“Here there have come together planets which, their store of merits having been exhausted, are fallen from the firmament.” — Octavio Paz, The Monkey Grammarian.
The exhibition’s cryptic title, transcribes the “counterpoint scripture” entailed within the composition of the visual creations that are presented. The word pillow, symbolizes lightness, levitation, sleep is juxtaposed with the word gravity and its concepts. Their coexistence constitutes a series of heteronymous ideas such as air/earth, head/body, concept/form, ideal/sensual, attraction/repulsion, movement/immobility, silence/noise, light/darkness, which characterise the existence of this specific venture. Independent works which through an interesting and inventive display, attribute to a whole, a new work of art. With an intention to focus more on a collective compositional tuning, these 10 visual artists approached the gallery’s exhibition space as the ideal space for the concept of exhibiting to shine as an artistic practice, but also as the object of productive thought and experience.
The connection of the works inside the exhibition is shaped — among others — by their morphic, narrative, conceptual and spatial attributes. The game of correlations identifies and characterises this visual composition.
The works mark a course and open a way of aesthetic perception and visual exchange. Inside this broad semantic spectrum, brought by this creative activity, one can discern various and multiple conceptual references — like for example the concept of time and its “embodiment,” the notion of movement and its reflections, the concept of density and multiplication. The narratives developed between the work, real or hypothetical are open and depend upon the dispositions and inquiries of each individual viewer.
The essence of the present visual proposal is found in the distinct and different way of approaching the artwork. The position of the art-piece is empowered and its conceptual structure is silenced; form has a primary role. Moving between the one and the group, the exhibition’s experimental and playful temper creates a marking system open to interpretive challenges and investigates perception mechanisms through the senses.
The exhibition is transported and rearranged from the actual/physical space of the gallery to the Map’s  imaginary “universe”, and after that through a Quick Response code to the digital world. The Map as the group reports “becomes part (portable body) of the exhibition. It originally functioned as a reflection of its creation process. Then through connotational and visual sequences, an autonomous environment bearing the trademarks of a map was formed. The Map, equally a reason/beginning and a tool, plays a central part in exploring the “world” constituting of parallel occurrings and parallel correlations. The textual extracts from Stanislaw Lem’s book “The Star Diaries” highlight this condition. Simultaneously through the map’s environment the QR, through its variable substance, provides the possibility for additional “browsings,” separate from the spatial and temporal limits of the physical substance of the exhibition and the Map. Their intention is the prominence of constant visual creation.
Understanding the world through the experience of the intuitive cohesion of objects. The spectator as “philosopher” who “at the conclusion of a reflection which at first isolates him, in order to experience more fully the ties of truth which bind him to the world and history, finds neither the depth of himself nor absolute knowledge, but a renewed image of the world and of himself placed within it among others.” 
Participating artists: Mary Antonopoulou, Christos Bligiannos Vaggelis Chatzis, Apollonas Glykas, Nikos Iavazzo, Nikoletta Katsamperi, Zeta Nikolopoulou, Giorgos Palamaris, Antonis Stabelos, Ilias Sipsas.
 Visual work of the 10 artists donated to the public.
 “The Essential Writings of Merleau-Ponty.” Edited by Alden L. Fsicher, pp.26.