Monday, April 8, 2019

Democracy is coming

Democracy is  coming 
The Public Theater andOnassis USA today announced additional FREE programming and participants for the ONASSIS FESTIVAL 2019: DEMOCRACY IS COMING, running April 10-28 at The Public Theater and also La MaMa. Actors Phylicia Rashad and André Holland, performer/singer-songwriter Diana Oh, architect Elizabeth Diller, author Siri Hustvedt, and Kostis Velonis’ art installation Life Without Tragedy join the Festival lineup. 
The 19-day Onassis Festival is a festival of arts and ideas that celebrates, evaluates, and considers anew the concept of democracy—perhaps the most renowned Greek innovation. Through a multidisciplinary program of theater, music, talks, and more, The Public Theater and Onassis USA, two agitators of public curiosity—one Greek, one American—bring together artists and thinkers from both countries to offer artistic interpretations and embodiments of democracy. The Festival is anchored by The Public’s new production of Tim Blake Nelson’s Socrates featuring Michael Stuhlbarg as Socrates and directed by Doug Hughes, running April 2-May 19. 
OnMonday, April 15 at 7:00 p.m., Public Forum will present OF, BY, AND FOR THE PEOPLE in the Anspacher TheaterTheater and democracy share a birthplace, share fundamental tenets, and provide opportunities for the people to activate and understand their own power. But in a world where both the arts and democracy are increasingly under threat, what does it mean to be a “fundamentally democratic” theater? And how can the theater continue to encourage our best hopes for democracy? Featuring The Public’s Artistic Director Oskar Eustisand The Public’s Master Writer Chair Suzan-Lori Parks in a conversation with philosopher Kwame Anthony Appiah; the event will also include new announced performances from André Holland (Much Ado About Nothing, Academy Award-winning film Moonlight) and Diana Oh (24 Hour Punk at Joe’s Pub). 
 
On Monday, April 22 at 7:00 p.m. the Public Shakespeare Initiative will welcome Tony Award-winner Phylicia Rashad (A Midsummer Night’s Dream) for PUBLIC SHAKESPEARE PRESENTS: WHAT’S HECUBA TO HIM? GREEK TRAGIC WOMEN ON SHAKESPEARE’S STAGE in the Martinson Hall. Ancient Greek plays – and in particular, their titanic, tragic women – exerted a powerful and uncharted influence on Shakespeare's dramatic landscape. When Hamlet reflects on the moving power of tragic performance, he turns to the most prominent of them: “What's Hecuba to him, or he to Hecuba/That he should weep for her?” Through commentary and readings from Euripides and Shakespeare, theater scholar Tanya Pollard and actors Isabel Arraiza, Tina Benko, and Ayana Workman, in addition to Phylicia Rashad, will illustrate how Greek plays and their towering female figures challenged Shakespeare to reimagine the affective possibilities of tragedy, comedy, and the emerging genre of tragicomedy. 
On Sunday, April 14, the Festival will present a DAY OF DEMOCRACY in the Shiva Theater at The Public. These three conversations will examine democracy's intersections with our everyday life. At2:00 p.m., DEMOCRACY IS THE CITY will include architect Alfredo Brillembourg, Onassis USA Senior Advisor Karen Brooks Hopkins, and artist/historian Kamau Ware, plus a performance from singer Morley; at 4:00 p.m., DEMOCRACY IS DIGITAL will include international public policy advisor Micaela Klein, Assistant Professor of Media Design at Parsons Katherine Moriwaki, and Buzzfeed News Editor-in-Chief Ben Smith, with a performance from Elle Winston; and at 6:00 p.m., DEMOCRACY IS COMING will feature civil and human rights lawyer Nora Benavidez, Executive Editor of The American Interest Damir Marusic, Founding Editor of Jacobin Magazine Bhaskar Sunkara, and What is Democracy filmmaker Astra Taylor, as well as remarks from architect Elizabeth Diller and a performance from Imani Uzuri. 
LIFE WITHOUT TRAGEDY, an art installation by Kostis Velonis, can be seen free of charge, at Astor Place South Plaza from April 10 through April 30. Velonis’ interest in democracy encounters ancient Greek tragedy, and the artwork consists of three sculptures, constructed of wood, that mimic an ancient Greek amphitheater. He identifies the notion of democracy with Greek tragedy, since the theater in ancient Greece was not only a form of art, but also a social institution. 
Public Theater Partner, Public Supporter, Member, and full price tickets are available now for ticketed Festival events. Tickets can be accessed by calling (212) 967-7555, visiting www.publictheater.org, or in person at the Taub Box Office at The Public Theater at 425 Lafayette Street. 

Monday, April 1, 2019

BED MANNERS

BED MANNERS



Digging Out, 2015 

Wood, acrylic, stone, marble, plaster, concrete, plywood

48 x 31 x 18 cm


With the Slumber filter, images on Instagram can be transformed into milky veiled illusions. The state between waking and sleeping has collectively inscribed itself as a nebulous blur. The existential dichotomy of sleeping and not sleeping, which is brought together in the state of slumber, encompasses far more aesthetic approaches and artistic forms of confrontation than the strategies of fogging. Sleep and slumber touch on questions about the body in space, sensitize us to everyday environmental materials such as light, and affect rituals and life rhythms. Our individual sleep is not detached from social structures. How and when we sleep, as well as techniques of falling asleep, are deeply rooted in cultural processes and they are territory of biopolitical conflicts. Against this background, the conditions of sleep change parallel to social change. New ways of life generate other possibilities of sleeping and this in turn changes the spaces and places where we can let ourselves fall, dream and escape from self-control.
The exhibition BED MANNERS brings together contemporary positions that take up metaphors and states of slumber. Materials such as mattresses, body states such as lying and spaces such as the hotel room appear in new contexts. References to surrealist strategies and echoes of prehistoric camps and shelters are taken up as well as discourses that question sleep as a purely anthropological category. Isn’t an archive something else than a bedroom for things and how does a butterfly exhausted from death struggle regenerate?
Charlotte Silbermann

»Bed Manners«
Dafni Barbageorgopoulou, Carsten Becker, Henning Bohl, Dominik Bucher, Gastarbeiter on the Planet, Vassilis H, Nico Ihlein, Johanna Jaeger, Stelios Karamanolis, Tula Plumi, Max Schaffer, Peter Strickmann, Kostis Velonis, Moritz Wehrmann, Lily Wittenburg
curated by Charlotte Silbermann

Daily Lazy and frontviews at Kunstpunkt Berlin
28 Mar - 14 Apr 2019




ΠΕΝΤΑΔΑΚΤΥΛΟΣ

ΠΕΝΤΑΔΑΚΤΥΛΟΣ





Timon of Athens cursed loudly as he bumped into the wall, 2007
350 x 200 x 100 cm
Wood, acrylic 

Πέμπτη 28 Μαρτίου 2019, στις 19:30

Επιμέλεια: Σάββας Χριστοδουλίδης
 
Συμμετέχουν: Γιάννης Βαρελάς, Κωστής Βελώνης, Χάρις Επαμεινώνδα, Ανδρέας Ιωακείμ-Καϊμάκης, Κωνσταντίνος Καλησπέρας, Λητώ Κάττου, Γαλύκος Κουμίδης, Γιώργος Σαπουντζής, Νίκος Στέφου, Κώστας Σαχπάζης, Σωκράτης Σωκράτους, Κωνσταντίνος Ταλιώτης, Αλέξανδρος Τζάννης, Νίκος Τρανός και Νίκος Χαραλαμπίδης

Λεβέντειο Μουσείο, Λευκωσία 




Monday, March 11, 2019

Corona (Sun Assembly)



Corona (Sun Assembly) 2019
Zinc, iron, cement, ceramics, acrylic, oil, wood
36 x 27 x 43 cm 

Reading Matter

Reading Matter 


 Hydrogeny by Evelina Domnitch & Dmitry Gelfand

Atoms and particles, rare earth minerals and hybrid composites, precious metals and microwaves, matter is commonly perceived as a passive commodity ought to be mobilised to become material. But when approached through a lens of human productivity, only certain facets of matter get recognised as valuable part of the market. In this event, Evelina Domnitch will address strategies for expanding the human perception of the material forces and agency of matter, from chemical and quantum to micro-gravitational. Through performative environments and phenomenological experiments that exceed the scope of applied science and challenge the disciplinary boundaries, Domnitch invites to rethink the nature of human relationship with matter.

Using material and the concept of conductivity as a lens, Füsun Türetken will explore a range of instances where conflict and capital can be read through matter, more precisely metal. Acknowledging ‘metal as conductor of all matter’, her work proposes a theory of the complicity of metals as quasi-agents that influence and register events, and addresses metal’s role in shaping the world of finance, belief systems, geopolitical relations, (digital) bodies, even the stratosphere and the ‘climate-engineered’ weapons. Türetken will screen her latest film ‘Alchemic Desire’, which examines the parallels between the practice of trading metals at the world’s biggest physical metals exchange, the London Metal Exchange (LME), deleuzo-guattarian models of psycho-social dynamics, and the practice of alchemy.

The evening is moderated by design critic and curator Alice Twemlow.
The event is part of ‘Matter’ series, exploring the relationship between design and matter. It imagines different forms of engagements with materiality, and inquires what it means to design with social and ecological sensitivity in the age of escalating environmental crisis. The event is organised in conjunction with the Neuhaus programme for more-than-human knowledge, opening at Het Nieuwe Instituut in May 2019.

Thursday, March 7, 2019

Pomp, Circumstance, and the Performance of Politics: Acting 'Politically Correct' in the Ancient World



Pomp, Circumstance, and the Performance of Politics:  Acting 'Politically Correct' in the Ancient World

When we imagine ancient political life, we think of powerful rulers and awe-inspiring monuments, not grassroots movements. But if the cacophony of our modern political discourse can teach us anything, it's that negotiating power and legitimacy is an ongoing conversation, not a monologue. This conference investigates moments and spaces in the premodern world where audiences had the opportunity to weigh in on the messages their leaders were sending. How did ordinary people experience and contribute to their political realities, and what strategies did rulers use to gain support?
Bringing together scholars working in a wide variety of disciplines and time periods, from prehispanic Mesoamerica and early historic India to the Assyrian Empire and papal Rome, this conference takes a bottom-up approach to evaluating the risks and rewards of acting 'politically correct'—or incorrect!—in the ancient world.
March 7–8, 2019

The Oriental Institute, University of Chicago

Organized by Kathryn R. Morgan,
Postdoctoral Fellow


Wednesday, March 6, 2019

"Λυπημένες μέρες πια ποτέ δεν θ' ανατείλουν..."


"Λυπημένες μέρες πια ποτέ δεν θ' ανατείλουν..." 




 

Saturday, March 2, 2019

Voyage around my Room


Voyage around my Room

The particular exhibition embarks from Virginia Woolf’s legendary essay “A Room of One’s Own”, written in 1926, and its relevance to newly introduced sociological and political concepts like digital feminism and the #metoo movement. The room (ma chambre), personal space as described in Xavier de Maistre's classic book "Voyage Autour de Ma Chambre" (1794), where the title derives from, as well as concepts such as privacy, autonomy and self-expression are key points of reference to the exhibition works created by international contemporary artists and writers. The exhibition attempts to initiate a new discourse on the notion of room and personal space in continuation to the discussion that originated in classic essays and works of literature.

How to guarantee conditions of contemplation to the older feline population, 2006, wood, 310 x 165 x 52 cm

Participating artists: Sophia Al Maria, Theodoros Chiotis, Dora Economou, Philomena Epps, Jeanne Graff, Juliana Huxtable, Dimitris Ioannou, Sharon Kivland, Sylvere Lotringer, Jonas Mekas, Maro Michalakakos, Eva Stefani, Amalia Ulman, Kostis Velonis 

Exhibition curator: Kika Kyriakakou

Duration: March 18 – April 21, 2019
Location: Athens Municipality Art Center


Athens World Book Capital 2018 City of Athens, of which major donor is Stavros Niarchos Foundation, organizes the group exhibition “Voyage around my Room” in partnership with the City of Athens Cultural, Sport & Youth Organization (OPANDA).

Saturday, February 23, 2019

Ο Αναξίμανδρος στη Φουκουσίμα_ Γενεαλογίες της Τεχνικής


Ο Αναξίμανδρος στη Φουκουσίμα_ Γενεαλογίες της Τεχνικής



Στις απαρχές του τεχνικού πολιτισμού κάνει την εμφάνισή της η ανθρωπόκαινος εποχή. Η σύγχρονη ιδέα ότι η ανθρώπινη δραστηριότητα επηρεάζει και διαμορφώνει τη γεωλογική συγκρότηση και την εξέλιξη της γής, ενυπάρχει ήδη στα θραύσματα των προσωκρατικών κοσμολογιών. Στίς θεωρητικές υποθέσεις του Αναξίμανδρου ανευρίσκεται η σύλληψη του κόσμου ως τεχνικού κατασκευάσματος, όπως είναι μια κυλινδρική κολόνα ή ένας μεταλλευτικός κλίβανος.

Ο Αναξίμανδρος στη Φουκουσίμα είναι ταυτόχρονα εικαστική εγκατάσταση και ποιητικό δοκίμιο. Αφηγείται πρακτικές περιπλανήσεων, καταγραφών, ανοικτών αναγνώσεων των προσωκρατικών φιλοσόφων και γενεαλογήσεις εδαφικών ευρημάτων. Η επιτόπια περιπλάνηση γίνεται κάποτε ταξίδι στην οικουμενική γεωγραφία και ταξίδι μέχρι την σύγχρονη ιστορία, από τα παράλια της Μεσογείου ως τα παράλια της Ιαπωνίας. Οι αστοχήσαντες πυρηνικοί αντιδραστήρες της Φουκουσίμα είναι τεχνολογικές μεταμορφώσεις του αναξιμάνδρειου κλιβάνου.

Το βιβλίο απευθύνεται περισσότερο σε εκείνες και εκείνους που θέλουν να αδράξουν, μέσα από την “τοπο-στιγμή” τη γενικότητα, το βάθος της ιστορίας και την έκταση των “φυσικοπολιτισμών”. Να αδράξουν τη γενεαλογία της τεχνικής ως βίωμα και προσωπική ανάμνηση, μέσα στην βαρετή συνήθως αλλά καμιά φορά συναρπαστική διεθνή συζήτηση για τη γαία και το μέλλον του παρόντος της.

Παρουσίαση και συζήτηση για το έργο εν προόδω και το βιβλίο του Ζήση Κοτιώνη. Η εκδήλωση θα γίνει στο περιβάλλον μιας προσωρινής εγκατάστασης, η οποία συμπεριλαμβάνει προβολές βίντεο, αντικείμενα και επιτελεστική διάλεξη του συγγραφέα.

Ομιλητές:

Κωστής Βελώνης, Εικαστικός
Fabiano Micocci, Δρ. αρχιτέκτων, διδάσκων στο Πανεπιστήμιο Θεσσαλίας
Γιώργος Ξηροπαϊδης, Καθηγητής ΑΣΚΤ
Θεόφιλος Τραμπούλης, Ανεξάρτητος Επιμελητής
Γιώργος Τζιρτζιλάκης, Καθηγητής Πανεπιστημίου Θεσσαλίας
Εκ μέρους του Μουσείου Μπενάκη θα χαιρετήσει η Πολύνα Κοσμαδάκη, επιμελήτρια.

Επιτελεστική διάλεξη με απόσπασμα από το βιβλίο θα πραγματοποιήσουν ο συγγραφέας με τον Γιάννη Ισιδώρου, εικαστικό.

Η εκδήλωση θα πραγματοποιηθεί στο Αίθριο του Μουσείου Μπενάκη, Κεντρικό Κτήριο, στην οδό Κουμπάρη 1 και Βασιλίσσης Σοφίας, από τις 7:30 έως τις 9:30μμ, την Τρίτη 26 Φεβρουαρίου.

‘Migrations’ series continues exploration of peoples, cultures and borders

‘Migrations’ series continues exploration of peoples, cultures and borders


Jacques Callot, French, 1592–1635. Bohemians on the March: The Rear Guard, 1621. Etching and engraving. Princeton University Art Museum

In the spring term, Princeton University is launching its second year of a three-year public program around the theme of migrations through “Global Migration: The Humanities and Social Sciences in Dialogue.” A full list of events is available online.
Through lectures, conferences, performances and panel discussions, the public is invited to learn more about the movement of peoples over time and the consequences of those shifts.
“If migration has been a major human experience throughout history, it is taking on dramatic new dimensions in our own era of globalization,” said Sandra Bermann, the Cotsen Professor in the Humanities and professor of comparative literature at Princeton. “It is essential to understand it better. Our aim is to bring global, national and local migration issues to the forefront.”

Saturday, February 16, 2019

Threadsuns


     Threadsuns
     above the grayblack wastes.
     A tree-
     high thought
     grasps the light-tone: there are
     still songs to sing beyond
     mankind.

Paul Celan 

Wednesday, January 30, 2019

Q&A Goes Horribly Wrong

Q&A Goes Horribly Wrong

Classicists engage in frequent debate about whether the field is “too white,” whether Western civilization is a manufactured idea and what new lines of inquiry will ensure classics’ continued relevance -- or even its survival.
But at an annual gathering of classicists this weekend in San Diego, that debate crossed the line from professional to personal, from real inquiry to racism.
The incident involved an attack on Dan-el Padilla Peralta, an assistant professor of classics at Princeton University, by an independent scholar named Mary Frances Williams. It happened during a question-and-answer period at a panel on the future of classics Saturday at a Society for Classical Studies conference.
Panelists included Peralta, who spoke about an alleged incident of racial profiling at the conference site, in which two classicists of color were stopped and asked for identification. He also cited classics journal publication data showing that authors are largely white, and pushed for diversification of the field. Another speaker was Sarah Bond, an associate professor of classics at the University of Iowa whose research and public outreach often focuses on the idea that our notions of race in the classical world are much more informed by Eurocentric Renaissance views than historical reality.
Scott Jaschik contributed to this article

The Breath of the Olive Tree


Hiva Panahi

Thursday, January 17, 2019

Rethinking Repair

Rethinking Repair 
 “There is a crack in everything. That’s how the light gets in.” Leonard Cohen, Anthem

What world does contemporary information technology inhabit? Is it the imaginary nineteenth-century world of progress and advance, novelty and invention, open frontiers and endless development? Or the twenty-first- century world of risk and uncertainty, growth and decay, and fragmentation, dissolution, and breakdown? 
This chapter is an exercise in broken world thinking. It asks what happens when we take erosion, breakdown, and decay, rather than novelty, growth, and progress, as our starting points in thinking through the nature, use, and effects of information technology and new media. Broken world thinking is both normative and ontological, in the sense that it makes claims about the nature of technology and its relationship to broader social worlds, some of which may differ from deep rooted cultural assumptions. But it is also empirical and methodological, an argument and provocation toward doing new and different kinds of research, and new and different kinds of politics, in media and technology studies today. 

 Text by Steven J. Jackson 

Sunday, January 13, 2019

You're all around me but you may not be there


You're all around me but you may not be there, 2018
acrylic, oil, pencil and oil pastel on canvas
150 x 150 cm

Saturday, January 12, 2019

Childhood's End The digital revolution isn’t over but has turned into something else

Childhood's End

The digital revolution isn’t over but has turned into something else


All revolutions come to an end, whether they succeed or fail.
The digital revolution began when stored-program computers broke the distinction between numbers that mean things and numbers that do things. Numbers that do things now rule the world. But who rules over the machines?Once it was simple: programmers wrote the instructions that were supplied to the machines. Since the machines were controlled by these instructions, those who wrote the instructions controlled the machines.
Two things then happened. As computers proliferated, the humans providing instructions could no longer keep up with the insatiable appetite of the machines. Codes became self-replicating, and machines began supplying instructions to other machines. Vast fortunes were made by those who had a hand in this. A small number of people and companies who helped spawn self-replicating codes became some of the richest and most powerful individuals and organizations in the world.
Then something changed. There is now more code than ever, but it is increasingly difficult to find anyone who has their hands on the wheel. Individual agency is on the wane. Most of us, most of the time, are following instructions delivered to us by computers rather than the other way around. The digital revolution has come full circle and the next revolution, an analog revolution, has begun. None dare speak its name.Childhood’s End was Arthur C. Clarke’s masterpiece, published in 1953, chronicling the arrival of benevolent Overlords who bring many of the same conveniences now delivered by the Keepers of the Internet to Earth. It does not end well.
Text by George Dyson