Reference point for this study has been the Cabinets of Curiosities (Wunderkammer), that appeared in central and northern Europe during the Renaissance period. Aim of this research is a further deepening on collecting, construction of personal microcosms and expression of human desire. The collections are approached through their objects and way of organizing, in a try to define what makes them “weird”. Elements from psychology and philosophy are taken, in order to enlighten the inner organization of human’s mental world as well his expression of desire. At this point, personal utopia comes up. Personal utopia emerges as an ideal condition and essentially has to do with the “space”, where human’s desire takes place. Its spatial and cinematic expression are analyzed here, through case of studies and specific examples.
The spatial expression of personal utopia, is researched taking into consideration the Cabinets of Curiosities as well as a found collection of objects in Ano Gatzea, Pelion. It is the closed market, entitled “NEA AGORA”that operated since early 90s with a vital role on the local community. A huge stock of empty boxes and packages is found there today, calling us to think of different approaches and interpretations of this collection.
The cinematic expression of personal utopia, is studied through the movies that has been produced under the scope of international acclaimed as “weird wave” of new Greek cinema. A different approach of the weird is made here. Cabinets of Curiosities are once again are a point of reference and association. The case of study here is the movie Dogtooth (2009) by Yorgos Lanthimos. It refers to a five members family that lives isolated in a house. The father is this only person that enters the real world. He is the one that determines the relationship between the members by filtering them with his one desires and fantasies. The plot, the cinematography and the aesthetics of the movie makes it peculiar and weird.
In order to further enrich the case studies mentioned above as well as the “weird”, the peculiar case of Thanos Murray Velloydios is embedded in the text. He is a multifaceted personality that lived in Greece until early 90s. He had a unique ability to transform his curiosity and knowledge into a collective work (artistic, folklore etc.). His ability to jump between different fields satisfies his personal desires and passions.
Through this context of multiple “weird” examples, this study aspires to create a genealogy of weird as it is outlined in the selected aspects of architectural and artistic contemplation.
