The journey can be considered as the principal act towards the exploration of the unknown. The ‘’tax’’ of a new experience is often paid in distance, and as the distance grows, the reward becomes more important. This is a horizontal practice with a low risk. The unknown though can be also found next to you, in front of you or underneath you and then the exchange rate mentioned above loses its universality. The approach must then be done differently; the cost is likely to skyrocket or to be nullified. The unknown is always elusive; it cannot be found anywhere apart from a certain sphere which is at the same time personal and collective. It is neither a fraud nor the truth and sometimes the highway for its understanding is not knowledge but acceptance.

Daria Gusberti, Kristina Õllek and Victoria Evans are ‘’speaking’’ through different prisms and unique points of view about the different textures of the unknown. Their starting points differ, but their perception is shaped through the phenomenon of the mirror and the reflections that coexistence can bring to life. Gusberti chooses to approach the unknown through an important symbol of the Athenian vocabulary, the river Ilissos. The hidden river, this foreign land, is becoming at the same time a protagonist and an excuse, and is linked to other procedures of knowledge. Õllek’s work revolves around the search of the different representations of the ‘’real thing’’ through the touristic experience, as well as the blurred line between the authentic and the copy. At the same time she is exploring the ways in which the museological, touristic and retail context is presented. Evans has been filming her walking for a year-long period in a fragmentary way as an attempt to document the ephemeral and the continuous, but to also analyse the distorted notion of time which you can only get to know when it is already in the past. The three artists are reexamining the way and the procedures we use in order to learn and to know, by approaching them from different points of view.