelo Plessas (P.E.T. Projects founder): “what do I have what can I do” Proposing Everything Twice was presented at P.E.T. Projects, Athens. 🔗 Link in Bio

Gifts, Not Burdens Eleni Papazoglou: ‘Working in the arts is often synonymous to being underpaid and overworked. So I thought if I don’t make it nice for myself, nobody will. I want my practice to bring gifts, not burdens.’ Organisation becomes a maintenance act for oneself. Clearing and cleaning isn’t separate from making - it’s a moment of taking count. Sample books emerged from overwhelm: too much paper on the studio floor. Organising by pattern, scale, association. Papazoglou: ‘By the time I finished I thought they were the work, because they were helpful to me.’ She continues: ‘I am not sure when, but in the Eurocentric west, we have created a divide between the useful and the wondrous. But the useful is wondrous, and so is the basic, the essential.’ How do artists sustain practices that nourish rather than deplete, as they navigate the scarcity of our times? Editorial: After once it has begun Eleni Papazoglou Arts Cabinet, 2026 From the dialogue piece between Eleni Papazoglou and Angelo Plessas (P.E.T. Projects founder): “what do I have what can I do” 🔗 Link in Bio

Tuning a Building In conversation with Eleni Papazoglou, Angelo Plessas notes: ‘I curate shows there as if I am tuning a building rather than arranging “works on walls”. I like exhibitions that treat space as a collaborator, and limitations as an engine: time, budget, transport, speed, the awkward column, the electricity meter you cannot hide. ..P.E.T. Projects is a long corridor with habits, not a neutral white cube. The exhibition responds to what’s already present: column-like protrusions, an electric meter, windows, an intercom phone, plug sockets at eye height. Eleni Papazoglou: ‘It was funny when someone that came to see the show asked me if it was me that installed the plug sockets in that position, or the intercom phone. I like when work enmeshes itself with its surrounds, or when the found and the produced belong together.’ Spatial constraints as creative partners. What does this model offer for working within existing structures, in the current conditions? Editorial: After once it has begun Eleni Papazoglou Arts Cabinet, 2026 From the dialogue piece between Eleni Papazoglou and Angelo Plessas (P.E.T. Projects founder): “what do I have what can I do” Proposing Everything Twice was presented at P.E.T. Projects, Athens. 🔗 Link in Bio

Editorial: After once it has begun Eleni Papazoglou Arts Cabinet, 2026 From the dialogue piece between Eleni Papazoglou and Angelo Plessas (P.E.T. Projects founder): “what do I have what can I do” Proposing Everything Twice was presented at P.E.T. Projects, Athens. 🔗 Link in Bio

Instructions as Method …’Instructions are invitations, hypotheses, propositions. They can be fulfilled or they can remain open.’ …’Creating systems, rules and instructions, is inherently linked to finding their edges: trying to break them and cheat them; the willingness to try, or fail. And failure holds its own potentialities. It can lead to unpredicted ways of engaging with the world that are freed from existing standards.’ ….’The fact that I set these parameters for myself, does not mean I am comfortable within them: I am constantly negotiating with myself, trying to see what I can do to work around them. They are a structure to bounce off, much like having collaborators.’ – Eleni Papazoglou This approach resonates with Arts Cabinet’s own curatorial methodology: frameworks not as fixed containers but as generative structures that invite negotiation, adaptation, and inquiry. Editorial: After once it has begun Eleni Papazoglou Arts Cabinet, 2026 From the dialogue piece between Eleni Papazoglou and Angelo Plessas (P.E.T. Projects founder): “what do I have what can I do” 🔗 Link in Bio

Everyone and Everything is Welcome In her Editorial, Eleni Papazoglou says: ‘I love the high street, the flea market, the pazari. I go to the flea market once a week. The market is an archive, an archaeological space. Everyone and everything is welcome there.’ Commercial ephemera, packaging, signage, print materials removed from their previous context, open to new possibilities. Papazoglou: ‘I sometimes think about how every object in the world, has or will, end up on/at the market, including the most intimate: phone numbers, family albums, children’s drawings.’ The studio becomes a site of scavenging, of finding new ways to relate to leftovers, of asking what exceeds an object’s form. Papazoglou: ‘Material culture and human connections are deeply intertwined. Ultimately, material is love and time; people and relations.’ A practice built from what’s already there rather than what’s newly acquired. Editorial: After once it has begun Eleni Papazoglou Arts Cabinet, 2026 From the dialogue piece between Eleni Papazoglou and Angelo Plessas (P.E.T. Projects founder): “what do I have what can I do” 🔗 Link in Bio

What Goes Unnoticed Eleni Papazoglou: ‘I am interested in “things” that allow other things to happen, because they often go unnoticed.’ Packing tape, foam, invoice pads, punctuation marks—these enablers go unnoticed precisely because they’re working so well. Papazoglou continues: ‘Even the fact that we do not acknowledge them is a testament that we are enmeshed with them: they are working so well that they have become invisible, part of the daily fabric. We only notice them in their absence, when our established processes fail.’ She asks: ‘At this given moment in the UK, the support structures that were taken for granted such as affordable higher education, free healthcare, social housing, funding for the arts, are in crisis. [...] What do we know about them? And if we did know these frameworks or mechanisms more intimately, would we be better at maintaining them?’ When infrastructure becomes visible, what does it reveal about the conditions sustaining—or threatening—cultural production? Editorial: After once it has begun Eleni Papazoglou Arts Cabinet, 2026 From the dialogue piece between Eleni Papazoglou and Angelo Plessas (P.E.T. Projects founder): “what do I have what can I do” 🔗 Link in Bio

Proposing Twice: The recursive practice Eleni Papazoglou: ‘By recursion, I mean a kind of repetition, whose result is somehow always a little different than before, and even if you try to keep count of it, it keeps changing. It is rhythmical and it takes you with it. And so what is possible expands a little every time.’ In the Editorial dialogue, Angelo Plessas reflects: ‘The “twice” is not a remake. It is a second chance for meaning to shift.’ This recursive logic runs through the work: clearing the studio generates new assemblages, failed prototypes become materials, the exhibition itself becomes organisational practice. Accumulation as method. Repetition as expansion. How do iterative practices sustain creative work under precarious conditions? Editorial: After once it has begun Eleni Papazoglou Arts Cabinet, 2026 From the dialogue piece between Eleni Papazoglou and Angelo Plessas (P.E.T. Projects founder): “what do I have what can I do” 🔗 Link in Bio

From Noise to Material: naming constraints In the Editorial, Eleni Papazoglou outlines a few rules: I do not have a production budget - hence, I will not buy new material […] I do not have funding to transport work - hence, everything travels in a suitcase [...] The space has awkward columns - hence, I will only show work on columns […]. Angelo Plessas reflects: ‘But once you name constraints clearly, they stop being background noise and start becoming material. The exhibition becomes less a display of finished objects and more a demonstration of how to work without pretending you are working “outside” reality.’ This speaks directly to Arts Cabinet’s current investigation: what generative possibilities emerge when artists articulate the actual conditions shaping their practice? Editorial: After once it has begun Eleni Papazoglou Arts Cabinet, 2026 From the dialogue piece between Eleni Papazoglou and Angelo Plessas (P.E.T. Projects founder): “what do I have what can I do” Proposing Everything Twice was presented at P.E.T. Projects, Athens. 🔗 Link in Bio

What do I have what can I do Editorial 13 presents What do I have what can I do, a dialogue between artist Eleni Papazoglou and P.E.T. Projects founder Angelo Plessas, reflecting on Papazoglou’s recent Athens exhibition Proposing Everything Twice. This conversation explores what happens when constraints stop functioning as obstacles and become generative materials as when the column you cannot hide becomes the site of work, or when the suitcase limit determines form, or when studio leftovers transform into primary vocabulary…. The editorial proposes to consider adaptive models of practice shaped by real conditions of production: time, budget, transport, the building’s stubborn facts. This is artistic research as situated practice, work that emerges not despite circumstances but through intimate engagement with them. As Arts Cabinet approaches its 10th anniversary, we are focusing explicitly on current conditions of practice, research, and artistic and cultural production affecting the global context, asking what it means to work sustainably within systems of pressure, scarcity, and transformation. Editorial: After once it has begun Eleni Papazoglou Arts Cabinet, 2026 From the dialogue piece between Eleni Papazoglou and Angelo Plessas (P.E.T. Projects founder): “what do I have what can I do”. Proposing Everything Twice was presented at P.E.T. Projects, Athens. 🔗 Link in Bio