Spotlight with Vassiliki Tzanakou
Vassiliki Tzanakou, Independent Curator and Consultant, London, UK
Could you tell us a little more about your background and how you got into curating?
I came to curating later in life, compelled by an internal call I could no longer ignore. My path wasn’t a conventional one—I didn’t start in the art world but was always drawn to the intersection of ideas, people, and spaces. Growing up in Athens, a city where history and art pulse through every street, I developed a keen awareness of how cultural, social, and political forces shape our environment. From an early age, I loved the arts, organising events, and bringing people together, but it took time to realise that curating could bring these passions together in a meaningful way.
My academic journey began with a foundation course in architecture, followed by studies in politics in Athens. After working at a think tank, I specialised in political communications at Goldsmiths College in London. While these experiences were invaluable, they also exposed me to the divisive nature of political discourse which is so often centred on conflict and competition. I was more interested in what unites us; shared experiences, collective identities, and the potential for social transformation. This realisation led me to visual art, which offered a universal language; one that transcends cultural and linguistic barriers, fosters deep emotional and intellectual connections, and has the power to inspire change.
Recognising that my strengths lay not in creating art but in shaping context and meaning, I saw curating as the ideal way to bring ideas to life, fostering dialogue, shaping narratives, and connecting audiences with art in transformative ways. While museum curatorship was familiar to me, the concept of independent curating was more abstract. It was through conversations with artists and art professionals that I came to understand its fluid and dynamic nature—the freedom to explore diverse themes, work across physical and digital spaces, and engage audiences from all backgrounds. This clarity led me to launch my first curatorial project. Wanting to deepen my understanding of art history, I later pursued a second MA at The Courtauld Institute of Art, which further enriched my approach and fuelled my passion. From that point on, curating became a way of thinking, one that continues to evolve with each project I undertake.
Who/what has influenced your curatorial practice?
When it comes to ‘who’, my answer is humanity. The shared experiences, emotions, and complexities of human existence lie at the heart of my curatorial work. As for ‘what’ I draw inspiration from the social, physical, and digital environments that surround us and their constant transformations. This dynamic interplay inspires and informs every facet of my curatorial approach.
The role of the curator is continuously changing. Could you describe what it means to be a curator today?
To me, being a curator today means embracing the fluid and multifaceted realities of our time. I see myself as a social disruptor; someone who challenges conventions, provokes thought, and creates opportunities for meaningful dialogue. By fostering partnerships and synergies across disciplines, institutions, and communities, I aim to contribute to the creation of new paradigms that redefine how we experience and engage with the world. Ultimately, and perhaps paradoxically, my goal is inherently political: to leave a positive and lasting impact, using the transformative power of art to inspire, connect, and drive meaningful change on both individual and collective levels.
What’s next for you? What are your upcoming projects?
In addition to pursuing my PhD in the History of Art, I am deeply engaged in a number of exciting projects. One of my major academic endeavours is the writing of a book on female avant-garde photography. On the international front, I have the honour of representing Greece alongside esteemed colleagues from the Athens School of Fine Art in a monumental pan-European project, the first-ever publication dedicated to the history of European art. This groundbreaking initiative showcases a curated selection of key artefacts, weaving together a rich narrative that reflects Europe’s diverse cultural and artistic heritage while offering fresh perspectives on the historical and cultural interconnections across the continent, and the world.
On the curatorial front, I am excited about my upcoming exhibition Glassed in Dreams at 100 Bishopsgate in London’s City. This exhibition presents five large-scale, newly commissioned glass sculptures by artist Gabriele Beveridge. It is a prime example of what I call ‘Architecture Responsive Art’, where the artworks actively respond to and interact with the unique architectural features and operational dynamics of a space. Drawing inspiration from the building’s design, modern materiality—particularly its steel and glass construction—and its vibrant urban setting, Glassed in Dreams will a poetic reimagining of the corporate environment. Beveridge's intricate glass and steel sculptures, fused with elements that resemble human organs and forms, enhance the artworks’ integration with their surroundings. This exhibition is part of an ongoing collaboration between Brookfield Properties and AWITA, an initiative that champions and elevates female talent within the creative industries.
What are you reading, watching, or listening to now, that is helping you to stay relaxed and positive?
Music has always been a cornerstone of my emotional well-being, deeply intertwined with my moods and creative process. While my playlist is eclectic, when I seek relaxation, I often return to the works of composers such as Nils Frahm, Ólafur Arnalds, Philip Glass, and Max Richter—artists whose music strikes a delicate balance between solace and stimulation. Their compositions create immersive soundscapes that offer both introspection and inspiration, making them a constant companion in my daily life.
Interestingly, music and sound have also been integral to my curatorial practice. Many of my projects incorporate auditory elements, deepening the experience of visual art. In fact, when I launched my podcast, The Art Hour on Soho Radio, back in 2016, my intention was not only to introduce visual artists and art practitioners to a wider audience but also to share the music that fuels their creative process. For me, the intersection of art and sound opens up new dimensions of engagement, allowing for richer, multi-sensory, more holistic experiences.
How long have you been part of IKT and how do you feel that it has benefited your curatorial practice?
This is my second year as an IKT member, and it has been an incredibly enriching experience. The organisation fosters a strong sense of community among like-minded and experienced art professionals. It has opened doors to meaningful collaborations and synergies, expanding my perspective and enhancing my practice. The opportunities for dialogue and partnership within IKT have been invaluable in navigating the interconnected and interdisciplinary nature of today’s art world.
Thank you Vassiliki!
Learn more about Vassiliki and her work: ARTinTRA, Instagram, Facebook
Spotlight
Spotlight is a new series of short interviews, aiming to showcase the diverse expertise and innovative approaches of our IKT members. Whether you're seeking inspiration or searching for potential partners, join us on this captivating journey as we uncover the stories, ideas, and creative visions of our members.
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