FAQ:

I develop and lead ambitious art and cultural projects from early idea through realisation. Depending on what the work needs, this can include project development, creative direction, strategic positioning, partnerships, creative and executive production, artist strategy, representation and critical decision-making.

I am usually brought in when a project needs more than coordination alone — when the idea is ambitious, the structure is unclear, multiple interests or specialist teams are involved, or the work needs senior creative and production leadership to move forward.

I work on commissions, exhibitions, installations, digital projects, launches and long-term artistic projects across contemporary art, technology, design and immersive media.

The work can involve physical fabrication, digital production, video games, game engines, AI, interactive systems, immersive environments, online platforms, editorial projects, editions, artworks, product or collection launches and other hybrid formats that do not fit neatly into one category.

I work across institutional, independent and commercial contexts.

All three, depending on what the project needs.

My work often begins before production, helping determine what a project can become, how it should be positioned, who should be involved and what structure is needed to move it forward.

On other projects, I am brought in to lead realisation across artists, institutions, studios, brands, engineers, fabricators, developers and technical teams.

Yes. My work spans digital production, video games, game engines, AI, interactive systems, immersive environments, online platforms and editorial or content-led digital projects.

Sometimes the digital element is the artwork itself. In other cases, it is part of a larger physical installation, exhibition, public programme, launch or hybrid experience.

I am particularly interested in projects where technology is not simply a delivery tool, but part of how the work is conceived, experienced or developed.

I work with artists, institutions, studios, brands and other creative organisations across cultural and commercial contexts.

Some engagements focus on a specific project or critical phase. Others develop over months or years, particularly where I am involved in long-term artist development, strategic direction, representation or executive production.

Yes. I work with artists, studios, institutions and creative teams as a strategic advisor, either around a defined question or over a longer period of time.

This can involve ongoing input on project development, positioning, creative direction, partnerships, opportunities, decision-making and critical moments as they arise.

Some engagements are structured as ongoing strategic retainers, giving clients regular access to my time, perspective and judgement without requiring a fixed project scope from the outset.

Yes.

I work with artists beyond individual exhibitions or commissions on new projects, positioning, institutional and commercial opportunities, relationships and where the practice should go next.

This can include developing new work, shaping the direction of a practice, identifying the right contexts and partners, building relationships with curators, commissioners, galleries and collectors, and representing specific projects or opportunities.

Yes, selectively.

My approach to representation is project-led and strategic rather than based on a conventional gallery model. I may represent an artist around specific projects, commissions, institutional opportunities or longer-term development, depending on the practice and what is needed.

This can include developing projects, shaping positioning, identifying opportunities, building relationships and helping move work towards the right commissioners, institutions, galleries, collectors or partners.

Yes. I work with brands, creative studios and commercial partners on artist collaborations, commissions, exhibitions, installations, launches and culturally led projects where strong creative direction and serious production matter.

My experience includes projects connected with Samsung, Don Julio, Absolut Vodka and BMW, alongside work with artists, galleries, museums and cultural institutions.

I am particularly interested in collaborations that bring together contemporary art, design, technology, digital production, immersive experiences and strong cultural thinking.

Yes.

I have worked on the launch and presentation of artworks, editions, exhibitions, digital projects and design collections, including projects that sit between art, publishing, furniture, fashion, technology and culture.

The format can range from a physical exhibition or installation to a digital launch, editorial platform, event, commission or hybrid presentation.

What matters is that the project has a strong idea and needs the right creative, strategic and production framework around it.

Usually when the idea is strong but the project is not fully formed, a complex project needs overall leadership, several institutions or specialist teams need to work as one, a project is stalled or politically complex, or an artist needs longer-term development, positioning or project representation.

I am also often brought in when a project is entering a critical phase and needs someone senior to see the whole picture, make decisions and create a workable route forward.

Yes. Some of my work begins precisely when a project has stalled, become fragmented, entered a politically complex phase, or is approaching a critical deadline without the right structure in place.

I step in to understand what is actually wrong, establish priorities, clarify responsibility and decision-making, and create a workable path forward.

Both.

Depending on the project, I may work independently, join an existing team or assemble the right collaborators and specialists through Kniaziakidis Productions.

That can include producers, designers, developers, engineers, fabricators, technical teams, editors, researchers and other specialists, depending on what the work requires.

The structure changes from project to project. What matters is building the right team around the work rather than imposing the same model every time.

Yes. I work internationally with artists, institutions, studios and brands across Europe and beyond, often across multiple countries, time zones and physical, digital and immersive production contexts.

Start by sending a short outline of the project, including its current stage, scope and timeline.

From there, we can have an initial conversation to understand what is needed and whether the right format is a defined project engagement, longer-term collaboration or ongoing strategic retainer.