Wednesday, October 17, 2018

Belle Isle, 1949

We stripped in the first warm spring night
and ran down into the Detroit River
to baptize ourselves in the brine
of car parts, dead fish, stolen bicycles,
melted snow. I remember going under
hand in hand with a Polish highschool girl
I'd never seen before, and the cries
our breath made caught at the same time
on the cold, and rising through the layers
of darkness into the final moonless atmosphere
that was this world, the girl breaking
the surface after me and swimming out
on the starless waters towards the lights
of Jefferson Ave. and the stacks
of the old stove factory unwinking.
Turning at last to see no island at all
but a perfect calm dark as far
as there was sight, and then a light
and another riding low out ahead
to bring us home, ore boats maybe, or smokers
walking alone. Back panting
to the gray coarse beach we didn't dare
fall on, the damp piles of clothes,
and dressing side by side in silence
to go back where we came from. 
Philip Levine

Saturday, October 13, 2018

Picturing Protest

Gordon Parks, Untitled, Washington, D.C., 1963 

The civil rights movement and the movement against the U.S. war in Vietnam came to the fore in the 1960s, spurring protests across America both spectacular and everyday. As protests gave material form to First Amendment freedoms—religion, speech, press, assembly, and petition—photographers transformed the visibility of collective action, much of it led by students. Fifty years after the watershed events of 1968, Picturing Protest examines the visual framing of political demonstrations around the country and on Princeton’s campus. These images archive protests’ choreography, whether procession, sit-in, or violent clash. They also capture the gestures of protest, with hands signaling anguish, self-defense, and solidarity. At a time when the coverage and circulation of news media was rapidly expanding, many of these photographs became icons of social struggle, fundamentally changing the ways people visualized America; five decades later, they continue to do this work. Drawn from Princeton University collections, the images on view compel us to contemplate the capacity of protest, and of art, to imagine, interpret, and cultivate change.

Princeton University Art Museum 
May 26 -October 14, 2018

Friday, October 12, 2018

Athens in a Tank

ΤΟ SPACE52 παρουσιάζει σε επιμέλεια του εικαστικού Γιώργου Τσεριώνη την έκθεση “Athensinatank”. Έλληνες και ξένοι καλλιτέχνες, που εντάσσουν στην πρακτική της δουλείας τους την κεραμική τέχνη και παρουσιάζουν έργα από πηλό ,ως μια καταγραφή της σύγχρονης Ελληνικής πραγματικότητας. Η ενασχόληση των καλλιτεχνών με τον πηλό παρουσιάζει το διάλογο τους σχετικά με τις ανεξάντλητες δυνατότητες του μέσου και σηματοδοτεί την αυξανομένη δυναμική της κεραμικής τέχνης από καλλιτέχνες, για πρώτη φορά.

Κωστής Βελώνης, Αύγουστος Βεϊνόγλου, Νανά Σαχίνη, Διονύσης Χριστοφιλογιάννης, 
Hope, Βασίλης Ζωγράφος, Σοφία Παρλαμά, Νίκος Παπαδημητρίου, Μάρω Μιχαλακάκου, Ανδρέας Βούσουρας, Δέσποινα Χαριτωνίδη, Πάνος Προφήτης, Βανέσσα Αναστασοπούλου, Βασίλης Παπαγεωργίου, Φωτεινή Πολυδώρου, Νικολέττα Κατσαμπέρη, Bella Easton, Σωκράτης Σωκράτους.

Athens in a tank 
Επιμέλεια :Γιώργος Τσεριώνης
12.10 .2018/3.11.2018

Tuesday, October 2, 2018

Bright File (June)

Cracking Love, 2018
Ceramic, concrete, wood, clay, steel, marble, plaster, plastic 
30 X 22 cm 

'Le Rayon X' and 'Six Heures avant l'été' (1980) by legendary Greek artist Christos Tzivelos (1949-1995) were the starting point for this show that centres on light but isn't about light. Felt as an effigy for June – not the proverbial month but those 30 days in 2018 – the show brings together works by Elena Narbutaitė, Rallou Panagiotou, Yorgos Prinos, Iris Touliatou, Christos Tzivelos and Kostis Velonis to make pronouncements on a raw, fertile state, which hasn't been assigned a name. In a sense, the show is about looking for wild love (Amour Fou), the alchemical Rebus (the androgynous being that fuelled Jung's individuation fantasies) or some other feeling of wholeness. It is also about processes that suspend this longing – stretch it out, preserve it, cast it, antagonise it, take its place even, until it is exhausted. Works are plugged in, hung, projected. Slowly they accumulate heat from the sun or from within the wall. Alchemically, we could say they begin as stars (those made of herbs) and planets (iron, copper, silver, gold) which young are black, orbiting in the dark. As they slowly grow and grow warmer, they turn yellow, then white, then finally become fully transmuted into a red, at which point they fluoresce. 

Big thanks to Bia Papadopoulou and Christophoros Marinos for sharing their extensive research on the work of Christos Tzivelos and to Giannis Tzivelos for generously lending us the works of his uncle.

The show has a lifetime of several hundred hours.
When heated, it glows with visible light.

Elena Narbutaite, Rallou Panagiotou, Yorgos Prinos, Iris Touliatou, Christos Tzivelos, Kostis Velonis

Curated by Maya Tounta

5 October until 27 October 2018
Haus N Athen

56-year span

Escape is round the corner, 2018 
Steel rusty rod, 48 x 106 

‘56-year span’ is a curated display of works from 1962 through to the present; an interconnected journey incorporating seventeen art pieces exploring experience, effect and event, invoking im- mediacy and immutability. 
Among the works exhibited are two abstract compositions in bronze from the 1960’s and 1970’s, by the sacred monster of Greek modernism; Klearchos Loukopoulos, followed by two early threadworks from Savvas Christodoulides (Couple, 1997 exhibited at the XLVII Venice Biennale), where the artist practices the various gestures involved with the act of sewing. Three works by Vasso Gavaisse, the two from the 2010 Water Leaf series. Three works from Alexandros Tzannis, one of his large scale works in ink and ballpoint pen on paper from 2015 and two parasites from his current series; borrowing elements from the iconography of science ction. Three works by Ilias Papailiakis, results of the artists ongoing journey with the impact of political historical events as well as his research into the history of world painting. Four new works from Kostis Velonis,  two canvases and a wall sculpture titled Escape is Round the Corner, executed from a discarded rod into a three-dimensional line. 
Six artists of different generations creating works originating from dissimilar ideologies and medi- ums, like/referring to, the multicultural societies where we live today. The works enter into a dia- logue with one another without sacrificing their particular identities, resembling the mixed ethnic communities where multiple cultural traditions co-exist. 

9/19 /2018- 29/ 09 /2018 “56-year span”, Marinos Vrachimis Art Proposals, Nicosia, Cyprus

Saturday, September 15, 2018

Sans titre

Solitaire a mon ilot
matelot sans mat
ceux yeux demi-clos
 je transforme ma 

force en mille flots:
one magique ma-
thematique me pilo
-te et j'aime a 

la folie cet ilot
immobile! l'exil aux
 doux gout  amer ...

Rever donc aux seuil
d'une tierce ame 
-risque est mon conseil

Kolja Micevic

Monday, September 3, 2018

The Value of Freedom

Kostis Velonis, At the End of  Demonstration Day, 2009  
Wood, acrylic
Dimensions variable 

The concept of freedom is constantly changing. This exhibition charts its psychological, cultural, religious, political and legal evolution against the backdrop of historical developments, to arrive at a contemporary understanding of what freedom means. Works by more than fifty artists shed light on this complex issue from various angles. 
With its overlapping themes and cross-references, the exhibition weaves a tapestry of interdependencies and reciprocal influences between the individual and society, democracy and the economy, work and leisure, body and mind, nature and culture. Freedom is always relative to other factors and so has to be constantly renegotiated. For instance, one part of the exhibition looks at different forms of state governance that shape the community, while another area addresses the control of information as a crucial instrument of power. Some of the works highlight the fragility of freedom, while others explore identity-defining processes such as work. The public space is also the subject of some of the works. All in all, what emerges clearly is that the autonomy of the individual invariably goes hand in hand with social responsibility. 

With works by Zbynĕk Baladrán, Dara Birnbaum, Jordi Colomer, Carola Dertnig, Simon Dybbroe Møller, Harun Farocki, Karin Ferrari, Forensic Oceanography, John Gerrard, Johannes Gierlinger, Lola Gonzàlez, Johan Grimonprez, Igor Grubić, Eva Grubinger, Marlene Haring, Hiwa K, Leon Kahane, Šejla Kamerić, Alexander Kluge, Nina Könnemann, Laibach, Lars Laumann, Luiza Margan, Teresa Margolles, Isabella Celeste Maund, Anna Meyer, Aernout Mik, Matthias Noggler, Josip Novosel, Julian Oliver, Trevor Paglen, Christodoulos Panayiotou, Ivan Pardo, Oliver Ressler, Lili Reynaud-Dewar, Ashley Hans Scheirl, Christoph Schlingensief, Andreas Siekmann, Eva Stefani, Superflex, Pilvi Takala, Philipp Timischl, Milica Tomić, Betty Tompkins, Amalia Ulman, Kostis Velonis, Kara Walker, Stephen Willats, Anna Witt, Hannes Zebedin, Zentrum für politische Schönheit, Tobias Zielony and Artur Żmijeweski. 
Curated by Severin Dünser. 

19 September 2018 to 10 February 2019 

Belvedere 21
Arsenalstrasse 1 1030 Vienna 

Pre-Fabulous Aluminum House

This Mars Rover-esque vision of far-out shelter from the Centerbrook archives was designed by Charles W. Moore at the invitation of the Alcoa Aluminum Company, which wanted to mass-market a bare-bones, mobile, prefab vacation house.  Five architects, including Moore and Ulrich Franzen, were invited to brainstorm with Alcoa and explore the design versatility of aluminum.
Delving into Centerbrook’s primordial past, way back to the late 1960s, Genie Devine extracted this visual gem from the cobwebbed attic.  She is organizing the firm’s material through 1990 to be shipped off to Yale, to be part of the university’s architectural archives.  This sketch was made by the late Charles W. Moore and William Turnbull, and a model of same (nowhere to be found) was created in one evening, on deadline, by Bill Grover, Centerbrook partner emeritus, who, at the time, was an architectural student of Mr. Moore at Yale.
Besides teaching, Mr. Moore had established an architectural firm that would become Moore Grover Harper that would become Centerbrook.  Alcoa, corporate to a fault, picked a bland, cookie-cutter, white bread design over this funky-town entry, according to a contemporary Time magazine account.
Text by David Holahan

1601 PARK

Tanya Brodsky, Temporary public installation presented as part of Materials & Applications summer program, Privacies Infrastructure.

Resembling the outline of a house in space, the piece allows viewers to simultaneously occupy its interior and exterior.  As a portable structure that joins disparate architectural elements without adding up to a functional whole, the work draws on each viewer’s memories and associations to fill in a mental construction of home.  It considers the idea of home itself as a shifting and contentious site, rich with the memories and desires of past and future occupants.  Installed on the site of an apartment building that tragically collapsed in December 2000, 1601 Park reflects on this history, and is dedicated to the memory of the site and its former residents.   

On view: July 21–September 30, 10AM–7PM @ 1601 W Park Ave (NW corner of W Park Ave / Echo Park Ave, near Echo Park Lake).
Site is open Thursdays through Sundays 10AM–7PM.

Tuesday, August 28, 2018


Η αλήθεια είναι ότι
δεν ξέρω πώς ν’ αρχίσω 

χιλιοπατημένοι όλοι
οι δρόμοι της αφήγησης
πέρασαν τόσα πόδια
από πάνω τους
και έχω λάβει επιστολές,
φωτογραφίες, κάρτες, σημειώματα
από κάθε πιθανό σημείο τους
και λαχταρώ ν’ ανοίξω
με τα χέρια μου
το άγνωστο μονοπάτι
μέσα στο δάσος το πυκνότατο
των άλλων
που θα οδηγεί στο σπίτι μου
να βρουν τον δρόμο τους
οι καλεσμένοι.

Μυρσίνη Γκανά

Friday, August 24, 2018

Assembling the Self (Model)

Assembling the Self (Model) 2018 
Wood, concrete and acrylic 
60 x 29 x 20 cm 

Tuesday, August 21, 2018

A Renewal

Having used every subterfuge
To shake you, lies, fatigue, or even that of passion,
Now I see no way but a clean break.
I add that I am willing to bear the guilt.
You nod assent. Autumn turns windy, huge,
A clear vase of dry leaves vibrating on and on.
We sit, watching. When next I speak
Love buries itself in me, up to the hilt.
James Merrill         

Monday, August 13, 2018

Peplum III

Diane Simpson, “Peplum III,” 2014. MDF, oil stain, spunbound polyester, gessoed linen canvas, colored pencil and crayon

Sunday, August 12, 2018

Theory adrift: The matter of archaeological theorizing

At a possible transition towards a ‘flat’, post-human or new-materialist environment, many have suggested that archaeological theory and theorizing is changing course; turning to metaphysics; leaning towards the sciences; or, even is declared dead. Resonating with these concerns, and drawing on our fieldwork on a northern driftwood beach, this article suggests the need to rethink fundamental notions of what theory is – its morphological being – and how it behaves and takes form. Like drift matter on an Arctic shore, theories are adrift. They are not natives of any particular territory, but nomads in a mixed world. While they are themselves of certain weight and figure, it matters what things they bump into, become entangled with, and moved by. Based on this, we argue that theories come unfinished and fragile. Much like things stranding on a beach they don’t simply ‘add up’ but can become detached, fragmented, turned and transfigured. Rather than seeing this drift as rendering them redundant and out of place, it is this nomadism and ‘weakness’ that sustains them and keeps them alive.

Text by Þóra Pétursdóttir,  Bjørnar Olsen

Sunday, August 5, 2018

Temporary Shelter and Sparse Belongings

 Temporary Shelter and Sparse Belongings, 2018 
Wood, acrylic, oil, rope, brass
Variable dimensions

Private Property

Exhaustion slides from the body through the lips first. The invisible are flush with it, they drowse on blue subway seats. Heads bowed, yes, but to what. This island of concrete and glass tied by rough hands. The smell of this body among other bodies. Negatives of another’s pleasure. All of us living on loan—yet only some grasp the arrangement. Those shuttled back and forth, drifting to other far places. Underground, the window is also a mirror. It reflects sleep chasing bodies back into the borderless empire of the interior. 

Jenny Xie

Saturday, July 21, 2018

Πάνω σε 13 ομηρικούς στίχους...

Με αναδημοσιεύσεις σε όλα τα μέσα μαζικής ενημέρωσης του πλανήτη, ή τουλάχιστον σε πολλά από αυτά, διαβάσαμε την πανηγυρική είδηση για την ανακάλυψη του «αρχαιότερου γραπτού τεκμηρίου του ελληνικού έπους της "Οδύσσειας"», που χρονολογείται στη ρωμαϊκή εποχή. Σύμφωνα με τα δημοσιεύματα που επαναλαμβάνονται κατά το γνωστόν απαράλλαχτα, ή σχεδόν, πρόκειται για μια πήλινη πλάκα διαστάσεων περίπου 20Χ20 εκατοστών που περιέχει την αρχή της ραψωδίας ξ της Οδύσσειας, (http://
Βρέθηκε στην Ολυμπία, έξω από το ιερό του Δία. Oι ανασκαφείς δήλωσαν πως η πινακίδα χρονολογείται στον 3ο μ.Χ. αιώνα (αν όχι νωρίτερα). Είναι δυνατόν μία πινακίδα του 3ου μ.Χ. αιώνα να θεωρείται η αρχαιότερη που έχει βρεθεί; Φοβάμαι πως οι πανηγυρισμοί που συνόδευσαν τη δημοσίευση μυρίζουν λίγο Αμφίπολη. Ηδη έχουν αρχίσει να δημοσιεύονται στο Διαδίκτυο κριτικές απόψεις από τους ειδικούς που λένε πάνω - κάτω τα εξής: όσον αφορά τα γραπτά ευρεθέντα αποσπάσματα σε κεραμικό υπόβαθρο της «Οδύσσειας» (Οδ.9.39), έχουμε ήδη από τον 5ο αιώνα π.Χ. το graffiti από απόσπασμα σε όστρακο, από την Ολβια, αποικία των Μιλησίων στη Μαύρη Θάλασσα, προγενέστερο δηλαδή κατά 8 αιώνες.

Υπάρχει επίσης ένας στίχος από την «Οδύσσεια» στον ορφικό πάπυρο του Δερβενίου που έχει ανακαλυφθεί στη Μακεδονία και χρονολογείται στα 340 με 320 π.Χ.
Τέλος, έχουμε παραδείγματα αιγυπτιακών παπύρων με αποσπάσματα από τα έπη. Αν λοιπόν θέλαμε να μιλήσουμε για το «πρώτο» ή το «μοναδικό», πρέπει να στραφούμε σε άλλους δρόμους, δηλαδή να συλλέξουμε όλη την περιγραφή μαζί: πρόκειται για το μεγαλύτερο σε έκταση απόσπασμα της «Οδύσσειας» που βρέθηκε στον σημερινό χώρο της Ελλάδας, εγχάρακτο σε κεραμικό, και στα περίχωρα ενός ιερού χώρου, τόσο σημαντικού όσο η αρχαία Ολυμπία.

Φοίβη Γιανίσση

Friday, July 20, 2018

The Starlings

Late one afternoon in October
I hear them for the first time:
loud-voiced palavering, whistles, murmurs,
quarrels, bickering and warbling, croaking and chatter
in the high plane trees of the street.
The leaves are all turning yellow this time of year,
causing huge yellow sunlit rooms
to appear at the level of the fifth and sixth floors
opposite the barracks, where the tram turns off
from the Via delle Milizie.
Solid branches, twigs, and perches:
every bit of space is taken up in this parliament of starlings!
They are tightly bunched together there among the leaves;
and the hundreds of thousands of starlings
that perform their flying exercises
against the backdrop of the evening’s mass of motionless cloud
will surely soon have lost their places:
there are myriads of swarming punctuation marks out there,
starlings flying in formation,
sudden sharp turns, steep ascents,
swarm on delightful swarm
against a rosy cloud bank in the east.
The October evening is cool.
The shop windows of the Via Ottaviano are shining.
And the starlings are chattering, quarreling and laughing,
whispering and quietly enjoying themselves, when suddenly 
a blustering as of ten thousand pairs of sharp-edged scissors
passes through the republic of the plains--
it is as though an alarm had sounded,
heard as an echo over the muffled traffic.
Soon the darkness of night will fall.
But the starlings up there won’t stop talking,
they move together, push one another, chatter and flit.
Virgil must have had them in mind when somewhere he likens
the souls of the deceased to flights of birds
which toward sundown 
abandon the mountains and gather in high trees.
I seem to be standing in an Underworld
in the midst of a swarm of birds.
The block is Virgilian; the street is crossed
by the Viale Giulio Cesare,
where you lived
for some time before you died.
That’s why I am stopping here.
The souls of the dead have gathered in the trees.
Their number is incredible, suddenly it seems ghastly;
is this what it will be like?
For a moment I am a prisoner
of the poem I am writing.
There must be an exit.
The soldier coming up to me
has noticed that I have been standing
for quite some time looking up into the foliage--
into the darkness of feathers, bird’s eyes, and beaks.
The peasant boy inside him apprises me
of the fact that starlings come in vast migrations
“from Poland and Russia”
to spend the winter in the south:
“And things go very well for them!
In the daytime they fly out to the countryside
and spend the night in here,"
he explains with great amusement, turning his gaze
up toward the swarm of birds. Their anxiety seems to have ceased;
in just a moment they all seem to have fallen asleep.
Only single chirps and clucks are heard
from starlings talking in their sleep.
What are they dreaming of? Ten thousand starlings are dreaming in the 
about the sunlight over the fields.
As for myself, I am thinking of the tranquility
in certain restaurants in the countryside,
in the Albano Mountains and on the Campagna--
the tranquility at noon on a sunny day in October.
I am filled with the clarity of the fall day.
And am touched by something immeasurable, transparent,
which I cannot describe at first 
but must be everything we never said to each other.
There are so many things I’d like to say.
How shall I be able to speak?
Today you are not shade, you are light.
And in the poem I am writing you will be my guest.
We are going to talk about Digenís Akrítas,
the Byzantine heroic poem
with the strangely compelling rhythm;
and since the manuscript of the poem
is preserved in the monastery at Grottaferrata
I shall order wine from Grottaferrata,
golden and shimmering in its carafe;
we shall talk about the miraculously translucent autumn poem by Petronius
which appears first in Ekelöf’s Elective Affinities;
and about Ekelöf’s poems, to which you devoted such attention.
Did Ekelöf ever come to Grottaferrata?
I seem to detect your lively gaze.
And we shall see how the starlings come flying
across the fields in teeming swarms.
They will come from Rome and spend the day out here 
where they will eat snails, worms, and seeds
and suddenly they will fly up from a field
as at a given signal
and make us look into the sun.
In Memoriam Ludovica Koch (1941-93)
Jesper Svenbro

Monday, July 16, 2018

Your Concern is My Defense

Your Concern is My Defense, 2018 
Wood, cement, rocks 
85 x 60 x 10 cm 

Το οχυρό

Βασικός άξονας της έκθεσης αποτελεί η διευρυμένη αποκωδικοποίηση των εννοιών που περικλείει ο όρος Οχυρό. Στόχος του εγχειρήματος είναι η διερεύνηση των επιμέρους δομών (αρχιτεκτονικών, κοινωνιολογικών και ανθρωπολογικών) που σχετίζονται με την ιστορική γενεαλογία του οικισμού και η μεταφορά τους σε σύγχρονες εικαστικές προτάσεις (ζωγραφική, γλυπτική, εγκαταστάσεις, video, φωτογραφία, επιτελέσεις, αρχειακές παραθέσεις). Η οχύρωση, απαραίτητη αμυντική μέθοδος έναντι του επαπειλούμενου κινδύνου, συνυφασμένη με την γεωπολιτική και γεωλογική ιδιαιτερότητα της τοποθεσίας, συγκροτεί ένα ενιαίο σύνολο από υπέργεια και υπόγεια έργα που συνδέονται μεταξύ τους με πλέγματα πολιτισμικών αλληλεπιδράσεων. Η βιοπολιτική της οχύρωσης ως πράξη άμυνας σε συνδυασμό με το ενέργημα του καταφυγίου ως χωρικότητα προστατευμένης διαβίωσης, συνθέτουν μια σειρά από υβριδικά μοντέλα που αναλύουν τον καθημερινό βίο στο πλαίσιο μιας επισφαλούς ανθρωπογεωγραφίας. Ζητήματα όπως η οικιστική αυτονομία, η πατριαρχική οικογένεια ως κυρίαρχη κοινωνική δομή της εποχής, τα φεουδαρχικά κρησφύγετα, οι αμυντικοί μηχανισμοί, η σύνθετη αρχιτεκτονική τυπολογία του συγκροτήματος και οι ύστερες επεμβάσεις αποκατάστασης αποτελέσαν μερικά από τα διεπιστημονικά δεδομένα που συνέθεσαν το πεδίο έρευνας και έμπνευσης για τους 16 συμμετέχοντες εικαστικούς καλλιτέχνες και αρχιτέκτονες.

Επιμέλεια έκθεσης: Θεόδωρος Ζαφειρόπουλος

Συμμετέχοντες καλλιτέχνες και αρχιτέκτονες: Αρβανίτης Νίκος, Βελώνης Κωστής, Γεροδήμος Βασίλης, Γιαννίση Φοίβη, Γρηγοριάδης Γιάννης, Γυπαράκης Γιώργος, Ισιδώρου Γιάννης, Ιωαννίδης Κώστας, Κοτιώνης Ζήσης, Μπασσάνος Κώστας, Παπακωνσταντίνου Νίνα, Παππά Νίνα, Τσώλης Κώστας, Χανδρής Παντελής, Χριστόπουλος Κώστας, Ψυχούλης Αλέξανδρος. 

Οχυρό συγκρότημα των Τρουπάκηδων - Μούρτζινων στην Καρδαμύλη
Εγκαίνια 28 Ιουλίου 2018
Διάρκεια 18/6- 31/10 2018

Friday, July 13, 2018

Kon Wajiro’s Archaeology of Present Times

Japanese architect, sociologist, and educator Kon Wajiro was living in Tokyo when the violent 1923 earthquake occurred. With his students, he visited the areas where people gathered after the natural disaster. Through simple yet refined drawings he began to register the temporary shelters and the sparse belongings of the refugees in order to testify their state of living, a condition reduced to the bare minimum.
During his life, Kon Wajiro kept on documenting the memories of Japanese civilisation in an attempt to keep their testimony in the event of their sudden disappearance or of their possible fading due to modernisation. He meticulously traced houses and types of furniture, ways of dressing and commodities, ordinary objects and people’s habit, generating a complex visual taxonomy of the transition of a culture toward modernity.
His studies gave birth to a branch of sociology, called “modernology” which aimed at documenting the evolution of places and cultures as a consequence of modernisation.

Tiled Pallet

Matias Faldbakken, Tiled Pallet, 2016

Wednesday, July 11, 2018

The Dancing Lares and the Serpent in the Garden Religion at the Roman Street Corner

The most pervasive gods in ancient Rome had no traditional mythology attached to them, nor was their worship organized by elites. Throughout the Roman world, neighborhood street corners, farm boundaries, and household hearths featured small shrines to the beloved lares, a pair of cheerful little dancing gods. These shrines were maintained primarily by ordinary Romans, and often by slaves and freedmen, for whom the lares cult provided a unique public leadership role. In this comprehensive and richly illustrated book, the first to focus on the lares, Harriet Flower offers a strikingly original account of these gods and a new way of understanding the lived experience of everyday Roman religion.

Weaving together a wide range of evidence, Flower sets forth a new interpretation of the much-disputed nature of the lares. She makes the case that they are not spirits of the dead, as many have argued, but rather benevolent protectors—gods of place, especially the household and the neighborhood, and of travel. She examines the rituals honoring the lares, their cult sites, and their iconography, as well as the meaning of the snakes often depicted alongside lares in paintings of gardens. She also looks at Compitalia, a popular midwinter neighborhood festival in honor of the lares, and describes how its politics played a key role in Rome’s increasing violence in the 60s and 50s BC, as well as in the efforts of Augustus to reach out to ordinary people living in the city’s local neighborhoods.

A reconsideration of seemingly humble gods that were central to the religious world of the Romans, this is also the first major account of the full range of lares worship in the homes, neighborhoods, and temples of ancient Rome.

The Dancing Lares and the Serpent in the Garden Religion at the Roman Street Corner by  Harriet I. Flower

Chapter 1:

Που να διαβεις αυτά τα βουνά

Όγκοι τόσο μεγάλοι που έχει ξεχαστεί το βάθος τους. 
Το βλέμμα παντα στραμμένο στις κορυφές τους.
 Πάντα εκεί που σταματάνε.
 Σαν εικόνα απόλυτη και τέλεια κράτα το βάθος της σαν μυστικό. 
Και εκεί γελιεται το μάτι και νομίζει ότι κατέχει το όλο τους.
 Πάει κ παραπέρα, νομίζει ότι τις έχει διαβεί κιόλας.

Μέσα απ τα πνευμόνια μετριέται το ύψος τους.
 Και πνευμόνια μετρούν με ανάσες τους χρόνους τους.
 Μέσα σ αυτούς του χρόνους χωνευονται και εμφανιζουν μποι και κορμοστασιά.
 Τα χρώματα διαλέγουν το πώς θα εμφανιστούν στον χώρο τους,
 και τα χρώματα, χρόνοι είναι και αυτά και μαζί πνοές.
 Και τότε είναι που εμφανίζονται 
και πασχίζουν να μας κοιτάξουν κατευθείαν μέσα στα μάτια. 
Και θα κοιτάζουν μόνο στα μάτια.
 Γιατί αυτό Έτσι έχει οριστεί απ την αρχή.
 Αυτό είναι το μόνο που τους ενδιαφέρει. 
Αυτό έχουν πραγματικά ανάγκη. 
Για οτιδήποτε δεν έχουν ανάγκη, δεν ενδιαφέρονται. 
Τα μάτια όμως...

Έτσι θα φτιάξουν κ αυτά τα μάτια τους για να κοιτάζουν 
και τα αυτιά τους για να ακούνε 
γιατί έτσι θα ακούν τους χρόνους τους κ τις πνοές τους.
Καθώς θα κοιτάζουν τα δέντρα, 
δέντρα θα γίνονται 
για να κοιτάζοντας και αυτά στα μάτια. 
Ανεβαίνοντας από σύνορο σε σύνορο, από στιγμή σε στιγμή.
Πότε να μην επιστρέψουν στα ίσια τοπία, στα ίδια μονοπάτια.  
Η πορεία ευθύς. Πότε ξανά οι ίδιες εικόνες. 
Και αυτό μοιάζει με κατάκτηση και κατάκτηση είναι. 

Σαν βουνά κ αυτοί σταματούν κάποτε. 
Και εκεί που σταματούν οι κορυφές τους,
τα μήκη και τα πλάτη τους
σταματάνε κ οι πνοές κ οι χρόνοι

Όπως θα ταξιδευε στον χρόνο, το βλέμμα χάνεται στις κορυφογραμμές 
Τεινοντας προς το φαινόμενο. 
Τεινοντας προς τις κορυφογραμμές 
Φαινόμενο που χάνεται στο χρόνο και στις εσχατιές
καθώς χάνεται και ξεχνιέται 
μπορεί και περνει και άλλη μορφή
 Όπως θα το ορίσουν οι περιστάσεις 

Έτσι περνάει μορφή και χαίρει προσοχης, 
 Σαν φαινόμενο στην άκρη του κόσμου 
Εκεί στο τελευταίο σύνορο αλλά και στο πρώτο. Απόλυτα ομοίωματα που τείνει στο άπειρο.
απίστευτο θέαμα φωτος ολοκληρώνεται σε όλες τις διαστάσεις.
Όμως όλα αυτά εκεί. 
Στις κορυφογραμμές 
Πουθενά αλλού. Πότε αλλού.
Κάθως Δεν ακολουθεί τιποτα
Μονάχα χρόνος καθαρός που δεν περιέχει ούτε περιέχεται σε κάτι άλλο 
Σαν φως που δεν μπορεί να περιέχει σκοταδι

Εκεί υφίστανται αυτα και υπάρχουν, στις εσχατιές, στις άκρες και στα συνορα
Κορμοστασιες και βράχια ανάκατα 

Untitled (2018)
Stelios Karamanolis, Colored pencil and acrylic on raw canvas
30 x 23 cm

Tuesday, July 10, 2018

Neutral Measure

Peter EudenbachNeutral Measure, 2012 
Cast Iron

Friday, July 6, 2018

Inauguration of three public artworks in collaboration with Eleni Kamma

On June 2nd the city councilor Noël Lebens inaugurated the three public sculptures ‘Unity in Diversity’ in Sittard, Geleen and Born. The three sculptures each have three columns, where respectively one, two or three columns ‘fall over’. The rope holds the poles together and prevents the trinity to lose it’s balance. The color scheme for the ropes was made in collaboration with children of local primary schools, envisioning the future colors of the three urban centers.