Friday, December 15, 2017


There are many like me.
I was made in a world of wood and old wives' tales.
I was made, with rings in my head and heels, to hold only
the strings that hold me.
Vaclav made me with his several knives.
His middle daughter made me with her milk and silver needle.
I lost my sword at sea when the captain ran off with me
in the play
and Sundays by the Vltava.
I was laid aside, like Czechoslovakia.
My strings were made of raw silk, red, and rotted
at sea and knotted themselves around me.

Gillian Allnutt, 2004

Thursday, December 7, 2017

You Glow in my Heart like the Flames of Uncounted Candles

You Glow in my Heart like the Flames of
Uncounted Candles, 2017 
Cement, wood, plywood, paper, acrylic, oil, watercolour
136 x 45 x 36

Sunday, November 26, 2017

Now Man's Bound to Fail, More

Bruce Nauman, Henry Moore Bound to Fail,1970

 Text by Robert Slifkin

October 135 (Winter 2011)

Saturday, November 25, 2017

Is it really brutalist architecture in Blade Runner 2049 ?

Blade Runner 2049's cityscape has been heavily influenced by brutalist forms. But the hyper-capitalist society in which the film takes place is completely at odds with the style's underlying philosophy.

Text by
Alice Sweitzer and Charlie Clemoes

We Keep this Flame

We Keep this Flame, 2017 
Wood, iron, plasticine, acrylic, oil 
90 x 93 x 38 cm 

Wednesday, November 15, 2017

The Spiritual Canticle (fragment)

Songs between the soul and the Bridegroom


Where have you hidden, Beloved, and left me moaning? You fled like the stag after wounding me; I went out calling you, but you were gone. 

Shepherds, you who go up through the sheepfolds to the hill, if by chance you see him I love most, tell him I am sick, I suffer, and I die. 

Seeking my love I will head for the mountains and for watersides; I will not gather flowers, nor fear wild beasts; I will go beyond strong men and frontiers.

Saint John of the Cross

Thursday, November 9, 2017

As if Only Through the Stage I Could Restrict My Desire to Live

As if Only Through the Stage I Could
Restrict My Desire to Live, 2017
Wood, bronze, acrylic, oil
50.5 x 33.5 x 20 cm

Paper Airplane

Harry Smith's paper airplane collection, photographed by Jason Fulford, published by Anthology Film Archive

Sunday, November 5, 2017

Kwaito's Promise

In mid-1990s South Africa, apartheid ended, Nelson Mandela was elected president, and the country’s urban black youth developed kwaito—a form of electronic music (redolent of North American house) that came to represent the post-struggle generation. In this book, Gavin Steingo examines kwaito as it has developed alongside the democratization of South Africa over the past two decades. Tracking the fall of South African hope into the disenchantment that often characterizes the outlook of its youth today—who face high unemployment, extreme inequality, and widespread crime—Steingo looks to kwaito as a powerful tool that paradoxically engages South Africa’s crucial social and political problems by, in fact, seeming to ignore them.
Politicians and cultural critics have long criticized kwaito for failing to provide any meaningful contribution to a society that desperately needs direction. As Steingo shows, however, these criticisms are built on problematic assumptions about the political function of music. Interacting with kwaito artists and fans, he shows that youth aren’t escaping their social condition through kwaito but rather using it to expand their sensory realities and generate new possibilities. Resisting the truism that “music is always political,” Steingo elucidates a music that thrives on its radically ambiguous relationship with politics, power, and the state.

Gavin Steingo, Kwaito's Promise: Music and the Aesthetics of Freedom in South Africa, University of Chicago Press, 2016  

Saturday, November 4, 2017

Killing me Softly

Killing me Softly, 2017
Cement, iron
195 x 33 x 38 cm

Friday, November 3, 2017

La teoría del duende

Federico García Lorca desarrolló una teoría estética donde despliega sus ideas acerca del proceso de creación artística: "El teatro y la teoría del Duende", conferencia dictada primero en Buenos Aires y luego en La Habana, en el año 1933. Aquí, Lorca manifiesta que el gran arte depende de un conocimiento cercano de la muerte, de la conexión con los orígenes de una nación y de un reconocimiento de las limitaciones del raciocinio. 

ACTOPOLIS | The Art of Action

Help Desk, 2015
Wood, plywood, oil, varnish
200 x 61 x 78 cm

The Actopolis exhibition is showcasing works produced as part of the project since 2015. Materials from the more than 45 individual projects show a rich repertoire of options for action to shape and change the cities in which we live in. 
The Athens chapter of Actopolis was co-curated by Elpida Karaba and Glykeria Stathopoulou who - as Temporary Academy of Arts - developed the performative Soft Power Lecture series together with a group of artists, journalists, architects, and scientists. The Temporary Academy of Arts (P.A.T.) questioned power relations in the fields of arts and culture, challenging institutional practices in times of massive economic, social and political transformations.
Artistic works as part of the Soft Power Lectures were produced by Panos Sklavenitis, Sofia Dona, Despina Zefkili, Contantinos Chatzinikolaou and invited artists Giannis Papadopoulos, Kostis Velonis, Angelos Krallis, Vangelis Vlahos, Natassa Bisa, Stefania Ablianiti, Stavroula Morakea, Dimitris Antoniou, Efthimis Theou and Elektra Angelopoulou.
Mariela Cvetić (Actopolis Belgrade) will be present with her lecture performance "Gaudeamus igitur: The Self-Organised Artist in a State of Domestic Agoraphobia". Actopolis Ankara/Mardin will be represented by the video works "Donkey Work" by Önder Özengi and "Foucault's Typewriter" by Ahmet Öğüt. 
ACTOPOLIS | The Art of Action
A project by Goethe-Institut and Urbane Künste Ruhr.
Concept: Angelika Fitz
Artisitc direction: Katja Aßmann, Angelika Fitz and Martin Fritz
Project management: Juliane Stegner, Goethe-Institut Athen
Project coordination: Natalia Sartori, Goethe-Institut Athen
Project management Urbane Künste Ruhr: Daniel Klemm
Local curators: Ankara / Mardin: Pelin Tan, Athens: Elpida Karaba/ Glykeria Stathopoulou, Belgrade: Boba Mirjana Stojadinović, Bucharest: Stefan Ghenciulescu/ Raluca Voinea, Oberhausen: geheimagentur, Sarajevo: Danijela Dugandzic, Zagreb: Ana Dana Beroš.
Co-producers: Goethe-Institut Ankara (Thomas Lier; Raimund Wördemann); Goethe-Institut Belgrad (Matthias Müller-Wieferig); Goethe-Institut Bucuresti (Beate Köhler; Evelin Hust); Goethe-Institut Bosnien und Herzegowina (Charlotte Hermelink); Goethe-Institut Kroatien (Katrin Ostwald-Richter), Theater Oberhausen (Peter Carp)
The exhibition at the Athens School of Fine Arts will also feature Soft Power Workshops. 
Exhibition Opening: 3 Nov 2017, 7pm.
 Nov 3rd - Nov 16th

Theory and Play Of The Duende

Ladies and Gentlemen,

Between 1918 when I entered the Residencia de Estudiantes in Madrid, and 1928 when I left, having completed my study of Philosophy and Letters, I listened to around a thousand lectures, in that elegant salon where the old Spanish aristocracy went to do penance for its frivolity on French beaches.
Federico Garcia Lorca
Translated by A. S. Kline 

Wednesday, October 25, 2017


Weathered, 2017
Iron, ceramic, wooden clay, veneer
41 x 20 x 13 cm

Inscribed Vandalism: The Black Square at One Hundred

In October 1882, the poet Paul Bilhaud (1854–1933) exhibited a painting of a black square entitled A Battle of Negroes at Night (Combat de nègres pendant la nuit) at the first “Salon of Untethered Art,” of which he himself was the founder, in the Masonic artistic tavern The Black Cat in Paris. In subsequent Salons of Untethered Art—in Russian translation, a synonym for this phrase could be “cheeky art”—at the same venue, his friend and drinking companion, the writer and humorist Alphonse Allais, exhibited a monochrome white picture (1883) and then a red one (1884).
The derivative imitator Allais cut his masterpieces to a pattern invented by Bilhaud: an illustration was created for a rationally composed amusing phrase—the red rectangle was “Tomatoes being harvested by apoplectic cardinals on the shores of the Red Sea,” and the white one was “Anemic girls making their first communion in snowy weather.”1
Fifteen years later, in 1897, Alphonse Allais published his April 1 Album, dedicated to April Fools’ Day, with Paul Ollendorff’s publishing house.2 It included seven “magnificent plates” interspersed with texts by the author and publisher; they took the form of monochrome rectangles set in fanciful graphic frames above pompously solemn captions. First came a black rectangle, with a more prolix title than the original: A Battle of Negroes in a Cave on a Dark Night(a reproduction of a famous picture). Allais was obliged to provide the explanation in brackets, since he was not the originator of the jest. Later on, Allais “forgot” about Paul Bilhaud’s authorship (they had quarrelled), and he attributed the creation of A Battle to himself; this version has become firmly established in history.
More than a century later, in late 2015, the State Tretyakov Gallery in Russia revealed the results of an expert art-historical and technological analysis performed, using the very latest equipment, on a different painting of a black square. The analysis indicated that Kazmir Malevich’s The Black Square (1915) was the third composition to have been painted on this canvas: the first was a Cubo-Futurist work, and its colors were already dry when Malevich set an abstract composition on top of it. It was on this second layer, while it was still wet, that the artist painted The Black Square. The new analysis also turned up an inscription on the white margin of the Square: “A battle of negroes … [continuation illegible].” It wasn’t long before the authorship of these words was attributed to Malevich himself.

Text by Aleksandra Shatskikh
Journal #85 - October 2017

Tuesday, October 24, 2017

Dead Feathers Unfolded

Dead Feathers Unfolded, 2017
Wood, plywood, acrylic, oil
 93 x 166 x 192 cm

Το παγώνι

Γιάννης Κεφαλληνός, "Το Παγώνι" , 1946. Χαρακτικό για εικονογράφηση στο"Παγώνι" του Ζαχαρία Παπαντωνίου

Wednesday, October 18, 2017

The social and cultural roots of whale and dolphin brains

Encephalization, or brain expansion, underpins humans’ sophisticated social cognition, including language, joint attention, shared goals, teaching, consensus decision-making and empathy. These abilities promote and stabilize cooperative social interactions, and have allowed us to create a ‘cognitive’ or ‘cultural’ niche and colonize almost every terrestrial ecosystem. Cetaceans (whales and dolphins) also have exceptionally large and anatomically sophisticated brains. Here, by evaluating a comprehensive database of brain size, social structures and cultural behaviours across cetacean species, we ask whether cetacean brains are similarly associated with a marine cultural niche. We show that cetacean encephalization is predicted by both social structure and by a quadratic relationship with group size. Moreover, brain size predicts the breadth of social and cultural behaviours, as well as ecological factors (diversity of prey types and to a lesser extent latitudinal range). The apparent coevolution of brains, social structure and behavioural richness of marine mammals provides a unique and striking parallel to the large brains and hyper-sociality of humans and other primates. Our results suggest that cetacean social cognition might similarly have arisen to provide the capacity to learn and use a diverse set of behavioural strategies in response to the challenges of social living.

Friday, October 13, 2017

Debate on Chimneys

Debate on Chimneys, 2017
Wood, plywood, ceramic, acrylic
128 x 48 x 131 cm

Man contemplating the expansion of the 20th century city, Athens

Man contemplating the expansion of the 20th century city, Athens, 1957. Credit: Benaki Museum, Costas Megalokonomou Archives

Unsung heroes of Athens cityscape

Builders, Housewives and the Construction of Modern Athens is a book for those of us who, blinded by the classical wonders of the Acropolis, have never given much thought to the nondescript cityscape below.
This is not about architect-led building design but an effort to understand the positives of Athens’ 20th century urbanism, warts and all. The heroes of the book are the polykatoikia – the prolific post-war apartment buildings that were built at impressive pace using reinforced concrete frames with masonry infill.
While their white facades, flat roofs and horizontal lines bore some similarities to the forms of modern architecture, these were, as author Ioanna Theocharopoulou points out, extremely simplistic versions. Polykatoikia differed from modern architecture in important ways. Not only did they lack the modern movement’s political and aesthetic agenda, they relied on informal ‘quasi-craft’ processes of construction and avoided innovation, precision and standardisation. Typically they had commercial uses on the ground floor with a marble lobby and staircase leading to a few floors of balconied apartments above. A roomier version was popular in middle and upper middle class areas, often with a maid’s room and a penthouse.
While there were exceptions, the design of this building type was the domain of the builder rather than an architect. It was, says Kenneth Frampton in the foreword,  ‘built for the people, of the people, by the people’.
These were ultra-desirable as symbols of modern city living, especially when combined with the then groundbreaking domestic appliances. This was lifestyle living, 1960s style, that represented progress, optimism and access to ‘the good life’.
The book sets polykatoikia firmly in the context of the preceding century as well as the strife of war and civil unrest of the 20th, and the densification and expansion of Athens. We learn how home ownership swelled as these apartments were constructed as joint ventures between developer and landowner. Typically this involved replacing 19th century neoclassical villas that had gone firmly out of fashion, with the landowner donating the land in exchange for a few units in the new development. In time, the migrant tradespeople working on the developments would become those buying the apartments.

There was a culture of ‘craftiness’ with regard to construction, with the 1955 Building Code legalising existing illegal construction and itself prone to amendments and deviations. Self-built humble dwellings on the city outskirts in time became ‘up-lifted’ to larger buildings as their rural immigrant owners  acquired the money to build polykatoikia and become landlords themselves. Here, the author draws links with the work of Alejandro Aravena’s Elemental practice today in designing homes that facilitate incremental construction and expansion.
Rather more interesting, to me at least, is the account of the social dimension of the polykatoikia and their representation in popular culture. Photos show women involved as labourers in the construction of the apartments but it was inside that they really held sway as interior stylists and consumers. Of course they were still doing all the housework, even if they did now wear a mini-skirt and wield an ultra-modern vacuum cleaner. Men, we learn, might have their own ‘masculine corner’ or room where they could relax in a comfortable leather armchair. Some might even have their own bachelor pad apartment.
Polykatoikia were important as representing a new idea of modern life and of Greek identity, and in doing so, says Theocharopoulou, blurred the previously separate realms of ‘informal/formal, local/foreign, traditional/modern’.
This informative – although sometimes a little dense – book closes with a look at some of the more innovative, recent architect-designed polykatoikia buildings and consideration of how a new generation of civic minded urban activists are responding to Greece’s financial crisis and huge influx of refugees. Some are renovating abandoned polykatoikia as housing, proving once again the resilience and adaptability of these buildings. Faced with such economic and social challenges, Athens needs the resourcefulness, wit and economy of means that this unlauded building type embodies. 

Text by Pamela Buxton

Builders, Housewives and the Construction of Modern Athens by Ioanna Theocharopoulou, foreword by Kenneth Frampton, Artifice

Sunday, October 8, 2017

Turmoil of the Blue

Turmoil of the Blue, 2017
Iron, wool fabric

133 x 157 x 155 cm

Historiosophical Scheme

Andrei Bely, Historiosophical Scheme, Tcikhis -Dziri, Georgia,1927
Watercolor, ink, pencil on paper

From Doxiadis’ Theory to Pikionis’ Work: Reflections of Antiquity in Modern Architecture

In this book, Tsiambaos redefines the ground-breaking theory of Greek architect and town planner Constantinos A. Doxiadis (The Form of Space in Ancient Greece) and moves his thesis away from antiquity and ancient architecture, instead arguing that it can only be understood as a theory founded in modernity. 
In light of this, the author explores Doxiadis’ theory in relation to the work of the controversial Greek architect Dimitris Pikionis. This parallel investigation of the philosophical content of Doxiadis’ theory and the design principles of Pikionis’ work establishes a new frame of reference and creates a valuable and original interpretation of their work. Using innovative cross-disciplinary tools and methods which expand the historical boundaries of interwar modernism, the book restructures the ground of an alternative modernity that looks towards the future through a mirror that reflects the ancient past.
From Doxiadis’ Theory to Pikionis’ Work: Reflections of Antiquity in Modern Architecture is fascinating reading for all scholars and students with an interest in modernism and antiquity, the history and theory of architecture, the history of ideas and aesthetics or town planning theory and design

Saturday, October 7, 2017

Hannah Arendt et "atomisation de la société"

1996 | Analyse critique de la conception du totalitarisme selon Hannah Arendt. Claude Lefort, philosophe qui a notamment réfléchi sur le totalitarisme, remet en cause la distinction d'Arendt entre le social et le politique, rejetant ainsi les termes d'"atomisation de la société".

Ωδὴ Δεκάτη. Ὁ Ὠκεανός (απόσπασμα)

Εἶπε· κ᾿ εὐθὺς ἐπάνω
εἰς τὰς ροᾶς ἐχύθη
τοῦ Ὠκεανοῦ, φωτίζουσα
τὰ νῶτα ὑγρὰ καὶ θεία,
πρόφαντος λάμψις. 115

Ἀστράπτουσι τὰ κύματα
ὡς οἱ οὐρανοί, καὶ ἀνέφελος,
ξάστερος φέγγει ὁ ἥλιος
καὶ τὰ πολλὰ νησία
δείχνει τοῦ Αἰγαίου. 120

Πρόσεχε τώρα· ὡς ἄνεμος
σφοδρὸς μέσα εἰς τὰ δάση,
ὁ ἀλαλαγμὸς σηκώνεται·
ἄκουε τῶν πλεόντων
τὸ ἔια μάλα. 125

Σχισμένη ὑπὸ μυρίας
πρῴρας ἀφρίζει ἡ θάλασσα,
τὰ πτερωμένα ἀδράχτια
ἐλεύθερα ἐξαπλώνονται
εἰς τὸν ἀέρα. 130

Ἐπὶ τὴν λίμνην οὕτως
αὐγερινὰ πετάουσι
τὰ πλήθη τῶν μελίσσων
ὅταν γλυκὺ τοῦ ἔαρος
φυσάῃ τὸ πνεῦμα· 135

Ἐπὶ τὴν ἄμμον οὕτω
περιπατοῦν οἱ λέοντες
ζητοῦντες τὰ κοπάδια,
τὴν θέρμην τῶν ὀνύχων
ἔαν αἰσθανθώσιν· 140

Οὕτως ἐὰν τὴν δύναμιν
ἀκούσουν τῶν πτερύγων
οἱ ἀετοί, τὸ κτύπημα
τῶν βροντῶν ὑπερήφανοι
καταφρονοῦσι. 145

Πεφιλημένα θρέμματα
Ὠκεανοῦ, γενναία
καὶ τῆς Ἑλλάδος γνήσια
τέκνα, καὶ πρωτοστᾶται
Ἐλευθερίας· 150

Χαίρετε σεῖς καυχήματα
τῶν θαυμασίων (Σπετζίας,
Ὕδρας, Ψαρῶν,) σκοπέλων,
ὅπου ποτὲ δὲν ἄραξε
φόβος κινδύνου. 155

Κατευοδοῖτε! - Ὁρμήσατε
τὰ συναγμένα πλοῖα
ὦ ἀνδρεῖοι· σκορπίσατε
τὸν στόλον, κατακαύσατε
στόλον βαρβάρων. 160

Τὰ δειλὰ τῶν ἐχθρῶν σας
πλήθη καταφρονήσατε·
τὴν κόμην πάντα ὁ θρίαμβος
στέφει τῶν ὑπὲρ πάτρης
κινδυνευόντων. 165

Ὦ ἐπουράνιος χεῖρα!
σὲ βλέπω κυβερνοῦσαν
τὰ τρομερὰ πηδάλια,
καὶ τῶν ἡρῴων ἡ πρώραι
ἰδοὺ πετάουν. 170

Ἰδοὺ κροτοῦν, συντρίβουσι
τοὺς πύργους θαλασσίους
ἐχθρῶν ἀπείρων· σκάφη,
ναύτας, ἱστία, κατάρτια
ἡ φλόγα τρώγει· 175

Καὶ καταπίνει ἡ θάλασσα
τὰ λείψανα· τὴν νίκην
ὕψωσ῾, ὦ λύρα· ἂν ἥρωες
δοξάζονται, τὸ θεῖον
φιλεῖ τοὺς ὕμνους. 180

Ανδρέας Κάλβος

Friday, October 6, 2017

Puppet Sun

Puppet Sun, 2017
75 x 24 x 20 cm
Marble, wood, acrylic, iron base

Thursday, October 5, 2017

Rocking Bull

Jan Järlehed for BRIO "Rocking Bull", 1967

Tuesday, October 3, 2017

Το κίνημα αναβίωσης της βυζαντινής (λαικοβυζαντινής) παράδοσης στις αστικές εφαρμοσμένες τέχνες την περίοδο του μεσοπολέμου

Ανάτυπο από τον τόμο
«Β΄ Επιστημονικό Συμπόσιο Νεοελληνικής Εκκλησιαστικής Τέχνης
(Βυζαντινό και Χριστιανικό Μουσείο, 26-28 Νοεμβρίου 2010)

Ευφροσύνη Ρούπα

Monday, October 2, 2017

Work D

Ei-Kyu: Work D, 1937

Sunday, October 1, 2017

Πλατεία Ομόνοιας: από τον χώρο στις λέξεις

Φύλλο της εφημερίδας Εθνοφύλαξ: ‘Ομόνοιας ανάγκη έχομεν’ (20.10.1862)

Δεν είμαι σίγουρος αν πρέπει (και γω) να προσποιηθώ πως δεν ξέρω τίποτα για την Ομόνοια. Υποθέτω για αρχή πως, ως λέξη -όνομα κοινό– η ομόνοια σίγουρα κάθεται στριμωγμένη ανάμεσα σε άλλες λέξεις, στις σελίδες των λεξικών και εκεί βρίσκει το νόημά της ξανά και ξανά κάθε που μιλιέται ή γράφεται. Αντίστοιχα, ως κύριο όνομα, όνομα πλατείας πιο συγκεκριμένα, γνωρίζω με σιγουριά πως υπάρχει σε καταλόγους, σε χάρτες πόλεων και σε πινακίδες στις γωνίες κτηρίων, σημειώνοντας ειδικά τον τόπο που ορίζει (εικόνα 1) –σε υπόμνηση (ίσως) κάποιας αρχαίας θεότητας (πίνακας 1). Κατ’ επέκταση, η πλατεία Ομόνοιαςστην Αθήνα και η Place de la Concorde στο Παρίσι, αν και δύο διαφορετικοί τόποι, μοιράζονται, εκτός από το ίδιο όνομα, και το πρόθεμα ‘πλατεία’ που περιγράφει με τη σειρά του μία θέση στην πόλη. Η πλατεία Ομόνοιας συνεπώς, εμφανίζεται να παλινδρομεί ανάμεσα στη συνθετική ερμηνεία των δύο αυτών λέξεων, υποστηρίζοντας κατ’ αρχάς μία συλλογική ταυτότητα κοινή, και στην καθημερινή εμπειρία της που αναπόφευκτα διαφεύγει διαρκώς υπερβαίνοντας κάθε υπόθεση σημειολογικής ταύτισης, ή περίπου. Από αυτή τη σκοπιά οι δύο αυτές πλατείες είναι ως σημεία ομόλογα. Μεταπηδούν χωριστά από λέξη σε χώρο και τόπο αλλά και αντίστροφα, όπως θα έλεγε ο Σερτώ, και ενώ ταυτίζονται λεξιλογικά, ταυτόχρονα αποκλίνουν καθώς γράφουν αδιάκοπα διαφορετικούς μετασχηματισμούς της πόλης πάνω τους. Είναι δύο δημόσιοι ανοιχτοί χώροι για τη συνάθροιση ατόμων που συναινούν ή που συναίνεσαν κάποτε σε κάτι με σύμφωνο νου. Πλατεία Ομονοίας · κύριο όνομα ‘όνομα και πράμα’.

Φάνης Καφαντάρηςάρθρο/ομόνοια-concorde/  

Friday, September 29, 2017

A Puppet Sun

NEON invites you to the opening of the site-specific installation A Puppet Sun by Athens-based artist Kostis Velonis, curated by Vassilis Oikonomopoulos as part of CITY PROJECT 2017.

NEON activates a neoclassical residence at Kaplanon 11, Athens, by commissioning the new installation of Kostis Velonis. The artist conceived A Puppet Sun especially for the site of Kaplanon 11, responding to its history, architecture and position in the heart of the city. The neoclassical residence, constructed in 1891 is a unique architectural example and one of the last remaining buildings of its kind in Athens. Narrated in such an extraordinary space, Velonis’ work addresses the site’s lived experience and memory, investigating the powerful historical, political and cultural intersections as well as personal narratives that are present. The neoclassical residence, constructed in 1981 is a unique architectural example and one of the last remaining buildings of its kind in Athens.
CITY PROJECT is an initiative for public art and the city, conceived and commissioned annually by NEON. NEON aims to activate public and historical places through contemporary art, contributing to the interaction of art, society and the city. This new commission by NEON is the largest-scale solo presentation of Velonis’ work to date.
Curator | Vassilis Oikonomopoulos, Assistant Curator, Collections International Art, Tate Modern

11/10/2017 19:00 - 23:00 
Kaplanon 11, Kolonaki
Free Entrance
11 October 2017, 7pm
Wednesday – Sunday | 12.00 – 20.00

Monday, September 25, 2017

Mirror of the Witch

Miroir de sorcière
Bois et verre
2,5 x 31,5 cm
Collection Andre Breton

Saturday, September 23, 2017

Sailing to Byzantium

That is no country for old men. The young
In one another’s arms, birds in the trees
Those dying generations—at their song,
The salmon-falls, the mackerel-crowded seas,
Fish, flesh, or fowl, commend all summer long
Whatever is begotten, born, and dies.
Caught in that sensual music all neglect
Monuments of unageing intellect.

An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;
And therefore I have sailed the seas and come
To the holy city of Byzantium.

O sages standing in God’s holy fire
As in the gold mosaic of a wall,
Come from the holy fire, perne in a gyre,
And be the singing-masters of my soul.
Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.

Once out of nature I shall never take
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy Emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.

William Butler Yeats, 1928

Διπλό Παραμύθι

Ελένη Ζούζουλα, Διπλό Παραμύθι, Ο Παρεξηγημένος γιατρός, Λευκή βιβλιοθήκη, Αθήνα : 1934