About the the term “Urban Exoticism”
The term “Urban Exoticism” was coined by Alia Tsagkari in 2020, during her move from London to Athens, as a way to explore the complex intersections of gentrification, cultural appropriation, and postcolonial exoticism within modern urban environments. Drawing on 19th-century notions of exoticism, Tsagkari recontextualises this concept in contemporary metropolises, examining how certain urban spaces—such as the Psirri neighborhood in Athens—are perceived as “exotic” within a Western framework. The term investigates how the fragmentation of urban landscapes and their often-overlooked elements are re-envisioned through this exotic lens.
In 2024, it inspired the title and subject matter of Der Greif's Guest Room, curated by Michael Grieve & Rut Blees Luxemburg.
In 2021 and 2023, “Urban Exoticism” was practically implemented through photography workshops under the auspices of Ostkreuzschule – Schule für Fotografie und Bildredaktion organised by the British photographer Michael Grieve, where Tsagkari delivered lectures on its theoretical underpinnings.
The term is set to be further elaborated upon in a forthcoming publication.
In 2024, Urban Exoticism transformed into a calligramme that was featured in the contemporary art exhibition Thirsty Thirty, curated by Monica Colussi.
16 Oct -15 Nov 2024, 48 Albemarle Street in Mayfair, London, UK.
About the calligramme
This calligramme serves as the visual embodiment of “Urban Exoticism”, a term that encapsulates the layered, fragmented, and often obscured elements of metropolitan life. By arranging words derived from Tsagkari's seminal essay into an intricate city plan, the piece reflects how urban landscapes—particularly those at the intersections of gentrification, cultural appropriation, and historical remnants—are reimagined through an exotic narrative. Each word, like a building block in a city grid, mirrors the fluidity and complexity of spaces that exist both within and beyond the gaze of everyday experience, evoking the mysterious and sensual qualities inherent in such environments.
The design, with highlighted terms like “urban,” "exotic,” “erotic,” and “cthonic,” brings into focus the tension between the ancient and the modern, the familiar and the strange, much like Tsagkari's recontextualisation of 19th-century exoticism in contemporary cities. This calligramme not only mirrors the physicality of a city plan but also captures the shifting perception of urban spaces as heterotopias—sites that blend the erotic, the mysterious, and the marginal in ways that deconstruct the rigid binaries of the Western cityscape.
Ultimately, the artwork transforms words into structural elements of an imagined city, symbolising how “Urban Exoticism” reframes overlooked or marginalised spaces as essential parts of the urban fabric. It is a cartographic reflection of the modern metropolis, where each intersection of words creates new avenues of understanding, evoking the sensual and the mystical beneath the surface of the mundane.
Alia Tsagkari, ‘Urban Exoticism’, The Courtauldian 29 (2023), pp.60-61.
Alia Tsagkari, ‘Urban Exoticism: Aux abattoirs de la Villette to Athens’ wet markets’, The Courtauldian,
08/02/2022, https://www.courtauldian.com/single-post/urban-exoticism-aux-abattoirs-de-la-villete-toathens-wet-market (last accessed 15/11/2023).
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