Chloe Stavrou was born in Cyprus on the 6th of April, 1993. In 2013, and during her studies at university, she founded an interdisciplinary non-profit arts organisation named Tech-à-tête in her hometown, Limassol, Cyprus. Originally, Tech-à-tête was her personal reaction to the 2013 economic crisis in Cyprus and began as a free pop-up music & visual arts festival where all proceeds were used to purchase school and art supplies for children in need. Ever since, Tech-à-tête has been expanding and evolving into an educational and cultural hub with one of its goals actively addressing the inadequecy of dispersing governmental funds equally to art and cultural sectors. Another goal is to showcase local artists of all disciplines through initiating cultural and social conversations in the limiting artistic environment that is Cyprus.
During her English and Related Literature/History of Art BA studies at the University of York in the UK, she majored in Contemporary Art & Digital Culture, American Independent Film, Post-War European Film, Post-Colonial Writing, Art Theory and American Literature beyond the 20th Century. Furthermore, she wrote her dissertation, which was a cross-disciplinary piece of writing, on the presence of Manifesto Writing as a Performance Object in Jenny Holzer's early work, 'The Inflammatory Essays'. After graduating in July, 2015 she worked for Ashkal Alwan (a non-profit arts organisation in Beirut, Lebanon) and assisted in the production of their international cultural forum called 'Home Works 7'. She is now undertaking an Art Business MA at the Sotheby's Institute of Art.
Her curatorial practice and critical writing interests are transdiscplinary with regards to medium and revolve around deciphering the complexities of an ever-evolving digital landscape in the presence of post-humanity, post-connectivity/post-intimacy and post-capitalism. She also likes to mock these terms sometimes.
In addition, since 2012, she has also created a musical alter-ego called 'Kineza' which allows her to express herself through playing music, sharing music, curating music, thus giving her the ability to create a lack of context without fearing judgement. She has played in bars, clubs, venues and festivals in Cyprus, the UK and Lebanon.