Saturday, February 15, 2020

Εξαίσια πτώματα και πως να εξηγήσεις σ’ενα νεκρό λαγό τις εικόνες


Cadavres Exquises and  How to Explain Pictures to a Dead Hare
Εξαίσια πτώματα και πως να εξηγήσεις σ’ενα νεκρό λαγό τις εικόνες
  

Βιβλιογραφία /Bibliography 
REF/ Works Cited / films

FreudSigmund, Ο πολιτισμός πηγή δυστυχίας, μτφρ. Βαμβαλής Γιώργος,  Αθήνα : Επίκουρος , 1974

DouglasMary, Καθαρότητα και κίνδυνος, Μια ανάλυση των εννοιών της μιαρότητας και των ταμπού, μτφρ. Αίγλη  Χατζούλη, Αθηνα : Πολύτροπον, 2007  


Schwenger, Peter.  The Tears of Things: Melancholy and Physical Objects. 
 University of Minnesota Press, 2005

Walker, Ian ‘As if one’s eyelids had been cut away’ Frederick Sommer’s Arizona Landscapes , Journal of Surrealism and the Americas 2:2 (2008), 180-208 

Αθανασίου, Αθηνά, Αναζητώντας την «σημειωτική χώρα»: Ετερότητα, αποστροφή και τρόμος του εκ-τοπισμένου υποκειμένου»,  Εκ των υστέρων, τεύχος 14 , ( 2006) 106-135

Gotthardt, Alexxa, Explaining Exquisite Corpse, the Surrealist Drawing Game That Just Won’t Die
https://www.artsy.net/article/artsy-editorial-explaining-exquisite-corpse-surrealist-drawing-game-die
RodariGianni,  Γραμματική́ της φαντασίας, Εισαγωγή́ στην τέχνη να επινοείς ιστορίες, μτφρ. Κασαπίδης Γιώργος  Μεταίχμιο, 2001. 

Johnston,  Michael ,  Organizing the ZOO: Peter Greenaway’s A Zed & Two Noughts, Mise-en-scène: The Journal of Film & Visual Narration (MSJ)
https://journals.sfu.ca/msq/index.php/msq/article/view/81

A Zed & Two Noughts, an introduction by Peter Greenaway

https://www.youtube.com/watch?v=LnSnmx3BaT4
Χατζηπαρασκευαΐδης, Απόστολος, Σημειώσεις για το λούμπεν προλεταριάτο,  Θέσεις - τριμηνιαία επιθεώρηση Τεύχος 18, περίοδος: Ιανουάριος - Μάρτιος 1987
http://www.theseis.com/index2.php?option=com_content&do_pdf=1&id=481

Kristeva, Julia, Pouvoirs de l'horreur : essai sur l'abjection Paris : Édition Seuil, Collection : Tel Quel,1980. 

http://users.clas.ufl.edu/burt/touchyfeelingsmaliciousobjects/Kristevapowersofhorrorabjection.pdf

 

Joseph Beuys, How to Explain Pictures to a Dead Hare

https://www.youtube.com/watch?v=Mo47lqk_QH0
https://www.youtube.com/watch?v=5HVOCay10m8

Πρώιμος, Κωνσταντίνος, Το πρόβλημα της ριζικής ετερότητας στη δράση του Joseph Beuys: "Πώς να εξηγήσεις τις εικόνες της έκθεσης σε ένα νεκρό λαγό" στην γκαλερί Schmela του Dusseldorf το 1965, Γ’ Συνέδριο ιστορίας της Τέχνης , Θεσσαλονίκη, 2009  

 

Interview: Joel-Peter Witkin, 2011

https://www.youtube.com/watch?v=nU-dE8GmqhI


Foster, Hal,  Obscene, Abject, Traumatic, October 78, fall 1996 , pp. 107-24 , 1996
Gotthardt, Alexxa, Explaining Exquisite Corpse, the Surrealist Drawing Game That Just Won’t Die
https://www.artsy.net/article/artsy-editorial-explaining-exquisite-corpse-surrealist-drawing-game-die

Toy Story 4 | Official Trailer
 Dir. by Joshua Cooley 

 

https://www.youtube.com/watch?v=wmiIUN-7qhE
 Marmo,  Jennifer, Using Humor to Move Away From Abjection, Qualitative Inquiry 16(7):588-595 · August 2010
Baudelaire,  Charles, Τα άνθη του κακού, μτφρ. Σημηριώτης, Γιώργης, Αθήνα :Γράμματα, 2013https://el.wikisource.org/wiki/Το_ψοφίμι
Παπαδιαμάντης, Αλέξανδρος,  το Ψοφίμι ( 1906) 
http://papadiamantis.net/Διηγήματα/Τὸ-Ψοφίμι-1906
 EcoUmberto, Ιστορία της ασχήμιας, μτφρ. Δότση Δήμητρα, Αθήνα : Καστανιώτης, 2007 
MarxKarl, H 18 μπρυμαίρ του Λουδοβίκου Βοναπάρτη, Αθήνα Σύγχρονη εποχή , 2012 


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

Friday, February 14, 2020

Inside Martin Margiela's All-White Maison


In Paris’s quiet and principally residential 11th arrondissement is the home of fashion’s most mysterious players. The residents are justifiably proud of the 3,000 square foot space which they moved into a little over three years ago, which dates back to the 18th century. It has a suitably grand and – more importantly, given the label in question – evocative heritage. For nearly 100 years, this was a convent presided over by the Sisters of Charity, functioning primarily as an orphanage.
In 1939, one M Andre Peuble took over the building and founded the prestigious L’Ecole Professionnelle de Dessin Industriel. The vast majority of Paris’s industrial design luminaries from that period were alumni including the designer of the iconic Klein-blue Gitanes packet, complete with whirling Romany dancer and curling plumes of smoke.
By the time Martin Margiela and his team arrived in December 2004, the place had been empty for a decade or more. The new occupants took up residence, however, only to find the classrooms had been left in just the same state as the day they were vacated – pens in inkwells, exam papers on desks and lessons still chalked on to blackboards, all covered in a thick layer of dust. Suffice to say, anyone who is familiar with the mindset of Martin Margiela might argue that, at 163 rue S Maure, the designer has found his spiritual home. After all, the effect of time passing on the world has been a career-long obsession of his.
It took four months for the building to be prepared for its new purpose, and the powers that be at Maison Martin Margiela adopted just the same approach to the building’s restoration as they apply to everything else they touch. In particular, the use of white – or whites, in Margiela speak – was central.
“There are two reasons for white – one practical, one conceptual,” says a spokesperson. It is the stuff of fashion legend that Margiela himself has never agreed to a face-to-face interview, or to his photograph appearing alongside any profile of his work. All statements that are issued by the house are careful to employ the pronoun “we” instead of “I”, thereby catapulting the concept of the superstar designer into oblivion. “When Jenny (Meirens, the label’s cofounder) and Martin started out they collected furniture from all over the place. They had no money and it was all in different styles, so to make it seem coherent it was all painted white.”
Of course, not just any old white will do. White emulsion is chosen to paint all surfaces for two reasons, both for its matt finish, and the fact that it is impossible to clean – any wear and tear caused by daily comings and goings are therefore left to tell their story for posterity. Paint is never applied to the whole space at the same time, so some of the rooms are almost yellow with age, while others are pristine in appearance – well, not quite.
Text by Susannah Frankel, April 2015 

Wednesday, February 12, 2020

We Margiela



New York - The man, the myth, the legend that is Martin Margiela has inspired a level of fandom in the fashion industry usually reserved for musicians who’ve died too soon. It has only surged since he stepped away from his eponymous company almost ten years ago. While an exhibition in Paris currently presents a greatest hits from the maison’s archive, here in NYC the North American premier of the documentary “We Margiela” telling the story of the origin of his label shows at the Fashion Institute of Technology. A congregation of followers in statement eyewear, nicely tailored coats, hair pinned behind ears, bearing those four white stitches on the nape of their neck file quietly into the auditorium like members of a sect. Someone taking his seat can be heard saying, in awe, “Look at this. We’re all still standing on his shoulders.” Yet none of those gathering would recognize their charismatic leader if he brushed against them later as they spill out onto West 27th Street.
Made up of intimate interviews of the original members of Margiela’s team, with voiceover from his trusted business partner/alter ego, Jenny Meirens, who passed away last year, the documentary offers a deeper understanding of facts that have been known for years: that Margiela vetoed all photos of his face, allowing only his hands to be seen: that everyone who worked there wore a white lab coat emphasizing the egalitarian spirit of “We”, and that his aesthetic, as described by one loyal staffer, was a result of, “Belgian taste, no pretensions, no concessions.” In this age of hyper-recognizability, his anonymity must be truly unfathomable to the new generation of devotees, which surely only augments the myth of him. How could there ever be his like again?

We Margiela: the people behind the man

“Underground doesn’t exist today,” says Lutz Huelle, the house’s knitwear designer hired straight from school when, he admits, none of his classmates even knew the name Martin Margiela. Images of Margiela’s early chaotic shows from the late 80s, staged in dark clubs featuring awkward-looking wan-faced women plucked from the streets stomping by a front row of non-VIPs are best appreciated when we think of the fashion landscape of the time: glamour and supermodels, designers Christian Lacorix, Thierry Mugler and Emmanuel Ungaro (It would be five years before Marc Jacobs would create his grunge collection for Perry Ellis and get fired.) We learn that no one, including the two founders, received much of a salary, but the passion for the work was all encompassing. Stanislas Maryshev, from the maison’s sales department remembers it this way: “You melt in the story. There were no halfway people” Another who remained through the subsequent change of ownership and creative direction describes tearfully a sensation even today of being “in limbo.”

We Margiela: the people behind the man

“Underground doesn’t exist today,” says Lutz Huelle, the house’s knitwear designer hired straight from school when, he admits, none of his classmates even knew the name Martin Margiela. Images of Margiela’s early chaotic shows from the late 80s, staged in dark clubs featuring awkward-looking wan-faced women plucked from the streets stomping by a front row of non-VIPs are best appreciated when we think of the fashion landscape of the time: glamour and supermodels, designers Christian Lacorix, Thierry Mugler and Emmanuel Ungaro (It would be five years before Marc Jacobs would create his grunge collection for Perry Ellis and get fired.) We learn that no one, including the two founders, received much of a salary, but the passion for the work was all encompassing. Stanislas Maryshev, from the maison’s sales department remembers it this way: “You melt in the story. There were no halfway people” Another who remained through the subsequent change of ownership and creative direction describes tearfully a sensation even today of being “in limbo.”

Margiela revolutionized modern fashion

Perhaps the most poignant takeaway from the film is the comedown associated with belonging to this close-knit community. Reminiscent of Andy Warhol’s Factory which sent ripples of change across contemporary art and culture, Maison Martin Margiela’s output revolutionized modern fashion, blowing up everything we thought we knew and reassembling it. But while it could be argued that Warhol removed the soul from the creative process, Margiela firmly instated it at its heart, and this ultimately led to the original maison’s demise. Prolonging that cloistered harmony became impossible the more success Margiela acquired, outside demands weighed heavily on Meirens, and financial concerns intruded. Margiela sold the company to Diesel in 2002 but remained as creative director until 2009. Inge Grognard, the house’s make-up artist, recalls the moment when she knew Margiela had left the building, just upped and quit his company,: it was when she spotted Rihanna backstage at a show. Celebrity endorsement and red carpet dressing were the antithesis of Martin Margiela and irrefutable evidence of the abrupt system change that was about to shake the house. An especially touching moment examining the nature of identity comes through in the words of a loyal member of the “We” who reflects on the experience of being left behind: “There was nothing we could claim for ourselves. You can take away the worth of the individual.”
The argument is made that it is this nebulous quality that appeals to so many. The Martin Margiela phenomenon marked a moment in time when corporate glitz and branding were taking hold that permitted us to privately project whatever we wanted to believe about ourselves onto a blank white rectangular label, onto the whitewashed exposed brick interiors of his stores, even allowing us to do so still on the white screen with white subtitles which appear throughout “We Margiela” as Meirens speaks as if from the great beyond. In Margiela’s work there was a silence that allowed us to figure ourselves out, great presence in the absence. Almost a decade later, this presence has only become stronger, yet there have been no sightings of him ever reported, and he offers us no possibility of social media stalking. And still we melt into the story, no halfway people.

Jackie Mallon,
Thursday, 19 April 2018

Sunday, February 9, 2020

Christian Zervos & Cahiers d’art : Η Αρχαϊκή Στροφή






Στo πλαίσιo της έκθεσης Christian Zervos & Cahiers dart : Η Αρχαϊκή Στροφή το Μουσείο Μπενάκη προτείνει μια ανάγνωση του έργου του εκδότη και κριτικού από καλλιτέχνες, αρχιτέκτονες και ιστορικούς.
Διερευνώντας τους τρόπους που το παράδειγμα των Cahiers dArt θέτει ζητήματα καίρια και επίκαιρα για το πεδίο της σύγχρονης δημιουργίας και της εκδοτικής πρακτικής θα συζητηθούν τα παρακάτω ερωτήματα:
Πώς προσλαμβάνουμε σήμερα, με όρους και έννοιες που απασχολούν τον κόσμο της τέχνης, την εκδοτική πρακτική και την ερευνητική μέθοδο του Zervos;
Πώς αναθεωρείται η σημασία της σε σχέση με σημερινές πρακτικές και κατηγορίες;
Ποιες οι αντιστοιχίες και η χρησιμότητά τους σε σχέση με την ιστορική ή εθνογραφική στροφή της τέχνης αλλά και με θεωρίες γύρω από το σύγχρονο;
Εισαγωγή: Πολύνα Κοσμαδάκη
Συντονισμός συζήτησης: Γιώργος Τζιρτζιλάκης
Στη συζήτηση συμμετέχουν οι:Κωστής Βελώνης,Φοίβη Γιαννίση,Νίκος Δασκαλοθανάσης, Αναστασία Δούκα, Ηλίας Παπαηλιάκης

Στολή, τάξη και αταξία: Η έννοια της στολής στο ντιζάιν, στο δικαιϊκό σύστημα, στην τέχνη, στην ποπ κουλτούρα"



Η στολή ως τρόπος ενδυμασίας παραπέμπει στην άνεση, την ασφάλεια, την απλότητα. Από τις στολές των ιδιωτικών σχολείων, έως των ένστολων κρατικών και στρατιωτικών λειτουργών, η στολή άλλοτε δίνει κύρος, συμβολίζει εξουσία, ρυθμίζει κοινωνικές συμπεριφορές  
Ταυτόχρονα η κατάργηση του ενδυματολογικού κώδικα μπορεί να οδηγήσει σε νέα ενδυματολογικά σύμβολα μίας ανατροπής. Η «στολή» του ανήκειν σε ένα κοσμοπολιτικό περιβάλλον διαφαίνεται σε μικρές λεπτομέρειες του τρόπου που ντυνόμαστε, μιλάμε, υποδεχόμαστε ή αρνούμαστε τις αλλαγές στον τρόπο ζωής μας. 
 Η στολή αναφέρεται στο γούστο της ενδυματολογικής συγκατάβασης. Αποτελεί σύμβολο ελέγχου. Αλλά μεταφέρει και μία αίσθηση δύναμης. Η πιο αποτελεσματική μέθοδος ενσωμάτωσης σε ένα σύνολο είναι η ομοιομορφία της ένδυσης.
Η συζήτηση με θέμα «Στολή, τάξη και αταξία» που γίνεται στο πλαίσιο του 2ου Κινηματογραφικού Φεστιβάλ Ταινιών Μόδας (14/2, Τεχνοπολις)  εξετάζει πως  η στολή ως ένα  τεχνικό ή επίσημου  χαρακτήρα ενδυματολογικό σύνολο  επηρεάζει τη σύγχρονη μόδα, μεταφέρεται στην ποπ κουλτούρα και χρησιμοποιείται κριτικά στην τέχνη. Από τους συμβολισμούς εξουσίας στην ιστορία του ενδύματος και των θεσμών μέχρι τις  διαφημίσεις του streetwear, από την αυτοκρατορία των λογότυπων έως τη σημερινή λατρεία των κόμικς και των εμπορευματοποιημένων προϊόντων η έννοια της στολής πλέει στον χρόνο και νοηματοδοτεί τις αλλαγές .
Οι καλεσμένοι στη συζήτηση μιλάνε για ενδύματα, συνήθειες με κανονιστικό ή όχι χαρακτήρα και για τη μόδα του «ανήκειν» .
Athens Fashion Film Festival 
19.00 – 19.45PANEL"Στολή, τάξη και αταξία: Η έννοια της στολής στο ντιζάιν,
στο δικαιϊκό σύστημα, στην τέχνη, στην ποπ κουλτούρα"
Επιμέλεια-παρουσίαση: Έφη Φαλίδα
Ομιλητές: Κωστής Βελώνης, Διονύσης Καββαθάς, Αγγελος Μπράτης,
Κυριακή, 16/2, Αμφιθέατρο της Τεχνόπολης, 19.00 - 19.45.

Friday, January 17, 2020

Poem for Marcel Duchamp


Even long after my death 
 Long after your death 
 I want to torture you. 
 I want the thought of me 
 to coil around your body like a serpent of fire 
 without burning you. 
 I want to see you lost, asphyxiated, wander 
 in the murky haze; woven by my desires. 
 For you, I want long sleepless nights 
 filled by the roaring tom-tom of storms 
 Far away, invisible, unknown. 
Then, I want the nostalgia of my presence; to paralyze you.

Maria Martins, Poem for Marcel Duchamp, 1945 

Thursday, January 2, 2020

From Edgar Wind, Art and Anarchy







In the place of an art of disengagement, which rejoiced in its separation from ordinary life, we are now to have an art which completely involves us in real life – what in France is called art engagé. If I am sceptical about this doctrine, it is because it seems to me to make essentially the same mistake as the theory which it opposes. Both try to escape, in opposite directions, from the plain and fundamental fact that art is an exercise of the imagination, engaging and detaching us at the same time: it makes us participate in what it presents, and yet presents it as an aesthetic fiction. From that twofold root – participation and fiction – art draws its power to enlarge our vision by carrying us beyond the actual, and to deepen our experience by compassion; but it brings with it a pertinent oscillation between actual and vicarious experience. Art lives in this realm of ambiguity and suspense, and it is art only as long as the ambiguity is sustained. However, suspense is an awkward condition to live in, and we are persistently tempted to exchange it for some narrow but positive certainties; and yet we know very well that, as soon as the artistic imagination begins to work on us, we leave the safe shore for the open sea.
EDGAR WIND, ART AND ANARCHY (1967)


https://www.waggish.org/2019/from-edgar-wind-art-and-anarchy/

Wednesday, December 18, 2019

La cuccagna


https://www.youtube.com/watch?v=VQwAU6klke0





La cuccagna, released as A Girl... and a Million, directed by Luciano Salce, 1962 



Saturday, December 14, 2019

Αφηγήσεις της ρυπαρότητας : Βρώμικο και λασπώδες

Αφηγήσεις της ρυπαρότητας : Βρώμικο και λασπώδες 
Dirty and Muddy

Βιβλιογραφία /Bibliography 
REF/ Works Cited / films
White, Anthony,  Lucio Fontana: Between Utopia and KitschGrey Room, No. 5 Autumn, 2001, pp. 54-77 


Lucio Fontana, Ceramica spaziale, 1949 

Galimberti, Jacopo,  The Intellectual and the Fool: Piero Manzoni between the Milanese Art Scene and the Land of Cockaigne, Oxford Art Journal, Vol. 35, No. 1, 2012, pp. 75-93 

Piero Manzoni, Socle du monde (base of the world), 1961 https://kostisvelonis.blogspot.com/2019/12/socle-du-monde.html

Rohrer, Denis, In the land of Cockaigne
https://www.alimentarium.org/de/node/3968


La cuccagna, released as A Girl... and a Million, directed by Luciano Salce, 1962 
PongeFrancis, Η φωνή των πραγμάτων, μτφρ. Χριστόφορος, Λιοντάκης, Αθήνα : Γαβριηλιδης, 1999  


Ghostbusters Movie CLIP - He Slimed Me (1984)


The Green Slime (1968) trailer


Slime People, The 1963 Trailer

Lovecraft Howard PhillipsΟ τρόμος του ΝτάνγουιτςμτφρΠανώριος Μάκης,   Αθηνα : Αιολός,  1986 

Sartre, Jean Paul, Το είναι και το μηδέν, μτφρ. Παπαγιώργης Κωστής, εκδ. Αθήνα : Παπαζήσης, 2008  

Krauss, Rosalind, “Informe” without Conclusion. October, Vol. 78, Autumn 1996, pp. 89-105.1996

Bois, Yve-Alain & Rosalind  Krauss, «Base materialism» in L' Informe. Mode d'Emploi. (Paris: Centre Georges Pompidou, 1996).

Bataille, Georges «Le bas materialisme et la Gnose», Documents, no 1, 1930


 Charlotte, HealyA Radical Disregard for the Preservation of Art: Robert Rauschenbergs Elemental Paintings, Interventions Journal, issue 1, Vol.4  


Mikhail Bakhtin, Rabelais and His World, trans. Helena Iswolsky, Indiana University Press: Bloomington, 1984.
Georges Bataille, Ηλιακός πρωκτός, μτφρ. Παπαγιώργης Κωστής, Αθήνα Νεφέλη, 1980.

Olli  Lagerspetz , Dirt and refuse in a world of Things  

Campkin,  Ben,   Placing “Matter Out of Place”: Purity and Danger as Evidence for Architecture and Urbanism, Architectural Theory Review, 18:1, 46-61, 2013 https://www.tandfonline.com/doi/full/10.1080/13264826.2013.785579



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