Monday, July 11, 2016

A Ramp with Flowers

A Ramp with Flowers, 2016
Clay, metal, fabric
24 x 32 x 32 cm

Thursday, July 7, 2016

Thank you note to those I don't love

I owe so much
to those I don't love.
The relief as I agree
that someone else needs them more.
The happiness that I'm not
the wolf to their sheep.
The peace I feel with them,
the freedom –
love can neither give
nor take that.
I don't wait for them,
as in window-to-door-and-back.
Almost as patient
as a sundial,
I understand
what love can't,
and forgive
as love never would.
From a rendezvous to a letter
is just a few days or weeks,
not an eternity.

Trips with them always go smoothly,
concerts are heard,
cathedrals visited,
scenery is seen.
And when seven hills and rivers
come between us,
the hills and rivers
can be found on any map.
They deserve the credit
if I live in three dimensions,
in nonlyrical and nonrhetorical space
with a genuine, shifting horizon.
They themselves don't realize
how much they hold in their empty hands.
"I don't owe them a thing,"
would be love's answer
to this open question.

Wisława Szymborska
Translated by Stanislaw Baranczak and Clare Cavanagh

Wednesday, June 22, 2016

Performance Biennial :“No Future”

The first edition of the Performance Biennial will take place on 23 June to 4 July in Greece. Emerging from DIY self-organised cultural practices appearing during these past years in Athens, in a present without a future, this event seeks to critically interrogate the role of performance, historically and in the present, in relation to political and social materialities and imaginaries. Playfully subverting the term ‘biennial’ into a self-organised practice, the event will test self-instituted forms of culture and politics. Under the title “No Future” this guerrilla biennial will bring together forms of artistic, political and theoretical practice and discourse questioning the potential of a collective refusal to a referred futurity.
The Performance Biennial in its first iteration will begin in the occupied cultural space of Green Park, Athens, open out to embrace the park of Pedion tou Areos (transl. to Field of Mars – one of two central parks in Athens), and then depart via boat from Piraeus to the island of Cythera that geographically belongs to the Prefecture of Athens. Seeking to problematise the role of performance in the neoliberal narrative we will collectively engage in ongoing disruptions between the institution and the self-instituted, between buildings and parks, between the centre and the periphery, between urban and rural. The event will bring together both conventional and non-conventional investigations including: performances, talks, lecture-performances, workshops, discussions, interventions, city walks, community works, actions and screenings.
The notion and the myth of the future based on normative regulatory culture and a capitalist imaginary embraces a drive for ongoing progress, improvement and expansion. The operation of “debt” also implies a bet on the future as Lazzarato argues “by training the governed to “promise” (to honour their debt) capitalism exercises “control over future” … possessing the future in advance by objectifying it’ (2012: 46). What happens to political and cultural practice when it turns its back on “the future”? When the relation to the future appears fugitive? When continuity of the canonical is disrupted and a promised futurity cannot yet be imagined? Can this ruptured futurity offer us new possibilities to engage with the present and produce new relations with time? Can such impotential practices of a “here and now” offer new ways to engage with a “then and there” that in turn sketch different worlds to come?
Building on DIY experiments such as the reactivation of Embros theatre and Green Park in Athens, this inaugural Performance Biennial proposes a series of paradigm shifts in the modes of practicing, and of taking part in the political and cultural in order to critically interrogate the potential for radical experiments in cultural production. This guerrilla Performance Biennial will operate through a practice of “self-curating” as assembling. Resisting hierarchies and categorisations the programme consists of timezones of conflictual “fields” and practices that will be co-curated with the participants in a changing here and now.

WHW (What, How & for Whom), Ant Hampton, Adrian Heathfield, Britt Hatzius, If I Can’t Dance (Frederique Bergholtz & Susan Gibb), Joe Kelleher, Alan Read, Nick Ridout, PA Skantze & Matthew Fink,  Joulia Strauss, Ash Bulayev, Jonas Staal, Snejanka Mihaylova, Lawrence Abu Hamdan, Collective Skart, Miguel Robles-Duran, Urban School of Ruhr (Feredica Menin & Laura Lovatel and others), Andy Field, Ilan Manouach, Kristine Hymoller & Dina Roussou, Thierry Oussou, Gary Anderson, Wayne Lim – Sonia Kazovsky – Giulia Crispiani, Dieuwke Boersma, Katrin Wölger, Andreea Micu, Akoo-o Collective, Chrysanne Stathakos, Kleoni Manousakis, Alice Colquhoun, Mette Sterre, Sakina Shakur, Maria Mavridou, Maria Sarri, Vasia Paspali – Angeliki Chatzi – Alexia Karavela, Extra-Conjugale, KangarooCourt, Platon Mavromoustakos, Chrysanne Stathacos, David Whelan, Chryssa Tsampazi, Tasos Stamou, Georgos Makkas, Elpida Orfanidou, Giorgos Sampatakakis, Evi Prousali, Iliana Fokianaki, Eypraksia, Despina Panagiotopoulou, Demosthenes Agrafiotis,  Letitia Calin, Maria Schina, Elpida Rikou, Chryssa Tsampazi, Alejandro Alonso Diaz, Margarita Athanasiou, Maria Lalou, Maria Gorgia,  Lisa Alexander & Hari Marini, Mediterranean Declaration, Natasha Papadopoulou – Yiannis Loukos – Eleftheria Togia – Stephanos Theodorakis Erica Scourti, Adam Gallagher, Wen Chi, Sara Hamden,  Teresa Maria Diaz Nerio, Giorgos Papadopoulos,Vicky Kyriakoulakou, Sofia Touboura, Michalis Adamis, Dora Economou – Kostas Tsioukas – Leda Dallas, Kostis Velonis, Georgia Karydi & Hypatia Vourloumis, Sofia Simaki, Ioanna Gerakidi, Despina Sevasti, Franscesco Kiais, Chara Kolaiti, Demosthenis Agrafiotis, Christos Giovanopoulos, Ioanna Kleftogianni, Evangelia Ledaki, Marina Gioti, KOSTADIS, Alyssa Moxley, Stefanos Chytiris, Eleni Kalara, Mary Zygouri, Eirene Eftathiou, Iro Apostolelli – Agni Papadeli Rossetou – Danae Papazian, Iliana Dimadi, Nelli Kounelli, Thalia Raftopoulou, Dimitra Kondylaki, Theophilos Tramboulis, Michalis Moschoutis, Nektarios Pappas, Stefanos Pavlakis, Stefanos Chandelis & Eva Koliopantou, Evi Kalogiropoulou,  Το Κοριτσι κοιμαται, Geo Kakoudaki and more.

Initiated and organised by Gigi Argyropoulou, Vassilis Noulas and Kostas Tzimoulis
In collaboration with an expanding collective of people including Natasa Siouzouli, Emi Kitsali, Elisabet Xanthopoulou,  Eleni Kalara, Stefanos Mondelos, Elina Mandidi, Hypatia Vourloumis, Sofia Dona, Myrto Xanthopoulou and more.

Performance Biennial :“No Future”
24 June – 4 July 2016 Athens & Cythera Island
A Self-Organised biennial for Performance, Art and Politics

Every Surface is a Blackboard

Every Surface is a Blackboard, 2016 
Wood, acrylic, plaster, plywood, MDF, chalks
122 x 35 x 6 cm

NA Fund Academy 2016: "We need places where we can fall in love"

In his 1977 lectures "How to live together," Roland Barthes addressed the philosophical problem of the coexistence of individuals through the lens of the everyday: food, things, places… Achieving the utopia of a collective, "idiorhythmic" subject, requires us to overcome arbitrary division as much as to open spaces of shared interests. How can relations of commons be translated into cultural methods to build a convivial society? Can the sense of emplacement give new meaning to our engagement with the global issues of the world? In times of acceleration and separation, intuitive practices of the local and slow life constitute a precious knowledge. A growing number of citizens are becoming involved in a horizontal process of ecological and social "transition" that takes its roots in simple gestures of everyday life: growing food, preserving seeds, bartering knowledge, and building tools of resilience to prepare for the multiple crises that lie at the horizon of our complex, yet fragile systems of organization: debt, peak-oil, anthropogenic climate change, crop yields and a general decline of efficiency rates.

From June 20 to 24, Nature Addicts! Fund will host its fourth mobile academy in the city of Basel, where the fund has a 3-year partnership with Institut Kunst to bring international artists to the new exhibition space Der Tank located within the School of Fine Arts, FHNW Academy of Art and Design .

Curated by Stéphane Verlet-Bottéro, the academy "We need places where we can fall in love" invites 12 emerging European artists to debate on the cultural implications of the shift to relationships of places and commons, interact with local "transitioners" who are developing practical alternatives from urban agriculture to local currencies, and look at how issues of rhythm, space, living and working together, are addressed by a number of artistic initiatives in and around the city.

Participants: Inge Ceustermans, Etienne Chambaud, Sjim Hendrix, Valentina Karga, Sophie Krier, Tiphanie Mall, Katarzyna Przezwańska, Simon Ripoll-Hurier, Paul Smyth, Julia Stern, Hanes Sturzenegger, Yesenia Thibault-Picazo

Contributors: Ugo Bardi, Béla Bartha, Bastiaan Fricht, Chus Martínez, Mathilde Rosier, Pierre Tandille, Isidor Wallimann, Marilola Wili 

Nature Addicts! Fund was founded in 2011 by Bertrand Jacoberger with the objective of supporting artists and arts organizations concerned with environmental and sustainability issues. The mobile academies hosted by NA Fund aim to bring together emerging artists and researchers from all forms of expression to debate, learn from each other and allow new creative impetus to emerge. The traveling format serves as a source of inspiration as each country, each artistic community has its own unique outlook on the world, influenced by its geographic, political, economic and social situation. In 2012, NA Fund was partner of the commission and conference program "On Seeds and Multi-species Intra-Action" at dOCUMENTA (13). In 2013 and 2014, Le Centquatre Paris was funded in a partnership that saw five artists benefit from residencies, productions and exhibitions. In 2015, NA Fund gathered ten critics, curators and scholars in Venice to discuss perspectives and needs of artistic research in the anthropocene.

June 20–24, 2016


Sunday, June 19, 2016

Περιεχόμενα παράθυρου

Αυτό που συγκινεί το βράδυ του Νοέμβρη για παράδειγμα.
Γεωμετρία κάθετα τοποθετημένων τοίχων του σπιτιουύ
της πίσω αυλής
Η φυσιογνωμία του μπαλκονιού με τα πλυμένα ασπρόρουχα.
Με σινική μελανωμένος ο ουρανός.
Βούρτσες των δέντρων οι σκιές
η και απλά η μπάλα απο σπουργιτιών φτερά,
που πέφτει κατακόρυφα.
Η εικόνα του κομμένου, ανοικτού ορθογώνιου παρηγορεί.
Παρηγοριά της ορατότητας

Helmut Heißenbüttel
μετ.Δέσποινα Kαρασάββα

Mathias We Have a Problem

Mathias We Have a Problem, 2016
(Based on Goeritz's Messages series,1950s–60s)
Wood, oil, acrylic, golden foil, glass, masking tape
70 x 39 x 7 cm

The Equilibrists

The Equilibrists is a project organized by the New Museum, New York and the DESTE Foundation, Athens in collaboration with the Benaki Museum, Athens, on the occasion of DESTE’s 33rd anniversary. This project continues the DESTE Foundation’s history of supporting talented emerging Greek artists. On the occasion of its anniversary, rather than focusing on its past, the Foundation is looking forward with a focus on the future of young art in Greece.

The exhibition is curated by Gary Carrion-Murayari and Helga Christoffersen with Massimiliano Gioni.
The Equilibrists brings together work by a new generation of young Greek and Cypriot artists working in Athens and abroad. The artists were selected by the New Museum curators, Gary Carrion-Murayari and Helga Christoffersen, drawing on their own research and the recommendations of a team of more than 20 advisors made up of curators, artists, and writers in Greece, and following trips to Athens, Thessaloniki, Cyprus, London, and Berlin.
The 33 artists and collaborations in the exhibition have adopted radically diverse approaches towards reflecting and engaging with the world around them. Working across painting, sculpture, drawing, film & video, and performance, the artists in The Equilibrists capture the fragility of the present moment through a shared approach to materiality. Their work touches upon themes as varied as historical memory, shifting notions of cultural identity, the politics of architecture and infrastructure, and the surfaces and flows of the digital realm.
This group of artists, ranging from their mid-20s to mid-30s, has emerged amidst a climate of political and economic instability, part of an international ‘young precariat,’ whose challenges have only increased in the past decade. Instead of being paralyzed by these circumstances, these young creators have responded with a spirit of improvisation and cooperation. The exhibition also reflects the role of these artists in sustaining and invigorating the artistic community through artist run spaces, residencies, and other platforms which continue to gain widespread international attention.
The Equilibrists is in keeping with the spirit of the ongoing DESTE Prize which has honored a promising young Greek artist biannually since 1999. It also reflects one of the fundamental aims of the Benaki Museum, which as a historical museum, regularly seeks to bridge the past with the emerging present. Finally, this project also continues the New Museum’s ongoing commitment to international emerging artists, highlighted by its signature Triennial exhibition which will next take place in 2018.

Duration: June 17 – October 9, 2016
Benaki Museum, Athens

Thursday, June 16, 2016

Le fauteuil du marquis de Sade aux enchères

Une centaine de manuscrits, lettres et objets, ayant appartenu au sulfureux marquis, dont le fauteuil sur lequel il écrivit la plupart de ses oeuvres et de rares pièces de théâtre, sont mis en vente mercredi en France.

Les pièces proposées par la maison de vente parisienne Drouot proviennent des rares documents sauvés des flammes à la mort de Sade le 2 décembre 1814.
Ce qui ne fut pas brûlé fut mis dans un coffre et scellé derrière des étagères de la bibliothèque du château familial de Condé-en-Brie, dans le nord-est de la France.

«De ce jour un tabou total s'est abattu sur la famille», se souvient Thibault de Sade, un descendant du marquis dont les parents ont redécouvert les oeuvres de leur ancêtre peu de temps après la fin de la Seconde guerre mondiale. Devenu «un complet inconnu», le nom même de Sade avait été «gratté sur l'arbre généalogique».
«Toute leur vie, nos parents se sont battus pour faire connaître Sade, contre les préjugés, contre les mensonges et pour la vérité (...) Ils ont donné mission à leur cinq enfants de continuer ce combat pour la connaissance», poursuit Thibault de Sade à l'origine de la vente.
Parmi les pièces proposées figure le fauteuil du marquis de Sade (entre 40'000 et 50'000 euros). C'est dans ce fauteuil, en partie d'époque Louis XIII, que Sade écrivit la plupart de ses textes (y compris quand il fut enfermé à Vincennes, la Bastille ou Charenton).
Un tableau, attribué à Jean-Marc Nattier et représentant le père du marquis est estimé entre 30'000 et 40'000 euros. Comme son fauteuil, ce tableau accompagna Sade de cachot en cachot.

Tuesday, June 14, 2016

The baker with his fiancée

Genredarstellung eines Bäckers am Teigtrog (rechts) und seiner Verlobten beim Verkauf (links). Beischrift: „Johann Georg Kieß Beckenmeister – Regina Hugin – 1804“. Die Nachnamen zeigen, dass es sich nicht um ein Ehepaar handelt. Meist waren solche Kannen Hochzeits- oder Verlobungsgeschenke (ergänzter Henkel)

Tuesday, June 7, 2016

Life Styles in the Golden Land

Johannes Schweiger,“Life Styles in the Golden Land / page XVI -1, FSG Classics, Farrar, Strauss and Giroux New York, paperback edition, 2008, designed by Guy Fleming: Joan Didion – Slouching Towards Bethlehem (1961)”, letter press print, black soy-based ink on 100% cotton rag paper (Stonehenge, rising), white, 250gsm, 67 x 33cm, 2012 

Sunday, June 5, 2016

Chez Eux: Unseen Collections

Chez Eux: Unseen Collections maps a network that
has not yet been historically recorded. It uncovers
an unseen and intimate contemporary art circuit and
depicts the real and substantial presence of people
intersecting in each other’s lives, revealing influences
on their artistic practices through a reality that is
reliant on memory.
The art collections of 25 Greek artists covering a
spectrum from the 70’s until today, are exhibited in
Chez Eux: Unseen Collections. The project displays
works that have been gifted or acquired through exchange
between artists. These artworks are accompanied
by selective archival material, illustrating the
relationships between them; the archive varies from
books, ephemera, correspondence, photos, drawings,
clothes and other paraphernalia of emotional
value. The artists discuss their relationships in interviews
presented as video installations.
In Chez Eux: Unseen Collections, historiography is
perceived as a creative practice and a form of production,
which ultimately embodies the process of
uncovering and discovering. It uncovers artworks
which may have never been exhibited in the past,
demonstrating the hidden treasure that can be
found in a domestic context and discovers relations
between artists that were shaped in the context of
an intersection of different routes.
Adopting the installation model of the 90’s relational
aesthetics, the basement of Project Space is being
recast into a referential simulation of the actual
domestic environment where the project has been
conceived, formed and developed until the moment
of its final execution and transformation into a group
In this room, the curator creates her own collection
of collections. Her bedroom functions as a spatial
metaphor of a digital mood-board, referring to the
postmodern construction of “pastness” in contemporary
youth microblogs (tumblr, etc). It creates an
aesthetic practice based on self-indulgent nostalgia.
The space takes the form of a “third place”, a location
between a white cube and a domestic environment
that oscillates between the domestic and
public space. Here, the experience of the work is
achieved through participation in this stimulated
representation that extends out of the walls of the
show and enters the project’s website, a platform ultimately
integrated into the curator’s own referential
universe, blurring the lines between historical and
fictional narratives.
In Chez Eux: Unseen Collections, the researcher becomes
the architect, inhabitant, curator and narrator
of the artists’ personal stories Stamatia Dimitrakopoulos
Participating artists:
Loukia Alavanou, Benjamin Verhoeven/Andreas Angelidakis, Dakis Joannou/ Antonakis, James McLardy/Dimitrios Antonitsis, Meret Oppenheim/Manolis Daskalakis Lemos, Florian Goldmann/Panos Haralabous, George Lappas/Dionisis Kavallieratos Elise Provencher and Fillipos Kavakas/ Konstantin Kakanias,Νan Goldin/Katerina Kana,Nino Stelzl/Stelios Karamanolis and Toula Ploumi, Rhinoceros (Audio drama)/ Miltos Manetas,Petra Cortright/Theo Michael, Francis Alÿs/Maria Papadimitriou, Martin Kippenberger/Katerina Würthle and Michel Würthle/Panos Papadopoulos,Elisabeth Penkel/Rena Papaspyrou,Bia Davou/Angelo Plessas, Zoë Paul and Santiago Taccetti/Mima Razelou,Takis/Kostas Sahpazis, Zoe Giabouldaki, Panos Tsagaris, Rachel Garrard/ Alexandros Tzannis, Markus Selg/Jannis Varelas, Ben Wolf Noam/ Kostas Varotsos,Michelangelo Pistoletto/ Kostis Velonis, Johannes Schweiger/Poka Yio,Yorgos Vakirtzis

09.06.16 – 25.06.16
CHEZ EUX: Unseen Collections”
Circuits and Currents

Friday, May 27, 2016

The Soft Power Lectures Show

Η σειρά performative διαλέξεων «The Soft Power Lectures», που διοργάνωσε η Προσωρινή Ακαδημία Τεχνών (ΠΑΤ ) στο πλαίσιο του προγράμματος Actopolis του Ινστιτούτου Γκαίτε, ολοκληρώνει τον κύκλο της με το «The Soft Power Lectures Show» που θα πραγματοποιηθεί για ένα βράδυ την Τρίτη 31/5 στις 7 μ.μ. στο Γήπεδο Μπάσκετ του Παντείου Πανεπιστημίου (Ιππώνακτος 36, Ν. Κόσμος ).

Θα παρουσιαστούν ντοκουμέντα από τις μέχρι σήμερα διαλέξεις-performances αλλά και έργα προσκεκλημένων καλλιτεχνών. Αυτό το υλικό συνθέτει μια ιδιαίτερη αφήγηση γύρω από το Νότο και τα υποκείμενά του, που αντιτάσσεται στις στερεότυπες απεικονίσεις του.

Προσωρινή Ακαδημία Τεχνών (Ελπίδα Καραμπά, Γλυκερία Σταθοπούλου, Δέσποινα Ζευκιλή, Σοφία Ντώνα, Πάνος Σκλαβενίτης, Κωνσταντίνος Χατζηνικολάου )

The Soft Power Lectures, Βίντεο αρχεία, 2016.
Σοφία Ντώνα Soft Power Screening, 2016
Πάνος Σκλαβενίτης Οι Ανδρείοι της Ηδονής, 2016 Daysign: Αφηγήσεις γύρω από τον ελληνικό ήλιο, βιβλίο,  2016
Κωνσταντίνος Χατζηνικολάου Άσπα,  Σούπερ 8, 2014
Η Άσπα ανάβει ένα τσιγάρο, βιβλίο, 2014 Fire Walker 2, φιλμ Σούπερ 8, 2015 Ηλιοβασιλέματα, περφόρμανς για φιλμ & ήχο, 2016 Νίκος Αλεξόπουλος Σειρά Φωτογραφιών ΠΑΤ, 2016

Προσκεκλημένοι καλλιτέχνες
Στεφανία Αμπλιανίτη & Σταυρούλα Μωρακέα, Το δείπνο (Νίκη Καναγκίνη ), βίντεο σε επανάληψη 7’, 2015 Κωστής Βελώνης (διάλεξη) Σχεδιασμός γλυπτικής εκτάκτου ανάγκης, Άγγελος Κράλλης Workout, broadcast/radio installation, 90 Faggots, faggots!, ποίημα, 2015 Γιάννης Παπαδόπουλος, Εγκατάσταση, 2016 Θάλεια Ραυτοπούλου Η πίστα χορού, προσωρινή εγκατάσταση, 2016

Kostis Velonis, Help Desk Model, 2015
Wood, plywood, acrylic, felt
150 x 42 x 30 cm

Saturday, May 21, 2016

Falling Triangles

Falling Triangles, 2016
(Based on Goeritz's “Torres Piramidales”)
Concrete, wood 
30 x 9 x 23 cm

Torres piramidales

Mathias Goeritz, Torres piramidales (maqueta), c.1965-70

Saturday, May 7, 2016

Energy Policy and the Electrification of the Whole Country.

Amir Gadzhiev, illustration for a children's book, Gouache, ink, watercolor and whitewash on paper 20.5 x 17 cm, 1930.

modular modules mode

Short Life, Some Accommodation, 2013-15
Wood, plaster, acrylic, oil, pencil, dried leaves
60 x 70 x 42 cm

Ο επιμελητής της έκθεσης Αλέξιος Παπαζαχαρίας αναφέρει:
Η Ιωάννα Σπητέρη–Βεροπούλου γεννήθηκε, έζησε και εργάστηκε στη Βενετία, το Παρίσι και την Αθήνα. Υπήρξε σύζυγος του Τώνη Σπητέρη, ενός από τους πλέον σημαντικούς τεχνοκριτικούς διεθνώς. Σε μια αδιάκοπη καλλιτεχνική πορεία που θα διαρκέσει σχεδόν πενήντα χρόνια (μέχρι το θάνατό της το 2000 στην Αθήνα) η Ιωάννα Σπητέρη-Βεροπούλου θα συμμετάσχει σε διεθνείς διοργανώσεις και θα αποσπάσει σημαντικές διακρίσεις, όπως στην Μπιενάλε του Σάο Πάουλο στη Βραζιλία το 1963 στην οποία το έργο της τιμήθηκε με το β' βραβείο γλυπτικής και θα εκθέσει κυρίως στην Ευρώπη δίπλα σε σπουδαίους καλλιτέχνες όπως ο Emilio Vedova και ο Fritz Wotruba. Η καλλιτεχνική της γραφή ιδιότυπη και σε συνεχή διάλογο με τις διεθνείς καλλιτεχνικές τάσεις θα διαμορφωθεί από την προσεκτική μελέτη του αφηρημένου εξπρεσιονισμού, τάση την οποία θα ακολουθήσει μετακινώντας σταδιακά το ενδιαφέρον της από την εξπρεσιονιστική χειρονομία στην αφαιρετική λογική. Από τη δεκαετία του '70 οι απλές γεωμετρικές φόρμες και οι δυναμικές συνθέσεις αυτών θα αποτελέσουν χαρακτηριστικό της γλυπτικής της. Μεγάλη σημασία θα αποκτήσει σταδιακά η σχέση του γλυπτού με τον περιβάλλοντα χώρο του: συνδέσεις, σχήματα, όγκοι, χώροι, φως, σκιές, και μεγέθη οργανώνονται από την Ιωάννα Σπητέρη-Βεροπούλου σε έργα που οι κλίμακες τους ποικίλουν από αυτό που σχεδόν χωράει σε μια χούφτα, έως αυτό που θα σταθεί σε εξωτερικό χώρο με διαστάσεις μνημείου αλλά διάθεση λιγότερο μνημειακή και περισσότερο ρυθμική, μουσική, οργανωτική και αφηγηματική· όχι σε σχέση με την ιστορία αλλά σε σχέση με το τι σημαίνει μοντέρνα γλυπτική και σύγχρονη τέχνη.
Οι οκτώ καλλιτέχνες, απ’ όσο ξέρω, ελάχιστα γνωρίζουν το έργο της Σπητέρη. Γνωρίζουν ωστόσο όλοι σίγουρα το εργαστήριο της στο 8 της οδού Κυψέλης, το μυθικό πια μικρό κτίριο του Αριστομένη Προβελέγγιου στο κέντρο της Αθήνας, έξοχο δείγμα μοντέρνας αρχιτεκτονικής. Στο εργαστήριο αυτό δούλεψε η Σπητέρη και άλλοι καλλιτέχνες, ανάμεσά τους και η Διοχάντη, με τη βοήθεια της οποίας
πραγματοποιείται η παρούσα έκθεση. Η έκθεση δεν έχει στόχο να ερευνήσει ή να αποκαλύψει συνέχειες που βασίζονται σε ευθείες γραμμές ιστορικών αξόνων, αλλά περισσότερο να δει τα έργα και τις εποχές σαν συναρμογές από αρθρώσεις και σπονδύλους όπου τα ερωτήματα περιστρέφονται περισσότερο γύρω από τη συνύπαρξη, τη συμβίωση, τη συγκατοίκηση, τη λειτουργία ή τη λειτουργικότητα και λιγότερο γύρω από καταβολές και καταγωγές, επιρροές ή συναντήσεις.
Στην έκθεση παρουσιάζονται έργα της Ιωάννας Σπητέρη - Βεροπούλου και των Αντωνάκη, Κωστή Βελώνη, Ηλία Κοέν, Ντόρα Οικονόμου, Νάνα Σαχίνη, Σοφία Σημάκη, Πέτρο Τουλούδη, Marc Charpentier.

10 Μαίου 2016 - 11 Ιουνίου 2016
Eleftheria Tseliou gallery, Αθηνα

Friday, May 6, 2016

The Architecture of the Barricade

In the 19th century, the "century of the barricade", building a barricade could bring down a state. Today, however, a barricade cannot rely solely on itself as-architecture, (or 'as-object') for the interruption of order and the creation of exceptional space.  Not only are battlegrounds and the lines that define them are increasingly blurred, but progressions in technology, control and surveillance mean that, with ease, state forces could destroy all that a traditional barricade could materially ‘stand’ for : by tank, by drone or by camera.

During the talk, we’ll explore the barricade as a disobedient object on the battleground of the city, going through barricade archetypes in terms of their architectural form and their urban strategy. I’ll try to show how the barricade has developed from ‘stopping’ or ‘blockading’ movement to moving in and of itself, how it's spatial quality has moved from the 'static' to the nomadic.

We’ll then look at how the barricade is as much about the bodies upon it as about the form it takes, or, the relationship between insurgent objects and insurgent subjects. I’ll try to show how, in the material sense, the insurgent uses the barricade as both offensive intervention and defensive protection, but also how, in the immaterial sense, the insurgent uses the barricade as both spectacular symbol and rhetorical device. I’ll try to show how subjects and objects come together as-barricade, and how in losing power as one or the other, they gain insurgent potential in the ambiguous space between the two.

We’ll hopefully see how the barricade is as much about what it is as about what it does, as much an object as it is an subject, as much a noun as it is a verb.

The Architecture of the Barricade - part of Anti University Now Festival
Facilitated by Charlotte Grace.

Saturday, June 11, 2016
Open School East - 43 De Beauvoir Road, London, N1 5SQ, United Kingdom

Tuesday, May 3, 2016

Chronicle of an Affair

MARGRET S. (Margret – Chronicle of an Affair ), 1970/9/15, 1970 vintage print, 10.5 x 7.5 cm, Qbox Gallery

Margret – Chronicle of an Affair consists of a rediscovered compilation of photographs, typewritten personal notes and objects, documenting with precision the secret love affair, which lasted from May 1969 to December 1970, of the Cologne businessman Günter K. and his much younger secretary, Margret S. Günter’s obsession is evident in the hundreds of photographs he took of his mistress in sexy poses as well as in his preservation of the plushly furnished apartment above the company office which functioned as their love nest. Among the photographs are also images of her clothes, which he gave to Margret as presents or which she brought from home to please Günter, as well as charming photos of their little getaways. In addition to the photographs, he collected tickets, her pubic hair and pill packs – souvenirs of a manic, forbidden love.

Monday, May 2, 2016

Evidence of Absences

A show that exists but isn't there

In the term "unrealized" there is a space between the particle ‘un-’ and the verb: the projects that are donated to MoRE, which aims to archive, guard, disseminate and possibly relaunch said works, fall into a place of suspension, between surrender and waiting. Regardless of the cause, an unconcluded project lives in a undetermined condition: it exists but isn’t really there.
We tend to give a negative connotation to all that remains unfinished, unfulfilled, not built (even not said), because it reminds us of a loss in terms of opportunity, energy, of an object, an intangible asset, the loss of a value. A loss - a term used in physics, geography and technology, in medicine, in economics and the military - doesn’t necessarily entail a disaster, although it is very close to one. During the 80s, when Vito Acconci started to focus his attention on environmental and architectural projects, reaching extreme limits in his research on body and space, his ultimate goal was never its fulfilment. "I don’t even know if I can say that our goal was to build projects. If that was our goal, then we’ve clearly failed". In planning and the “unbuildable”, Acconci sees the possibility to re-examine not the past but the 'things that have yet to come'. It is as if, without the pressure to be successful at all costs, the energy invested in an unrealized project flows towards different directions leading to new ideas and outcomes.

Two artists I had invited to donate a project refused to do so. Their motives can be summarized as follows: not all projects contain a medium to high risk margin and the artist's tenacity is crucial; The artist ends up with a work and inferior ideas die in the process.
The strength of Vladimir Tatlin's Monument at the Third International (1920), lies in its being more than its actual existence, in the insights that the project contained - first and foremost that art should be informative - and in general in the Constructivist considerations on sculpture during the 60s (Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt), the architecture, the city (especially in the 80s), and finally the communication between members of the international community. We must therefore continue to regard unrealized projects as bearers of aesthetic values, as editable, able to be rethought and versatile. And especially in this day and age, shareable.

The Aeromodeller (1969-1971) conceived by Panamarenko was never launched: when on June 6 1971, the artist and a group of assistants began to fill the balloon with hydrogen gas, the goal was to fly the airship from the fields outside of Antwerp. The danger of an explosion from the highly inflammable gases was aggravated by the blustering wind and by the balloon's constant flipping broadside into the gale due to certain navigational limitations of the design. Fearing a full-on disaster, Panamarenko with a pair of scissors slashed into the balloon to release the dangerous gases. In this last example, the risk of not succeeding is very much part of the project and the non-operational nature of the artist's flight device can be read as part of its intended beauty.

Curated by Elena Lydia Scipioni
Artists: Mathis Collins, Maria Adele Del Vecchio, Ibro Hasanović, G. Küng, Sandro Mele, Kostis Velonis.
MoRE Museum- A museum of refused and unrealised art projects