Sunday, December 1, 2019


Inanimate objects are always correct and cannot, unfortunately, be reproached with anything. I have never observed a chair shift from one foot to another, or a bed rear on its hind legs. And tables, even when they are tired, will not dare to bend their knees. I suspect that objects do this from pedagogical considerations, to reprove us constantly for our instability. 
Zbigniew Herbert 

𝙖.𝙊.-𝙗.𝙘.(after Olympics - before crisis)

Kostis Velonis, Athens Community in the Kibbutz 
Hard paper, marble, ceramic, wood, acrylic, brick, 2010

Fifteen years after the end of the 28th Olympic Games in Athens, Greece has not recovered from the crisis. Traveling back to 2004-2010, a re-visiting through the spectrum of culture reveals a lot about the climate then and now. In September 2004, just after the successful hosting of the Olympics, Greece was slowly embarking on a economic downturn, invisible to the majority of the population. It led on April 23rd 2010, to then Prime Minister George Papandreou to announce that Greece was entering the International Monetary Fund (IMF) support mechanism; the beginning to an endless path of austerity.

This exhibition sheds light on a five-year period of rich audio and visual cultural production in the interval between those two events: the end of the Olympics, and the entry into the IMF mechanism. The prevailing global narrative on Greece at the end of the Olympics was a positive one: the cradle of European thinking, the mother of Western culture, succeeded in organising a highly celebrated aesthetically pleasing event that was viewed by millions all over the world. In just five years Greece would have a completely different profile on the front pages of international press, as a bankrupt country, not civilised enough, in a collapsed financial state due to corruption and over-spending of European grants; a country that over-borrowed but was begging for more money. A country that wanted to deceive the economically stable Northern Europe, with Greeks portrayed as "lazy".

This exhibition attempts to trace the footprints of this change over the past five years through examples of cultural production of the period, and to contour what kind of climate was prevailing in Athens by the end of the Olympics, and how it shifted but also to look for possible examples of utopian or dystopian representations for a future for Athens and Greece through the narrative of artists, filmmakers, musicians and designers. 

a.O. - b.c. zooms in specifically on the question of art and its relationship to the fetishistic narrative (both foreign and of the Greek society) of contemporary Greece as a continuation of its ancient heritage as well as its reflection on the concept of “Greekness”, and furthermore aims to unearth the articulation of a glossary that contoured the cultural production of the period. The exhibition aims to highlight the efforts traced in cultural production that formed the basis but also the introduction, to the current international interest in Athens in its post-documenta era.

From artistic collectives, curatorial initiatives and independent movements of filmmakers, to music groups with a newfound political discourse and experimentations through new media, cultural production in Athens between 2004-2010 was a nucleus for the redefinition of national identity, sociopolitical concerns, investigations and positioning but also a ground for a new discourse that described local cultural production in new terms in relation to its past but also the global international scene.

The exhibition serves as a sample presentation of a small section of many examples of initiatives and actions presented at that time, through the memories of State of Concept's team (Vicky Zioga, Electra Karatza, Maria Adela Konomi, Lydia Markaki and iLiana Fokianaki). 


Loukia Alavanou, Nadja Argyropoulou, Barking Dogs United (Nikos Arvanitis and Naomi Tereza Salmon), Bill Balaskas, Manolis Baboussis, Athens Biennial, Margarita Bofiliou, Mary and the Boy, Amateur Boyz, Voltnoi Brege, Berlin Brides, Kostas Christopoulos, Lydia Dambassina, Dora Economou, DESTE Foundation, Anastasia Douka, Drog A Tek, Erasers, Futura editions, Farida el Gazzar, Eva Giannakopoulou, Marina Gioti, Kyriaki Goni, Yota Ioannidou, Lakis & Akis Ionas / The Callas, Dionysis Kavallieratos, Eleni Kamma, Vlassis Kaniaris, Nikos Kanarelis, Irini Karayannopoulou, Elpida Karaba, Vasilis Karouk, Panos Kokkinias, Panos Koutras, Yorgos Lanthimos, Panayotis Loukas, Greece is for Lovers, Vardis Marinakis, Yolanda Markopoulou, Christoforos Marinos, Dimitris Merantzas, Margarita Myrogianni, Nikos Navridis, Nikos Nikolaidis, Orthologistes, Malvina Panagiotidi, Rallou Panagiotou, Maria Papadimitriou, Ilias Papailiakis, Leda Papakonstantinou, Eftyhis Patsourakis, Tassos Pavlopoulos, Natassa Poulantza, Theo Prodromidis, Kostas Roussakis, Nana Sachini, Kostas Sahpazis, Yorgos Sapountzis, Cristos Sarris, Fani Sofologi, Stixoima, Danae Stratou, Stefania Strouza, Thanasis Totsikas, Sofia Touboura, Nikos Tranos, Alexandros Tzannis, Syllas Tzoumerkas, Panos Tsagaris, Athina Rachel Tsangari, Jannis Varelas, Kostis Velonis, Vangelis Vlahos, Eirini Vourloumis, Tassos Vrettos, Poka-Yio, Despoina Zefkili, Mary Zygouri.

Athens School of Fine Arts (ASFA)
 State of Concept
12 Dec-15 Jan

Wednesday, November 27, 2019

Morning Street

The splashing rain
unearthed my father.
I never imagined
him buried thus,
to the din of trolleys
on an asphalt street
giant palm trees slanting on the beach
(and a voice from sleep
to stroke my hair),
as melodies wash up
with lost money
discarded confessions
old papers, glasses, pearls.
To see him exposed
to the damp, acrid air,
that drifts in with the tide
and cuts your breath,
to wish to love him
without deceit
to cover him with kisses, with flowers, with swallows,
to alter time
to offer the warm
of a quiet embrace
from this elderly recluse,
discarded confessions
and a lamb-like truce.
To feel the lack
of inborn strengths
to want to carry him
to the older sofa
of a bygone ranch,
but splashes of rain
but sheets of mud beneath reddish street lamps
but all that exists
of morning and wind
between one nature and another
yawning sheds by the docks
discarded confessions
What should a man do
at dawn
(a taste of defeat
in his mouth, in the air)
in whatever place?
Everything spoken, drunk, or even pretended
and the rest still buried
in the folds of sleep,
cigarette stubs
the wet glare of streets
discarded confessions
morning defeat.
Vague mountains
greening waves
newspapers already white,
hesitant melody
trying to spawn
conditions for hope
on this gray day, of a broken lament.
Nothing left to remind me
of the seamless asphalt.
Abandoned cellars
my body shivers
discarded confessions:
abruptly, the walk home.
Carlos Drummond de Andrade

Translated from the Portuguese by Thomas Colchie

Sunday, November 24, 2019

On the edge of the Blade we run

Kostis Velonis, Corner Soul, 2016
Concrete, plaster, wood, acrylic, soil 
14 x 45 x 26 cm

On the edge of the Blade we run paraphrases the film’s title Blade Runner, premiered in 1982. The exhibition will take place in the end of November 2019, similarly with the movie’s time of reference. The director Ridley Scott travels in the future time and space of Los Angeles, November 2019.
The concept of the exhibition is constructed around three subject matters;
First, departing from the film’s title, we run on the edge of the blade in order to reconsider the ambiguous times we live in, both on a local and a global scale.
Additionally, questions about the interchange between the corporeal and the existential are raised. When the replicants in Blade Runner developed emotional capacity, simultaneously realized the inevitability of death, something they were not supposed to acknowledge. Consequently, in order to conceal those existential agonies, they started hiding their own corporeality.
Lastly, in Blade Runner, November 2019 is presented as a dystopian environment. In the early ‘80s, when the movie was filmed, the discussion about the destructive impact of capitalism, intensive industrialization and technological culture was initiated in the West, since the ecological catastrophe had begun to be visible, a matter very relevant today. In Blade Runner’ sequel we return in the space and time of the first movie where everything has been turned into ruins- a scrap town.
With this exhibition we aim to investigate whether the director’s predictions about the future have been proved right or wrong, as well as to question the unfulfilled promises derived from the evolution of technology and digital era. We are also looking forward to reconsider the chasm between human culture and nature, to examine a general melancholy and a feeling of despair that characterize our generation, and at the same time to establish a neo-futuristic and neo-gothic aesthetic we meet in everyday life.
Eva Papamargariti Zissis Kotionis Rallou Panagiotou Maria Papadimitriou, Alexandra Koumantaki Kostas SahpazisEllie AntoniouNersKostis Velonis Sophia VyzovitiVoltnoi Alexandros Tzannis Loukia Alavanou Markus Selg Lap-See Lam Anastasia Douka Micol Assael Savvas Christodoulides Evita ManjiPegy Zali Evangelia Ledaki Andreas Ragnar Kasapis Iannis Ganas Orestis Mavroudis Jack McConville Steinar Haga Kristensen Aliki Panagiotopoulou Spiros Kokkonis Adrianna Glaviano Margarita Bofiliou Despina Charitonidi Aliki TzifaSpiros Hadjidjanos Vangelis Papathanasiou Antonakis Christodoulou Antigone Blanda Konstantinos Lianos Tatiana Couzis Panos Profitis Nyssos Vassilopoulos Iraklis Kopitas Carina Obukhova Manos Papamichael Saklas Alexander Ruthner 
On the edge of the Blade we run will take place in a former textile industry built in 1936 at Votanikos area.
On the edge of the Blade we run

A show curated by Alexandros Tzannis
Assistant curator: Odette Kouzou
29th of November until December, 8 
PLYFA Factory

Saturday, November 16, 2019

The Witch Doesn't Burn In This One

   Amanda Lovelace, 2018 

Tuesday, November 12, 2019

Places of Residence for Accused Witches

Places of Residence for Accused Witches With Timeline

Monday, November 11, 2019

Broken Obelisk

Thomas B Hess, Barnett Newman, NYC: Museum of Modern Art1971

Sunday, November 10, 2019

Σπασμένες πτέρνες και Οβελίσκοι / Broken Heels and Obelisks

Σπασμένες  πτέρνες και οβελίσκοι   / Broken Heels  and Obelisks 

Martin Luther King, I have a dream Speech, delivered 28 August 1963, at the Lincoln Memorial, Washington D.C

Polcari, Stephen,  Barnett Newman's Broken Obelisk, Art Journal, Vol. 53, No. 4, Sculpture in Postwar Europe and America, 1945-59 , Winter, 1994, pp. 48-55
Krauss, Rosalind, Sculpture in the Expanded FieldOctober, Vol. 8, Spring, 1979, pp. 30-44
Jonathan Jones, Newman's Broken Obelisk: the end of a political dream, Guardian 22 oct. 2008 

 Hess Thomas B., Barnett Newman, NYC: Museum of Modern Art, 1971

 VernantJean Pierre, Ο «καλός θάνατος» του Αχιλλέα,  Ανάμεσα στον μύθο και την πολιτική, μτφρ. Γιόση Ι Μαιρη, Αθήνα : Σμίλη, 2003

 VernantJean Pierre, Περί ορίων: Ανάμεσα στον μύθο και την πολιτική ΙΙ,   μτφρ. Γιόση Ι, Μαιρη, Αθήνα : Σμίλη, 2008

EcoUmberto, Η ομορφιά της λίστας,  μτφρ. Δότση Δήμητρα, Αθήνα: Καστανιωτης, 2010

Όμηρος, Ιλιας, ραψωδίες Α-Ω, μτφρ. Μαρωνίτης,  Δημήτρης , Αθήνα: Αγρα, 2012 

Barnett NewmanBroken Obelisk 

Barnett Newman, Achilles 

Brancusi, Endless Column


Barnett Newman, Achilles, oil and acrylic resin on canvas, 241.6 x 201 x 5.7 cm, 1952

Tuesday, November 5, 2019

The Size of Space

The Uses of Sorrow

(In my sleep I dreamed this poem)
Someone I loved once gave me
a box full of darkness.
It took me years to understand
that this, too, was a gift.
Mary Oliver 

Sunday, November 3, 2019

Ο ανεπιτυχής εναγκαλισμός με τον ουρανό και η σουπρεματιστική φάρσα

Ο ανεπιτυχής εναγκαλισμός με τον ουρανό και η σουπρεματιστική  φάρσα
The unsuccessful embrace of the sky and the suprematist farce

Ειδική βιβλιογραφία  και σημειώσεις
References, works cited 

Malevich's Black Square under X-ray: A dialogue on racerevolution and art history. Khadija von Zinnenburg Carroll and Dina Gusejnova in conversation, Third Text , 9 September 2019

Shatskikh, Aleksandra, Inscribed Vandalism: The Black Square at One Hundred

Vakar, I.A., Kazimir Malevich: The Black Square, Moscow: The State Tretyakov Gallery, 2015.



Robert Fludd - Macrocosm Microcosm,  1617

“The Great Darkness. And thus, to Infinity”

Alphonse Allais, Album-Primovrilesque, 1897

Bobrinskaia, Ekaterina, On the threshold of the cosmos: the instict of lighteness and cosmic consciousness in The Cosmos of the Russian avantgarde: Art and Space Exploration, 1900-1930 , Thessaloniki : State Museum of Contemporary Art, Costakis Collection,  2010 

Παπανικολάου, Μιλτιάδης (επιμ.) Πίσω από το Μαύρο Τετράγωνο, Θεσσαλονίκη :  Κρατικό Μουσείο Σύγχρονης Τέχνης,  2002 

Nakov,  Andrei, «Άνθρωποι και μορφές σε «ελεύθερη πτήση». Στοιχεία σύγκλησης μεταξύ του Malevich και του Tsiolkovskii», Η Κατάκτηση του αέρα, μια περιπέτεια στην τέχνη του 20ου αιώνα, Θεσσαλονίκη : Κρατικό Μουσείο Σύγχρονης Τέχνης, 2003  

Μαχαίρα, Ελένη, Το μαύρο τετράγωνο του Καζιμίρ Μαλέβιτς, Αθήνα: Στιγμή, 2011.

Nakov,  Andrei, «Άνθρωποι και μορφές σε «ελεύθερη πτήση». Στοιχεία σύγκλησης μεταξύ του Malevich και του Tsiolkovskii», Η Κατάκτηση του αέρα, μια περιπέτεια στην τέχνη του 20ου αιώνα, Θεσσαλονίκη : Κρατικό Μουσείο Σύγχρονης Τέχνης, 2003  

Kraus Karola; Gorjatschewa Tatjana; Franz  Erich,  From Surface to Space: Malevich & Early Modern Art , Von Der Flache Zum Raum : Malewitsch Unde Die Fruhe Moderne, Koln : Walther Konig, 2008

Κωστής Βελώνης, “Κάτω από τον αστερισμό του Malewicz”, Αυγή της Κυριακής , 14/5/17

Yves Klein, Le Saut dans le vide, 1960

Ilya Kabakov, "The Man Who Flew into Space from his Apartment", 1985.

Σινιόσογλου, Νικήτας,  Αλλόκοτος Ελληνισμός,   Αθήνα :  Κίχλη,  2016.

Αδεξιότητα και νεωτερικότητα  (We Are All Clowns)
Τέχνη στο συγκείμενο  Art in context )
ΑΣΚΤ -Χειμερινό εξάμηνο
Αμφιθέατρο νέας βιβλιοθήκης,  Πειραιώς 256

Le Saut dans le vide

Yves Klein, Le Saut dans le vide, 1960

The Man Who Flew into Space from his Apartment

Ilya Kabakov, "The Man Who Flew into Space from his Apartment", 1985.


Alphonse Allais, Album-Primovrilesque, 1897 

Saturday, October 26, 2019

Robert Fludd - Macrocosm Microcosm (1617)

Robert Fludd - Macrocosm Microcosm (1617)

“The Great Darkness. And thus, to Infinity”  

Poetry Movement That Accidentally Became Legitimate

WITTER BYNNER HATED MODERNIST POETRY. A rising literary star who was briefly engaged to Edna St. Vincent Millay, Bynner felt that the new crop of free-verse poetry movements was becoming absurd. Not only were these poets failing to create real art, but they also took themselves far too seriously.
So he decided to satirize it all.
In February 1916, at a ballet entitled Le Spectre de la Rose, Bynner was criticizing the proliferation of experimental poems to some friends when he made a joke. He asked whether they had heard of the poetry movement known as Spectrism—a name he spontaneously invented based on the title of the ballet.
Later, he told his Harvard friend Arthur Davison Ficke about the trickery, and together the duo decided to make “Spectrism” a reality. Their main goal was to parody the Modernist poetry they so distrusted.

Michael Waters,  Poetry Movement That Accidentally Became Legitimate Hoax, June  28, 2017