Monday, September 11, 2017
This workshop engages scholars, curators, and artists in a response to the multimedia project “Liquid Antiquity,” commissioned by the DESTE Foundation for Contemporary Art, in order to extend further its explorations of alternative models of engaging classical antiquity and to enrich collaboration between the academic and art worlds in new forms of public engagement around the legacies of classicism.
“Liquid Antiquity,” is a platform for radically rethinking the relationship between the classical and the contemporary. Antiquity is an irrepressible source of meaning today. But what it means is never fixed in stone. It must instead be continually rethought for an always changing “we” under always changing conditions of local and global significance. Resisting classicism as dead weight, “Liquid Antiquity” aims to make the ancient Greek past available as a fluid resource for the present by shifting attention from the matter of antiquity to the question of why antiquity matters. “Liquid Antiquity” was therefore designed as an exhibition without antiquities that stakes out the book as its primary site. Through word and image, the book stages an encounter with a “liquid” antiquity as well as a series of reflections on this encounter through contemporary artistic practice and the history of classicism over millennia. Spanning twenty-five hundred years in an unprecedented collaboration between leading artists, theorists, writers, art historians, classicists, cultural historians, and archaeologists, “Liquid Antiquity” is a handbook, deeply collaborative in spirit and experimental in form, for the creative work of reimagining the present through the ancient past. It is complemented by a video installation designed by Diller Scofidio + Renfro on view in the antiquities galleries at the Benaki Museum in Athens.
“Liquid Antiquity: A New Fold” is inspired by two guiding commitments of the initial project: first, the commitment to collaboration and conversation; and second, the commitment to a way forward that is always unpredictably emergent out of the past—hence, the idea of a fold introduced here. An interdisciplinary group of scholars and artists are invited to reflect on “Liquid Antiquity” and think together about strategies—conceptual, aesthetic, pragmatic—for the ongoing work of “doing” classical reception under the sign of liquidity. Time will be primarily devoted to discussion rather than formal presentation.
“Liquid Antiquity: A New Fold” is organized by Dimitri Gondicas (Princeton Athens Center), Brooke Holmes (Princeton/Postclassicisms), and Polina Kosmadaki (Benaki Museum) and supported by the Seeger Center for Hellenic Studies and Postclassicisms.
Joy Connolly (The Graduate Center at CUNY)
Richard Fletcher (Ohio State University)
Phoebe Giannisi (University of Thessaly)
Constanze Güthenke (Oxford University)
Brooke Holmes (Princeton University)
Despina Katapoti (University of the Aegean)
Polina Kosmadaki (Benaki Museum)
Christodoulos Panayiotou (Independent Artist)
Nina Papaconstantinou (Independent Artist)
Dan-el Padilla Peralta (Princeton University)
Stefania Strouza (Independent Artist)
Giorgos Tzirtzilakis (University of Thessaly/DESTE Foundation for Contemporary Art)
Kostis Velonis (Independent Artist)
Saturday, September 2, 2017
Exhibition House by Gregory Ain
May 17–October 29, 1950
The Museum of Modern Art
Sunday, August 27, 2017
Friday, August 25, 2017
Sunday, August 20, 2017
José Rodolfo Loaiza Ontiveros
Organized by the MAK Center for Art and Architecture in cooperation with the Luckman Fine Arts Complex at Cal State LA, How to Read El Pato Pascual: Disney’s Latin America and Latin America’s Disney is a Pacific Standard Time: LA/LA exhibition of over 150 works by 48 Latin American artists who investigate and challenge nearly one hundred years of cultural influence between Latin America and Disney. Spanning painting, photography, graphic work, drawing, sculpture, video, documents, and the critical responses generated, the joint exhibition explores the idea that there are no clean boundaries between art, culture, and geography, and deconstructs how such notions are formed and disputed.
The exhibition’s curators, filmmaker/writer Jesse Lerner and artist Rubén Ortiz-Torres, thoroughly examined Disney’s long engagement with Latin American culture, from Donald Duck’s first featured role in the 1937 Mexican-themed short Don Donald to the company’s 2013 attempt to trademark the Day of the Dead. Lerner and Oritz-Torres’s research further drew from a pivotal trip Walt Disney took with his team to South America in 1941. Along with a group of fifteen animators, musicians, and screenwriters, Disney flew to over five South American countries as part of a U.S. government-directed effort to promote the “Good Neighbor” policy during the Second World War. In addition to the celebrated film The Three Caballeros, this trip produced the feature Saludos Amigos; a “making of” documentary titled South of the Border with Disney; and propaganda films such as The Grain that Built a Hemisphere.
The infamous 1971 Chilean book by scholars Ariel Dorfman and Armand Mattelart, Para leer al Pato Donald (How to Read Donald Duck), was brought to Ortiz-Torres’s attention while studying with artist Michael Asher at the Disney-funded CalArts in the 1990s. The book (formerly banned in Chile and threatened by legal action in the U.S.) provides a structural analysis denouncing the ways in which Disney comic books were used as vehicles to justify and promote U.S. policies and cultural imperialism.
As curators, Lerner and Ortiz-Torres intend to show that Disney cannot be seen as something simply exported to the rest of the Americas, and passively received. Like any other cultural force or mythology in Latin America, Disney imagery has always been quickly reinterpreted, assimilated, adapted, cannibalized, syncretized, and subverted by artists: sculptor Nadín Ospina creates pre-Columbian-like objects portraying Disney characters using carved stone and gold; artist Enrique Chagoya juxtaposes imagery from codices, indigenous iconography, and popular graphics that include Disney characters in a postcolonial critique; Liliana Porter has produced conceptual graphics and photography where Disney toys are juxtaposed with recognizable figures such as Che Guevara. Photographs like Antonio Turok’s show how Disney iconography has been intertwined with daily life in Latin America. Arturo Herrera’s work plays with our almost innate ability to immediately recognize Disney characters, no matter how abstracted: the artist will present a new mural near the Schindler House, on the side of the West Elm building at 8366 Beverly Blvd, Los Angeles 90048, on view through the length of the exhibition.
Due to its size and scope, the exhibition will be presented in two locations: the Schindler House in West Hollywood and the Luckman Gallery at Cal State LA. One is an intimate 1922 modernist historical landmark loved by architecture and design enthusiasts; the other is a large gallery space situated across town and catering to a diverse and young campus audience.
A catalogue published by Black Dog Publishing and designed by Jorge Verdin accompanies the exhibition. Included is an introduction by the curators; essays by Fabián Cereijido, Nate Harrison, Jesse Lerner, Rubén Ortiz-Torres, Darlene J. Sadlier, and Carla Zaccagnini; a reprinting of the English version of Para leer al Pato Donald (How to Read Donald Duck) from 1973; Ariel Dorfman’s reflections on the book; and a checklist of works with full-color images. The publication will be in both English and Spanish.
Jesse Lerner and Rubén Oritz-Torres each bring considerable knowledge to the exhibition project and publication. Both are artists and academics—teaching at Pitzer College and UC San Diego, respectively—whose work explores the boundaries of culture and art; their fields of expertise and methodologies, though distinct, complement each other and often overlap. They previously collaborated in the production of the film Frontierland and in curating MEX/LA, ‘Mexican’ Modernism(s) in Los Angeles 1930-1985 for the Museum of Latin American Art in Long Beach in 2011. Scholar Fabián Cereijido is the assistant curator of the exhibition.
Exhibition artists: Lalo Alcaraz, Florencia Aliberti, Sergio Allevato, Pedro Álvarez, Carlos Amorales, Rafael Bqueer, Mel Casas, Alida Cervantes, Enrique Chagoya, Abraham Cruzvillegas, Minerva Cuevas, Einar and Jamex De la Torre, Rodrigo Dorfman, Dr. Lakra, El Ferrus, Demián Flores, Pedro Friedeberg, Scherezade Garcia, Alicia Mihai Gazcue, Arturo Herrera, Alberto Ibañez, Claudio Larrea, Nelson Leirner, Fernando Lindote, José Rodolfo Loaiza Ontiveros, Marcos López, José Luis and José Carlos Martinat, Carlos Mendoza, Pedro Meyer, Florencio Molina Campos, Mondongo, Jaime Muñoz, Rivane Neuenschwander, Rafael Montañez Ortiz, Nadín Ospina, Leopoldo Peña, Liliana Porter, Artemio Rodríguez, Agustín Sabella, Daniel Santoro, Mariángeles Soto-Díaz, Magdalena Suarez Frimkess, Antonio Turok, Meyer Vaisman, Ramón Valdiosera Berman, Angela Wilmot, Robert Yager, Carla Zaccagnini.
On view September 11, 2017–January 14, 2018
Saturday, August 19, 2017
Saturday, August 12, 2017
Saturday, August 5, 2017
A wooden die can be described only from without. We are therefore condemned to eternal ignorance of its essence. Even if it is cut in two, immediately its inside becomes a wall and there occurs the lightning-swift transformation of a mystery into a skin.
For this reason it is impossible to lay foundations for the psychology of a stone ball, of an iron bar, of a wooden cube.
Zbigniew Herbert, 1968
At the table you should sit calmly and not daydream. Let us recall what an effort it took for the stormy ocean tides to arrange themselves in quiet rings. A moment of inattention and everything might wash away. It is also forbidden to rub the table legs, as they are very sensitive. Everything at the table must be done coolly and matter-of-factly. You can't sit down here with things not completely thought through. For daydreaming we have been given other objects made of wood: the forest, the bed.
Zbigniew Herbert, 1961
Thursday, August 3, 2017
Wednesday, August 2, 2017
Τι σημαίνουν εκείνα τα ονόματα;
Και ποια βουνά μοιράζουν το κρύο σε στόμα και μάτια;
Πάντα υπάρχει ένας Βορράς άγρια ποθητός με γένια αιχμηρά
και πολύ περπάτημα μέχρι τα νερά που καθρεφτίζουν –
η εικόνα τραντάζει το σώμα
Σαν να ’ταν η πρώτη φορά
Επειδή δεν είμαι εκείνος
Δεν αντέχω να νιώσω ποιος είναι αυτός που μου στέλνει τον άνεμο
αυτή η πλαγιά οι κέδροι – μπορεί να μου ρίξει και σκόνη
Αρκετά κοντά μου είναι τα σπάρτα
Ποια σκοτεινιά θα νιώσουν κι αυτά
Ο ήλιος χαμηλώνει η ελιά ρίχνει τον ίσκιο της
Φυσάει και λυγίζουν προς το φως
Χρήστος Σιορίκης, Παίδες πηγών
The Ulm Stool was designed by Max Bill and Hans Gugelot in 1955 for the influential Ulm School of Design which saw itself as the legitimate West German heir to the Bauhaus School. Minimize design, maximize usage: with this credo Max Bill designed the simple yet perfect Ulm Stool. The Ulm Stool belongs to the movement of concrete art - a movement that promoted sobriety and simplicity of lines and shapes. Max Bill's Ulm Stool (also known as the Max Bill Ulmer Hocker) is a revered Bauhaus icon that has transcended time and space. Light and robust, this Donald Judd-like minimalistic piece of furniture is one of those items that never looks out of place, wherever it is placed. The success of the Ulm Stool lies in its versatility and convenience: it is not just a seat, it can also be used as a side table, shelf unit, box for transportation, a serving tray or a bedside table-top unit. It is easy, simple, minimalist and looks like a little piece of art.
Wednesday, July 5, 2017
Wind-hounder, mind-rambler, sky-soarer,
maker of autumn storms,
shaper of agitated thoughts,
chasing away the azure!
Hear me, you insane seeker,
race and rush,
hurtle by you unchained
intoxicator of storms.
Elena Guro, 1913
Alexandra Navratil, Detail of ‘Modern Magic’ (2013), courtesy the artist and Dan Gunn, Berlin
4.543 billion. The matter of matter’ is an exhibition that addresses works of art, collections and cultural histories in relation to ecological processes and a geological scale of time. It presents a continuum of materials and temporal landscapes – films, works on paper, photographs, sculptures, documents, and other meaningful things – and springs from the CAPC building’s former life as a warehouse for colonial commodities whose limestone walls were once deep in the ground and whose wooden beams were once part of a forest.
A central proposal of the exhibition is that works of art are part of geophysical history as much as art history. ‘4.543 billion’ attempts to take into account both a micro-local and a planetary perspective, and to rethink some of the histories of art as fragments of broader narratives about the Earth and how our place in it has been represented. What is at stake when art and museums take on greater temporal and material awareness? How might they move beyond a spatial framework of “think globally, act locally”, to “think historically, act geologically”?
This exhibition takes a situated view of the past that resists an undifferentiated narrative in which modernity in general is at fault for global ecological disarray, or humanity in an invariably abstract sense must take responsibility. Accordingly, the artists included instead often address the specific roles and purposeful effects of individuals, practices, states or corporations in an account of how mineral agents and organic processes have intertwined with and underpinned culture. Several of the more documentary projects on display trace the relationships between Modern art, the museum, and wealth created through extractive industry, combining approaches framed by Earth sciences with colonial history, sociology and political reportage. Yet other works take a more atmospheric, filmic, sculptural or graphic approach to extraction, economy, energy and global exchange, whether orbiting around sunlight, forests, synthetic materials derived from fossil fuels, or the services and substances entailed in buildings that display art
With the participation of: A.J. Aalders, Lara Almarcegui, Maria Thereza Alves, Félix Arnaudin, Amy Balkin, Alessandro Balteo-Yazbeck in collaboration with Media Farzin, Bernd Becher and Hilla Becher, Étienne Denisse, Hubert Duprat, Giulio Ferrario, Ângela Ferreira, Anne Garde, Ambroise-Louis Garneray, Terence Gower, Rodney Graham, Ilana Halperin (also at the Université de Bordeaux’s zoology department), Marianne Heier, Christina Hemauer and Roman Keller, Lucas Ihlein and Louise Kate Anderson, Jannis Kounellis, Martín Llavaneras, Erlea Maneros Zabala, Nicholas Mangan, Fiona Marron, Alexandra Navratil, Xavier Ribas, Alfred Roll, Amie Siegel, Lucy Skaer, Alfred Smith, Rayyane Tabet, Pierre Théron, Pep Vidal, Alexander Whalley Light, Stuart Whipps (also at the Musée des Beaux-Arts) as well as documents and objects lent by the archives of the CAPC, the Archives Bordeaux Métropole, the Archives départementales de la Gironde, and the geology collection of the UFR Sciences de la Terre et de la Mer, Université de Bordeaux.
Curated by Latitudes
CAPC musée d’art contemporain de Bordeaux
29 June 2017–7 January 2018
Sunday, July 2, 2017
a friend, a bit more than a friend
uses one kind of emoji the most in our WhatsApp
chat. The emoji I mean shows two hands in a
praying position with a shine around it. You imagine
a bright sun behind the hands. She's hidden like
a little piece of gold.
this bit more than a friend,
open his hands and let the sun shine straight
Lucia Graf, 2017
The history of art is inseparable from the history of colour and in this history, blue has always been associated with vastness, ‘blue has no dimensions. It is beyond dimensions,’ as Yves Klein described.
Ultramarine blue derives from lapis lazuli, a gemstone that for centuries could only be found in a single mountain range in Afghanistan. For hundreds of years, the cost of lapis lazuli rivaled even the price of gold.
Humans with reduced blue sensitivity have difficulty identifying differences between blue and yellow, violet and red and blue and green. To these humans our ecosphere appears as generally red, pink, black, white, grey and turquoise. Blue appears green and yellow appears violet or light grey for humans with tritanopia, namely, for those who lack blue cone cells.
Visual perception is one of the most important mediums for our acquisition of knowledge and for our experience of our environment, of the physical world including our own bodies and others, while, colour is one of the most dominant components of our perception. Nevertheless, the physical world and the world of objects do not contain colour and aren’t coloured as we experience them. Colour isn’t a physical property of objects, thus, our blood is not red, the sea isn’t blue, the trees aren’t green…
The colour appearance of an object can be changed by changing the colour of light that shines on it and the colour of visible light depends on its wavelength. White light is composed of all of the colours of the rainbow, because it contains all wavelengths, and it is described as polychromatic light. Colour glows with the light of the radiant sun and creates a relentless spectacle of sheer visibility, of an intense luminosity that can even be blinding.
Drawing from our different perceptions of colour, colour vision deficiency and even “achromatopsia” (total colour blindness), the 40 participating artists of the Group Exhibition will trace the different interpretations of the notion of colour as sensation, visual and sensorial experience, psychological property of visual experiences, mental property, representation and construction of the brain.
Dimitris Zouroudis ~ Katerina Zacharopoulou ~ Antonis Tsakiris ~ Adonis Volanakis ~ Kostis Velonis ~ Filippos Tsitsopoulos ~ Danae Stratou ~ Aggelos Skourtis ~ Christina Sgouromiti ~ George Sampsonidis ~ Nana Sachini ~ Nikos Navridis ~ Marina Provatidou ~ Artemis Potamianou~ Brigitte Polemis ~ Hara Piperidou ~ Aemilia Papafilippou ~ Antonia Papatzanaki~ Nikos Papadopoulos
~ Margarita Myrogianni ~ Maro Michalakakos ~ Leon Michail ~ Iliodora Margellos ~ Christos Kostoulas (Captain) ~ Esmeralda Kosmatopoulos ~ Peggy Kliafa ~ Maria Katrantzi ~ Irini Karayannopoulou ~ Nikos Kanarelis ~ Sofia Housou ~ Aspassio Haronitaki ~ Cleopatra Haritou ~ Yioula Hadjigeorgiou ~ Kleio Gizeli ~ Maria Georgoula ~ Sandra Christou ~ Venia Bechraki ~ Rania Bellou ~ Evgenia Apostolou ~ Lydia Andrioti
Curator: Sozita Goudouna
Ionian Parliament ~ Island of Corfu
“After that' said Gargantua, 'I wiped myself with a kerchief, with a pillow, with a slipper, with a game-bag, with a basket - but what an unpleasant arse-wiper that was! - then with a hat. And note that some hats are smooth, some shaggy, some velvety, some of taffeta, and some of satin. The best of all are the shaggy ones, for they make a very good abstersion of the fecal matter. Then I wiped myself with a hen, a cock, and a chicken, with a calf's skin, a hare, a pigeon, and a cormorant, with a lawyer's bag, with a penitent's hood, with a coif, with an otter. But to conclude, I say and maintain that there is no arse-wiper like a well-downed goose, if you hold her neck between your legs. You must take my word for it, you really must. You get a miraculous sensation in your arse-hole, both from the softness of the down and from the temperate heat of the goose herself; and this is easily communicated to the bum-gut and the rest of the intestines, from which it reaches the heart and the brain. Do not imagine that the felicity of the heroes and demigods in the Elysian Fields arises from their asphodel, their ambrosia, or their nectar, as those ancients say. It comes, in my opinion, from their wiping their arses with the neck of a goose, and that is the opinion of Master Duns Scotus too.’
‘The Life of Gargantua & Pantagruel’, Francois Rabelais
God & Sausages brings together a group of works that try out satirical adaptations, purposeless rituals, close-up observations, bodily encounters and micro-jokes. Stemming from personal perplexities and tracing inner entities, the works feast on a type of corporeal knowledge or excess, that can be found in introspective play and that can be revealing.
Rafael Perez Evans
curated by Maria Georgoula
July 6 – July 16
Lekka 23-25 & Perikleous Stoa Zerbini Athens
Wednesday, June 28, 2017
Sunday, June 25, 2017
Two threads are twined together
Exposed are their hearts.
Those “Yes” and “No” aren’t blended,
Entwined remain apart.
Their dusky intersection
Is lifeless and confined,
There will be resurrection,
And they await that time.
The ends will meet caressing,
Those “Yes” and “No” unite,
And “Yes” and “No” are pressing,
While waking and embracing,
In death they’ll turn to Light.
Στις «περιπέτειες του Pinocchio» όταν o μάστρο-Αντόνιο πήρε το τσεκούρι για να φτιάξει ένα πόδι για το τραπεζάκι του από ένα κούτσουρο, δεν υπολόγιζε ότι είχε ανθρώπινη φωνή. Και όταν θα χάριζε το κούτσουρο στον ξυλογλύπτη Geppetto ούτε ο ίδιος και ο φίλος του θα φανταζόντουσαν ότι από αυτό το κομμάτι ξύλο που συνήθως προορίζεται για το τζάκι, μια μαριονέτα θα κινείται αυτόνομα χωρίς κρίκους και νήματα. Η φιλοδοξία του Geppetto για μια μαριονέτα που θα χόρευε, θα ξιφομαχούσε και θα έκανε τούμπες για να του εξασφαλίσει κάποια χρήματα δεν είχε καμία σχέση με την κατάληξη του ατίθασου Pinocchio και τη στενή σχέση γιου προς πατέρα.
Μπορούμε άραγε να υποθέσουμε ότι ο συγγραφέας του Pinocchio, Carlo Collodi (1826-1890) μεταβιβάζει στον μάστορα Tζεπέτο την ιδιότητα του να γίνει ένας μεσήλικας, εργένης πατέρας με την χρήση της μήτιδος, την κατεργαριά και με τη φαντασία των χεριών; Αν ακολουθήσουμε πιστά την αφήγηση του Ιταλού συγγραφέα τα πράγματα περιπλέκονται ακόμη περισσότερο όταν πριν την ολοκλήρωση της κούκλας στα χέρια του ξυλογλύπτη Geppetto εκείνη μετατρέπεται στο γνωστό μας Pinocchio.
Γνωρίζουμε ότι το παιδί έχει την δυνατότητα να διαχωρίζει τον κόσμο του παιχνιδιού από την πραγματικότητα ενώ του αρέσει να συνδέει τα φανταστικά αντικείμενα και τις συνθήκες που επινοεί με απτά και ορατά αντικείμενα. Όμως στην περίπτωση του εξαθλιωμένου από τη φτώχεια αλλά ονειροπόλου Geppetto αυτή η σύνδεση συνεχίζεται με έναν αναπληρωματικό ή υποκατάστατο σχηματισμό 1. Πρόκειται για την φαντασίωση, η οποία είναι κοινή σε όλους τους ενήλικες, με τη διαφορά ότι ο μαραγκός από την Τοσκάνη αδυνατεί να τη διαφοροποιήσει από την πραγματικότητα.
Η κινητήρια επιθυμία του Geppetto να γίνει πατέρας οδηγεί στην υποκατάσταση της μαριονέτας με τον Pinocchio που είναι εξανθρωπισμένος. Αυτό το συμβάν έχει σημασία για το υποκείμενο που το υιοθετεί, γιατί είναι μια ύστατη πράξη διόρθωσης της δυσάρεστης πραγματικότητας, που κάνει την έννοια της «ψευδαίσθησης» να έχει βιολογική και οργανική υπόσταση.
Saturday, June 24, 2017
Saturday, June 17, 2017
Book Launch of MARATHON MARATHON
Sunday, June 18 at 18:30
Benaki Museum, Main Building
Wednesday, June 7, 2017
Kostis Velonis, Life without democracy, 2009
3.90 m x 1.90 m x 42 cm
As documenta 14 continues its journey in Athens, having the National Museum of Contemporary Art (EMST) as its main exhibition venue, an important part of the EMST collection travels to Germany, to be part of documenta 14 program in Kassel (10/6-17/9/17). The exhibition ANTIDORON. The EMST Collection will occupy the whole emblematic building of Fridericianum. It comprises 82 artists and 180 works and it is curated by the Director of EMST, Mrs. Katerina Koskina, supported by Stamatis Schizakis and Tina Pandi, Assistant Curators and Iro Nikolakea in the Architectural design. It is presented in the framework of the Museum’s series EMST in the World.
The exhibition at the Fridericianum marks the first time that the most part of the EMST collection is presented outside Greece, through a double relocation that renders EMST’s home, one of the main venues of documenta 14 in Athens, and the Fridericianum, traditionally the centerpiece of a documenta, the temporary home of EMST’s collection.
EMST began creating its collection in 2000. Its acquisitions now include more than 1,100 works by Greek and international artists from the 1960s onward. The exhibition ANTIDORON. The EMST Collection is an adapted version of the extensive museological study that will be displayed in full at the EMST spaces. Presented in the Fridericianum, the birthplace of documenta and the first public museum in Europe, the exhibition deals with issues of border crossings, diasporas, cultural exchange, existential quests, and mythologies, as well as personal and collective memories. Additionally, the Fridericianum’s brief tenure as Germany’s first parliamentary building makes it the most appropriate venue in which to show the works of several artists, active during the troubled postwar era and the ensuing decades of political upheaval and revolutionary re-imagination of society.
While the presentation of the collection maintains its international scope, it also emphasizes the presence of pioneering Greek artists, highlighting and revisiting their national and international journeys.
The title embodies the mutual respect of both institutions, documenta 14 and EMST independently of their diverse commitments and missions, to discourse and to reinterpret essential issues and visual language. It deals with concepts such as trading, exchanging, sharing, giving and offering Antidoron (αντίδωρον, literally the return of a gift) or Antidanion (αντιδάνειo, the return of a loan either linguistic, cultural, or financial). The prefix “anti” reveals a distinct position and consequently a view, not necessarily opposed to, but departing from a different point in order to communicate, to argue, to bridge, to converge, and to accept each other’s’ stances.
Until September 17, Fridericianum in Kassel becomes EMST’s contemporary home in Germany, and ANTIDORON, a gift in return – when translated – symbolizing the shared benefits of this collaboration.
Dimitris Alithinos, Nikos Alexiou, Andreas Angelidakis, Stephen Antonakos, Janine Antoni, Alexis Akrithakis, Evgenia Apostolou, Athanasios Argianas, Manolis Baboussis, Bertille Bak, Lynda Benglis, Andrea Bowers, Chronis Botsoglou, Yiannis Bouteas, David Broomberg & Oliver Chanarin, Constantin (Dikos) Byzantios, Pedro Cabrita Reis, Vlassis Caniaris, Chryssa, Chandris Pantelis, Danil, Bia Davou, George Drivas, Eirene Efstathiou, Haris Epaminonda, Koken Ergun, Jan Fabre, Stelios Faitakis, Carlos Garaicoa, Kendell Geers, George Hadjimichalis, Joana Hadjithomas & Khalil Joreige, Mona Hatoum, Gary Hill, Emily Jacir, Gulsun Karamustafa, Nikos Kessanlis, Kimsooja, Panos Kokkinias, Dimosthenis Kokkinidis, Joseth Kosuth, Jannis Kounellis, Piotr Kowalski, Yorgos Lazongas, George Lappa, Ange Leccia, Stathis Logothetis, Maria Loizidou, Andreas Lolis, Danny Mathys, Yiannis Michas, Nikos Navridis, Nina Papaconstantinou, Maria Papadimitriou, Aimilia Papafilippou, Ilias Papailiakis, Rena Papaspyrou, Nausika Pastra, Pavlos, Jannis Psychopedis, Alexandros Psychoulis, Walid Raad, Oliver Ressler, Lucas Samaras, Yorgos Sapountzis, Allan Sekul, Vassilis Skylakos, Christiana Soulou, Aspa Stasinopoulou, Takis, Thodoros, sculptor, Thanasis Totsikas, Nikos Tranos, Stefanos Tsivopoulos, Costas Tsoclis, Dimitris Tzamouranis, Costas Varotsos, Kostis Velonis, Bill Viola, Vangelis Vlahos, Pantelis Xagoraris, Georgios Xenos
ANTIDORON. The EMST Collection
10 June- 17 September 2017
Monday, June 5, 2017
Sunday, May 28, 2017
Over a period of a month a DIY exhibition of autonomous experiments, activists actions and cultural interventions will evolve at Green Park. Seeking to generate a public debate on both methods of cultural autonomous initiatives and potential infrastructures appropriate for current conditions this DIY archive will be gradually expanding during this month. The exhibition accompanied with a series of public events and be open to the public only on these days.
A discussion with Jacques Rancière
Participants: Thanos Andritsos, Akis Gavrilidis, Evangelia Ledaki, Eva Prousali, Stavros Stavridis, Kostis Velonis, Despina Zefkili
This action takes place as a pre-edition of second episode of DIY Biennial.
31 May - 21 June 2017
Green Park, Athens
28 May, 19.00
28 May, 19.00
Tuesday, May 23, 2017
Alphonse Allais, Combat de Nègres dans une cave pendant la nuit. Estampe (1897)
Είναι βάσιμο να υποστηριχτεί ότι κάποιοι καλλιτέχνες συνεχίζουν να δρουν κάτω από τον αριστερισμό του Malevich; Τι μπορεί να σημαίνει αυτό πέρα από μια πιθανή εξιδανικευμένη ανάγνωση της άρνησης του τέλους μιας ιστορίας της νεωτερικότητας;
Η τέχνη του Malevich και η συνειδητή του απόκλιση από τις «προπαγανδιστικές» εκτροπές των συναδέλφων του στη ρωσική πρωτοπορία χρησιμεύει και σήμερα ως ένα σημείο αναφοράς σε καλλιτέχνες που δεν ακολουθούν τις σειρήνες της επικαιρότητας. Μια μεταμαλεβιτσική λογική μπορεί να ανιχνευθεί και στον ελλαδικό χώρο και, συγκεκριμένα, στο έργο του Τάκη, της Ρένας Παπασπύρου, του Άγγελου Σκούρτη, του Γιάννη Παπαδόπουλου, της Λητώς Κάττου και της Ευγενίας Αποστόλου, με πολύ διαφορετικό κάθε φορά τρόπο, στην ίδια ωστόσο γραμμή της συνειδητής απόκλισης από τη γλώσσα του σουπρεματισμού.
Ο Malevich μπορεί να χρησιμοποιηθεί ως ένα παράδειγμα που ενισχύει τον συνδετικό κρίκο με το προνεωτερικό Βυζάντιο, ώστε και οι πιο ερμητικές αποφάνσεις της ελληνικής πρωτοπορίας να μην φαντάζουν απαραίτητα ξεκομμένες από το διάλογο με τον ίδιο τον ελληνισμό και την επέκτασή του «προς ανατολάς». Ωστόσο, δεν πρέπει να στηριζόμαστε τόσο στην επίδραση της βυζαντινής αγιογραφίας στο έργο του Malevich. Ο Malevich πάνω από όλα υπήρξε ένας πολωνικής καταγωγής καθολικός ριζοσπάστης διανοούμενος που ανανέωσε αλλά και αποδόμησε συνειδητά την ορθόδοξη παράδοση.