Sunday, September 18, 2016


Borders (Puppetry for Long Distance People) 2016
Concrete, wood, acrylic 
25 x 58 x 25 cm

Tuesday, September 6, 2016

Songs of Labour and Pleasure, from Postpaganism to Neoliberalism

An idiosyncratic mixtape based on an impromptu listening seminar held at Labour Camp, part of Paul Chaney’s Critical Camps series at Kestle Barton, traces the relationship between work and eroticism through popular song.

Starting with a bucolic idyll of self-suffiency where labour is not yet separated from life, continuing with traditional English folk song in which collective pleasure is embedded in and resonates with the cyclical patterns of agricultural labour, the mix then traverses the industrial revolution, where the new mechanical tools are at first reinscribed into this postpagan cosmology of jouissance, going on to chart the divergence of pleasure and labour as their intertwining shifts, in early popular mass entertainment media, into mere burlesque and innuendo; remembering colonial slave labour and the appropriation of its affect and expression in Western popular music; arriving at the refusal of exploitation, the separation of work and love into mutual exclusivity, the culminating existential frustration of the commuter; and the thanatropic joy of being absorbed into the machine. It ends in the present day with the queasy rapture of a libidinal economy in which work and pleasure are once more integrated, but this time according to new meshings in which human desire no longer resonates with meadow and the cosmos, but is re-engineered and modulated by a fluid media apparatus.

One and the Many

Fatoş Oyuncakları (Fatoş Toys), 1971-73 products.  Courtesy Fatoş İnhan.

One and the Many is a research-based exhibition that looks into the production and distribution of things. It tackles the period 1955–95 in Turkey, by following the material results of gradual industrialization as well as its contingent infrastructural disposals. The exhibition frames the topic primarily through stories of selected artifacts common to the ’80s, a period when industrial products met a voluminous consumer market for the first time.
The research and narrative of One and the Many are structured around the notion of genuine copies. Questioning our standard expectation of ingenuity versus the opportunity of building atop each other’s ideas, the exhibition suggests a fresh perspective on the history of production in Turkey. From the early-day assembly industry, to today’s abundant copyright infringing replicas, copies have been scrutinized from both economic and intellectual viewpoints. The exhibition brings together artifacts from a variety of industries—automotive, white goods, furniture, toy, stationery, pret-a-porter, textile, food and beverage, tableware, cutlery, and hygiene—inviting users to value things per se, in order to recognize the ingenuity prompted by circumstances and appreciate copying as a method of learning.
One and the Many was produced with rich contributions from collaborating industries, professionals, consultants, academics and students who provided various ideas, content and narrations. The exhibition is part of the five-year program The Uses of Art — The Legacy of 1848 an1989, organized by L’Internationale.

September 6–November 13, 2016
SALT Galata

Sunday, September 4, 2016

Carving the Perfect Citizen: The Adventures of Italian Pinocchio in the Soviet Union and the United States

Branson, Rachel, "Carving the Perfect Citizen: The Adventures of Italian Pinocchio in the Soviet Union and the United States" (2014). Honors Projects. Paper 18.

Thursday, September 1, 2016

The science of the inconceivable

A different kind of logic

by Philip Ball

Late last year, an experiment carried out by scientists at the Delft University of Technology in the Netherlands appeared to demonstrate that one object can affect another from afar without any physical interaction between the two. The finding confirmed an idea so extraordinary that, nearly a century ago, Albert Einstein had rejected it with the dismissive phrase “spooky action at a distance.” In quantum theory this phenomenon is known as “entanglement,” and many physicists now regard it as the most profound and important characteristic of the physical world at the smallest scales, which quantum theory describes.

Quantum entanglement is a deeply counterintuitive idea, which seems to contradict human experience of the physical world at the most essential level. In the everyday (“classical”) physical realm, objects affect one another via some kind of contact. The tennis ball flies from the racquet when struck, and when it hits the window the glass will smash. Sure, “invisible forces” seem to act across space—magnetic and electrical attraction and repulsion, say. But in quantum theory these interactions arise from the passage of a particle—a photon of light—between the two interacting bodies. Meanwhile, Einstein showed that the Sun’s gravity corresponds to a distortion of space, to which distant objects such as Earth respond. It’s generally believed that in a quantum theory of gravity (which doesn’t yet exist), this picture will prove to be equivalent to the exchange of “gravity particles” or gravitons between the Sun and Earth.
But quantum entanglement bothered Einstein because it suggested that one particle could affect another even when there was no conceivable physical interaction between them. It didn’t matter if those particles were light years apart—measuring a property of one particle would, according to quantum theory, instantly affect the properties of the other. How could that be?


Smyging” was one of many methods used to cure epilepsy in Norway. This photo was teken in 1922.

Wednesday, August 31, 2016


Ας είσαι δέντρο των θεών
βελανιδιά ή δαφνη,
θα πέσεις με τις ρίζες σου.
Τότε θα έρθουν ξυλοκόποι
όλοι οι ράθυμοι του δάσους
και θα αρχίσουν
να σε οσφραίνονται.
Θα κόβουν την ψυχή σου
και θα την καίνε σε κομμάτια.

φύλλο ιπτάμενο
ξερό κι ανάλαφρο
στο κρεβατάκι των ανέμων

κι η πορεία σου
να σταλάζει αργά
στη φλέβα της φύσης

Αννα Γρίβα 

Prières magiques

Ethiopian healing scroll, 19th century.


κλαδιά ανθισμένα
στο νερό σώματα
πάνω στην άμμο
για μια στιγμή μόνο

Φοίβη Γιαννίση 


Περνούν οι μέρες κάποτε ακούω
και τη ζωή να περνά
Αλλά την μνήμη
την φέρνει η θάλασσα
Και κυριεύει η αγάπη τα μάτια

Παναγιώτης Ιωαννίδης

Witch's cradle (Maya Deren , M. Duchamp - 1943)

Friday, August 26, 2016

More Dissipate

We strove to locate love on a list of symptoms
hyaline when held to light and found instead
nothing but bones, and of the sort you relish:

a kind of bicker in the throat. A jetblack end.
We thought we saw the dark cursive of a wolf
circling on sea ice, miles out, in an hour

not blue, though persuasive and brief.
In looking back, it was not dog. It wasn’t
anything. It was not the heart burst forth

but another part: one for which the words,
the shafts and shanks, their shifts, have long
been sung, and in the same breath, lost.

Joan Naviyuk Kane

Left Melancholy in the Greek Poetry Generation of the 2000s Αfter the Crisis of Revolution and Representation

The Journal of Modern Greek Studies “Occasional Papers,” edited by Neni Panourgia, has published the commissioned paper “Left Melancholy in the Greek Poetry Generation of the 2000s after the Crisis of Revolution and Representation” as JMGS “Occasional Paper” 10 (June 15, 2016) written by Vassilis Labropoulos.

Thinking at the Edge of the World. Perspectives from the North and South as a State of Mind

OCA is pleased to announce 'Thinking at the Edge of the World. Perspectives from the North' an ongoing project initiated in 2015 within the OCA’s 'Notations' series, researching the cultural history of Northern Norway, and developed in collaboration with local protagonists during 2016 and 2017. The project will manifest itself in various forms and locations across Norway (notably Svalbard, Karasjok and Oslo) and beyond – including international conferences and artist residencies across Northern Norway, as well as new art, exhibitions, various forms of documentations and writing commissioning.
Highlights in this project include establishing a temporary OCA office in Tromsø during 2016, under the auspices of The Cultural Business Development Foundation SpareBank 1 Nord-Norge, as well as organising an international, cross-disciplinary conference titled 'Thinking at the Edge of the World' (12-13 June 2016) in collaboration with Northern Norway Art Museum (NNKM), Tromsø, in the Kunsthall Svalbard. The conference will bring together international figures from the fields of art, psychology, philosophy, history, science and law. Further details of the project´s programme will be announced shortly.
'Thinking at the Edge of the World' is structured through regional and international dialogue as well as partnerships (institutional and individual), and includes invitations to artists and intellectuals to visit and think about the region, considering it a unique vantage point from which to reflect upon the environmental, aesthetic, architectural, economic, political and scientific forces that are shaping the North of Norway and its relationship to the world.
The Arctic region, in particular that of Norway, sits at the heart of heated as well as inspiring discussions of scenarios for possible futures. Scientists tell us that that the latent forces released by melting ice into in the frozen North would be enough to power the world’s cities for many generations; that global warming is forming navigation channels across the so-called Arctic Highway; and that the geography of India, Bangladesh and China, among other nations, will be affected with dramatic force resulting in harsh consequences upon their social and economic framework.
'Thinking at the Edge of the World' addresses some of the wider implications of these changes in the North of Norway, and invokes the innovative thinking that being at the edge of the world induces for the world at large. How are frontiers questioned from an Arctic vantage point, and how might this questioning catalyse new thinking regarding territory, power and resource exploitation? Could concepts of society, aesthetics and community explored during the nineteenth and twentieth century – often led by artists and intellectuals from Norway and its indigenous communities – be sought again to enlighten this debate? Will the Arctic become, due to the increasing desertification in the South, the new garden of the globe for food production and distribution?
These questions and the subsequent narratives of a developing future are rooted in the unfolding physical forces embedded in the North. However they also interlock with a wider past of myths and legends, a storytelling deeply connected to the region, its exploration, exploitation, accessibility and aesthetic history, as well as forthcoming issues of trade, transportation and security.
'Thinking at the Edge of the World' explores therefore the poetic and innovative impact on artistic and other disciplinary forms of thought that the extreme location of Northern Norway provides. In particular the project focuses on the relationship between art, the environment and activism in Arctic Norway as well as its northerly neighbours, in order to highlight the global impact of these issues over time. Mindful of the conflicted history and currency of the notion of territory and resources, the project explores their relationship to indigenous communities, their environments, culture and contemporary perspectives – in particular the history and present of the Sami communities inhabiting Northern Norway, but also Sweden, Finland and Russia. From this vantage point, ‘Thinking at the Edge of the World’ seeks to contextualise these questions in order to shift them beyond a purely local understanding, linking them with synergic issues found in diverse geographies and communities around the globe.

The Office for Contemporary Art Norway is delighted to announce a presentation of the second volume of documenta 14’s journal South as a State of Mind in Kárášjohka, Sápmi (Karasjok, Norway), together with documenta 14’s Artistic Director Adam Szymczyk and Editor-in-Chief of Publications Quinn Latimer who will both introduce one of the world’s largest exhibitions and conduct short readings from the journal on Saturday 27 August 2016.
The public presentation of d14 #2 volume is part of an intense day of public programming which includes lectures, conversations and music, together with Sami artists and activists speaking about crucial moments in their recent history and today’s challenges within the region. Among the contributors are curator and former director of the Sami Center for Contemporary Art Jan-Erik Lundstrøm in conversation with Hans Ragnar Mathisen, Britta Marakatt Labba and Synnøve Persen, focussing on their commitment as founding members of Sami Artist Group 1978–1983 / Mázejoavku: sámi dáidojoavku; presentations by Associate Professor of Sami Literature at UiT – The Arctic University of Norway Harald Gaski and film-maker Gunilla Bresky on the work and life of Nils-Aslak Valkeapää; an address on the rhetorics of Western law and indigenous philosophies of justice by writer, yoiker and Associate Professor of Law at UiT Ánde Somby; Associate Professor Hanna Horsberg Hansen from Tromsø Academy of Contemporary Art and Creative Writing of UiT engaging in a debate about today’s art production, activism as well as territorial and environmental issues with Dáiddadállu/ Artists Collective Kautokeino (a group of practitioners which includes, among others, Elle-Marja Eira, Rawdna-Carita Eira, Elle-Sofe Henriksen and Máret-Ánne Sara).
The presentation of documenta 14’s journal South in Sápmi is part of 'Thinking at the Edge of the World. Perspectives from the North’ and coincides with Adam Szymczyk, Quinn Latimer and Candice Hopkins’s participation within OCA's IVP (International Visitor Programme). It will allow the documenta 14 team to encounter current artistic practices and conduct research regarding recent history and developments within communities in Sápmi and northern Norway. The event is curated by OCA in collaboration with documenta 14 and the Sami Center for Contemporary Art, and co-organised with The Sami Parliament.

A day-long public programme in Kárášjohka, Sápmi (Karasjok, Norway) and the first presentation of South as a State of Mind #7 [documenta 14 #2]
With d14 Artistic Director Adam Szymczyk and d14 Editor-in-Chief of Publications Quinn Latimer
Saturday 27 August 2016, 10:00–until late
The Sami Parliament / Sámediggi


Untitled ( Die Welt ist fort, ich muss dich tragen Series) 2016
Concrete, plaster, wood, acrylic, spray
26 x 39 x 28 cm 

Tuesday, August 23, 2016

Große, glühende Wölbung

mit dem sich
hinaus- und hinweg-
wühlenden Schwarzgestirn-Schwarm:

der verkieselten Stirn eines Widders
brenn ich dies Bild ein, zwischen
die Hörner, darin,
im Gesang der Windungen, das
Mark der geronnenen
Herzmeere schwillt.

rennt er nicht an?

Die Welt ist fort, ich muß dich tragen

Paul Celan

Friday, August 12, 2016

Light fitting and snowflake ceiling

Leonidov, light fitting and snowflake ceiling, 30's.

Vast, Glowing Vault

with the swarm of
black stars pushing them-
selves out and away:

on to a ram’s silicified forehead
I brand this image, between
the horns, in which,
in the song of the whorls, the
marrow of melted
heart-oceans swells.

to what
does he not charge?

The world is gone, I must carry you. 

Paul Celan

Leonidov's model for 'Crystal Fountain'

Photograph of Leonidov's model for his unrealised 'Crystal Fountain' for Kislovodsk, 30's. 

Friday, August 5, 2016

ΑΝΑΓΝΩΣΕΙΣ: Η χρήση του ανοικτού κώδικα

ΑΝΑΓΝΩΣΕΙΣ: Η χρήση του ανοικτού κώδικα: Γλυπτική και σχεδιασμός εκτάκτου ανάγκης ,  ΤΟΥ ΚΩΣΤΗ ΒΕΛΩΝΗ Τα τελευταία χρόνια αναφερόμαστε ...

Saturday, July 30, 2016

Borders (Puppetry for Long Distance People)

Borders (Puppetry for Long Distance People) 2016
Wood, acrylic
58 x 55 x 53 cm 

Monday, July 25, 2016

Air Rights

Darling, one way to think of it is
I required absence and you
life-long a room just left. Except
you bloom not empty half-light
but a stand of trees at the edge
of the meadow where my life
leaks out. Static is the soundtrack
of the cabbie’s dream but oh
how we love our troubadours,
sad acoustic boys and girls,
sunshine in their throats. Some
days it takes all my concentration
not to pick the lettuce that lives
down the street. Then I wake
with tendrils between my fingers
and once again I’m feigning
innocence on the one hand,
aping grief on the other. See,
I would eat the lily from under
the frog, drink the river between
each strider’s wake. It's my way
of feeling productive, of not
too terribly envying the swan
still as a figurine on her cloud mirror
until the trees go back to normal
which is a kind of sleep instead of
clawing magnificent at the sky.

Lisa Olstein

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