Sunday, May 13, 2018

All mine

Spiraling through
The rhombus night
Missing you
But your mine, you're mine


The Crowing of the Repressed

The Crowing of the Repressed (‘The Court Jesters’ series), 2017
acrylic, oil, pencil and oil pastel on canvas
150 x 150 cm

Saturday, May 12, 2018

Verrà la morte e avrà i tuoi occhi

When Death Comes, It Will Have Your Eyes
When death comes, it will have your eyes-
This death that is always with us,
From morning till evening, sleepless,
Deaf, like an old remorse
Or some senseless bad habit. Your eyes
Will be an empty word,
A stifled cry, a silence;
The way they appear to you each morning,
When you lean into yourself, alone,
In the mirror. Sweet hope,
That day we too shall know
That you are life and you are nothingness.
For each of us, death has a face.
When death comes, it will have your eyes.
It will be like quitting some bad habit,
Like seeing a dead face
Resurface out of the mirror,
Like listening to shut lips.
We’ll go down into the vortex in silence.
-Cesare Pavese (1950)

Sunday, May 6, 2018

Force of the Sky

Force of the Sky, 2017 
Concrete, wood, acrylic 
104 x 21 x 40 cm


The Dalis Car album cover, 1984.  Detail from Daybreak by Mayfield Parrish painting, 1922   

The Number of Inches Between Them

Gordon Hall, The Number of Inches Between Them, performance at Winter Street Warehouse, 2017.

Photograph of the original bench in Clinton, New Jersey, made by Dennis Croteau (date unknown)

Books, They Are the Finest Thing

Petrarch, Letter to Giovanni dell’Incisa:
“One insatiable desire has me in its grip: I was not able to rein it in, nor did I wish to. I flatter myself that the lust for noble things is not itself ignoble. Are you waiting to hear the nature of my malady? I am unable to be fully sated with books, and I have perhaps more than is proper. But just as in other matters of life, so too in the world of books: success in getting them is really just a spur to further avarice. There is, rather, something singular in books: gold, silver, gems, fine clothes, marble houses, cultivated fields, fine paintings, decked-out horses, and other things of the sort have a dull and superficial pleasure about them, but books delight us to the very marrow of our bones, they converse with us, they advise us, and the are joined to us with a real living and finely-fashioned familiarity. Not only does every book insinuate itself deep into its readers, but it brings forth the names of other books, and every book creates a desire for yet another.”

Saturday, May 5, 2018

Prehistories of Commodity Branding

By David Wengrow
Source: Current Anthropology, 
Vol. 49, No. 1 (February 2008), pp. 7-34

Daniel Defoe's "Robinson Crusoe" & the Robinsonades

Daniel Defoe's "Robinson Crusoe" & the Robinsonades is a collection of various editions of Robinson Crusoe and similarly themed texts such as the popular The Swiss Family Robinson.  The term "Robinsonades" is used to describe literary works about survival without the aid of civilization, frequently on a deserted island. This genre takes is name from the 1719 novel Robinson Crusoe by Daniel Defoe
In the archetypical Robinsonade, the protagonist is suddenly isolated from the comforts of civilization, usually shipwrecked or marooned on a secluded and uninhabited island. He must improvise the means of his survival from the limited resources at hand. The protagonist survives by his wits and the qualities of his cultural upbringing, which also enable him to prevail in conflicts with fellow castaways or over local peoples he may encounter. Some of the titles here may appear more tangentially related; for instance, collections of stories that include Robinsonades.
Robinson Crusoe was influential in creating a colonialization mythology - As novelist James Joyce eloquently noted the true symbol of the British conquest is Robinson Crusoe: "He is the true prototype of the British colonist… ". Later works expanded on and explored this mythology. Though Defoe's Robinson Crusoe is set within tropical environs, several of the Robinsonades collected here tell the Crusoe story in settings as different as the Arctic, the American west, and other global locations. 
This collection of Robinsonades is valued as much for it popularity as its popular use in enculturation and language learning. Variant editions available here, for example, retell the tale for children in words of one syllable which serves as an aid to learning the language and provides early exposure to the highly regarded cultural values of courage, independence, inventiveness, creativity and resourcefulness.

Friday, May 4, 2018

Janiform kantharos

Janiform kantharos: heads of Greek female and African male
                       Ceramic.  Greek, Attic, ca. 480 - 460 B.C.

Wednesday, April 25, 2018

Memo for labor

     Ryan Eckes, General Motors, 2018

Friday, April 20, 2018


Lighthouse, 2017
Concrete, wood, acrylic, oil, iron 
240 x 27 x 28 cm 

Xάρτινο Πιρπιρί ανάγνωσης και εξάσκησης της μνήμης

Δε θα μιλήσεις ποτέ αν δε θυμάσαι διαρκώς'
Xάρτινο Πιρπιρί ανάγνωσης και εξάσκησης της μνήμης
(Αρχιτέκτονες της φάλαινας σε διάλογο με τη Φοίβη Γιαννίση)

Ξαναφτιάχνουμε το πατρόν του Πιρπιρί αλλά αυτή τη φορά από μόνο μία συνεχή επιφάνεια, η οποία κατασκευάζεται από περίπου 1000 ρόμβους. Οι ρόμβοι επιτρέπουν την πτύχωση της επιφάνειας του ενδύματος. Φοριέται κανονικά με το γιλέκο μπροστά ή αντίστροφα σαν ποδιά, με το γιλέκο στην πλάτη. Τα σχεδιασμένα σύμβολα χρησιμοποιούνται ως ‘κείμενο’, σημειογράφημα (ή παρτιτούρα) για αυτοσχεδιασμό απαγγελίας. Ανάλογα με τον τρόπο φορέματος διαβάζουν και αυτοσχεδιάζουν οι γύρω σου κοιτώντας σε ή διαβάζεις εσύ που το φοράς ως ποδιά. Ο ρόμβος είναι το σχήμα που κυριαρχεί στην υφαντική λαϊκή τέχνη σε όλον τον κόσμο, εξαιτίας του τρόπου που εξυφαίνεται η επιφάνεια πόντο πόντο. Οι ρόμβοι όμως την ίδια στιγμή γίνονται ‘ομιλούντα’ σύμβολα, αναπαριστούν τον κόσμο και τις κοσμοαντιλήψεις των κοινωνιών που χρησιμοποιούν τα υφαντά, όπως για παράδειγμα το μοτίβο του Ασπροπόταμου, το οποίο είναι κάτι παραπάνω από τον παραπόταμο του ποταμού Αχελώου και τον τόπο γέννησης του παππού μας. Ο Ασπροπόταμος είναι και ο ουράνιος θόλος με τους 12 αστερισμούς στα μάτια της/του εξασκημένης/νου αναγνωστριας/τη. Τα σύμβολα που φέρουν οι ρόμβοι μας είναι βασισμένα σε ποιήματα της Φοίβης Γιαννίση. Κοπάδια, πλυντήρια, τραίνα, φτέρες, κατσίκια, αυτοκίνητα, μοίρες, τυριά, σιδέρωμα, δουλειά, λεφτά, στρατός, γάμοι και διαζύγια, βουνά, πλαγιές και πεδιάδες, εξωσωματικές γονιμοποιήσεις και άλογα μπλέκονται, επαναλαμβάνονται και ξανα-αποκτούν νόημα όπως όταν ανακαλούμε στη μνήμη τα συμβάντα του παρελθόντος προκειμένου να λύσουμε το γρίφο του μέλλοντος. Το Πιρπιρί ανήκε σε μόνο μία γυναίκα. Τη συνόδευε στον επίγειο βίο της και στο επέκεινα. 

The Greek gods don't come in winter

The Greek gods don't come in winter
and seldom in person. They speak through
others. Even in summer. Their voices seem
far off and very fast. It;s difficult also 
because we can't trust the people who say
they are translating. When the gods come
in the dawn, there is soon the odor
of roses and warm linen. They sit in their 
high-backed chairs and mostly watch
the children. Especially when they are
running and laughing.They applaud
by humming when we read our poems.
They hum differently when the poems
are about lights and parallel geologies
of the sea. But they hum most of all
when the poems are about are about distance and desire

Jack Gilbert

Tuesday, April 17, 2018


The face of this Apulian red-figure bell-krater depicts a phlyax play, a popular burlesque  dramatic form that developed in the Greek colonies in South Italy in the 300s B.C

Wednesday, April 4, 2018

Christ's Womanly Wounds

Christ’s Holy Wound from the Prayer Book of Bonne de Luxembourg.
Attributed to Jean le Noir, before 1349


There are medieval religious instructions for praying with this type of illuminated manuscript which invite the viewer to caress and kiss the lacerations. In one existing manuscript, the pigment has been rubbed off of the lips of the wound’s opening by an especially devote patron (Monti). Other illuminated books feature an actual cut in the paper that runs the length of the wound; the viewer is invited to penetrate the slit, fostering a transcendent viewing experience whereby the sensual allows access to a spiritual moment (Monti). Thus, Christ’s vaginal wounds are the ‘‘object of adoration and love but also the object of violence’’ (Lochrie, 190). They are fetishized as mystical parts of a perfect whole and abruptly isolated into bloody ailments subjected to profane treatment. This duality is often apparent in the treatment of women in the contemporary era: they are reduced to the somatic, yet specific body parts are idealized; their beauty is revered, but their sexuality is debased. The fascination with and fear of the female form is a longstanding truth of the human, especially male, psyche. Female sexuality and desires have been dismissed or demonized, as the vagina dentata evidences in its visual incarnations from the Gothic to contemporary periods.

Text by Liz Lorenz 

Tuesday, April 3, 2018

The diary of a seamstress

The Chrism (‘The Court Jesters’ series), 2017-18
acrylic, oil, pencil and oil pastel on canvas
150 x 150 cm

Art meets fashion. Catalyst for this encounter of contemporary Greek artists, fashion designers and “craftsmen of fashion” has been the Notebook (dated  1958) of a seamstress, who studied  at the Couture House of  Tsopaneli.

The finding has been retrieved by Marika Handji’s grandson, the architect George Kalivis and the sewing lessons of Tsopaneli to his students provide us with an alternative reading of modernity.  From the knowledge of savoir vivre, the learning of pattern cutting for women’s clothes to the set of instructions for technical use of sewing machines, those notes not only are the source of interpretation of an era but also the phenomenon in the year 1958 of Greek fashion itself. Besides it was an epoch when modernization is spread over all social layers and diffused throughout new lifestyles, new labor conditions and leisure time, such as entertainment, excursions, parties, and holidays. 
Fashion, gauge of men and women’s behavior, at the end of 1950s, breaks the limits of «decency» and «beauty» of bodies becoming the ultimate example that highlights modernity.  A series of radical changes manifest through fashion (new styling applications, new behaviors, spreading out of mini skirt and other accessories, new body representations, etc.).  Hence, fashion interweaves with gender social phenomena and institutions and therefore contributes to the democratization of the new and especially to the democratization of the desires. Garments concern every relationship of human beings with their body, alike the relationships of human body with the society.
It is the encounter of artistic creation with design practice. Artists and fashion designers show through their artworks their personal reading of this finding. It is their way to examine and recompose the narration of modernity’s diffusion. While they ask themselves questions about the way Greek reality assimilates, processes and appropriates the phenomenon of fashion or even devalues its production.  
The exhibition re-examines the Notebook of Marika Handji as starting point for the 18 invited artists and fashion designers , because it has the characteristic of “written fashion”, namely of fashion that is translated into language and design, with identifiable elements of new behavior (at savoir faire) and decorative abolition (at the patterns).
It is a valuable token by an unknown apprentice seamstress, who reveals the traces of a profession that was eliminated from the historic and artistic research and narration. The minor aesthetic practice of dressmaking that represents this woman may have sunk into oblivion the years that followed, however its worth of revisiting and rescuing it from the silence and “the aftermath of the later ones” – as the British historian E. P.Thompson notes – with a series of other craft activities, such as weaving, cutting fabrics, even the “utopic” craftsman and all those female figures of household economy that developed during the pre-industrial era. And this not because of nostalgic contemplation. But because today they acquire crucial importance and perspective to all versions of post-industrial economy and new cultural developing practices. The Notebook of the apprentice seamstress gives new meaning not just to the subjective “archive fever” but also to a series of neglected aesthetic methods of modernity that are connected to the craftsmanship and during the last three decades many despised them.
How far could you go?” This is the question that every generation asks itself, looking for the modern it receives multiple answers through the artworks of the participant artists. The Notebook of the seamstress is transformed into a tool of recording and reviewing. As “Diary” it becomes the background of change in social behaviors that influence not just women, sex matters or ethics but also demanding the re-distribution of social power.  Besides, even nowadays the question wording simply changes – “how far can ideas go?” – emphasizes the changes of fashion and clothing. That reinforces the battlefield between the old  guard (the couture houses trapped in the role of the épater le bourgeois of the dominant social classes) and the “new barbarians” that feel that have the right to demand whatever could float in the atmosphere of contemporary air. 
Participating:«A Whale’s Architects», Bespoke Athens (Vassilis Bourtzalas), ΦΙΡΜΑ GYPSY GLOBALES, Angelos Frentzos, Elias Kafouros , Demi Kaia, George Kalivis, Irini Karayannopoulou, Sophia Kokosalaki,  Maria Mastori,  Olga Miliaresi – Foka, Leda Papakonstantinou, Eva Papamargariti, Alexandros Psychoulis, Nana Sachini, Serapis Maritime Corporation, Stefania Strouza, Kostis Velonis, Zeus & Dione.
Peloponnesian Folklore Foundation ( from the archive with clothes by Tsopanelis’ House )
The exhibition “The Diary of a Seamstress. An Imaginary Biography” curated by Efi Falida, is presented at the gallery April 20th –  May 26th2018

Saturday, March 31, 2018

From Euclid to Equality: Mathematician Lillian Lieber on How the Greatest Creative Revolution in Mathematics Illuminates the Core Ideals of Social Justice and Democracy.

Illustration by Hugh Lieber from Human Values and Science, Art and Mathematics by Lillian Lieber

An imaginative extension of Euclid's parallel postulate into life, liberty, and the pursuit of happiness.

By Maria Popova

Sunday, March 25, 2018

Dandilands' by pick nick Point Commissions

You are cordially invited to the launch of 'Dandilands', a book by artist group pick nick co published by BOM DIA and Point Centre for Contemporary Art. On the occasion of the book launch, Manuel Raeder will share his experience as a publisher in collaboration with artists, museums, and art institutions, and will talk about BOM DIA’s practices. Τhe book is the culmination of 'Dandilands', a project which began by pick nick in August 2014 in collaboration with artists Marc Bijl, Mustafa Hulusi, Mahony, Jumana Manna, Michelle Padeli, Liliana Porter, Kevin Schmidt, Socratis Socratous, Kostis Velonis, and Carla Zaccagnini. Urban and natural landscapes as sites of both intimate and destabilizing experiences materialized in a standing sign. The sign which was found along a circular trail in the high forest of Troodos was imagined as both site and object; a place of intention and image; a setting of the social. The publication 'Dandilands' consists of essays by Guilherme Altmayer, Alev Adil, Sophie Houdart, Antonis Hadjikyriacou, Sofia Lemos, Marko Stamenkovic, and the Palestinian collective, The Jerusalem of Things. From different research interests, these writers meet with pick nick, metaphorically and socially, in the intimate space of the book taking walking as a metaphor around social events and public practices, generating discussions of inclusion exclusion, relations of conflict (resolution), and, around non authoritative places that practice critiquing normalisation integrated in urban and rural patterns.

BOM DIA is specialized in artist books that are conceived as an integral part of an art work or as the art work itself that, often, plays with the format of the book and reflects its medium. This event will take place in the context of pick nick’s residency at Point between 13 March and 13 April 2018.
During this time, the group will be presenting a series of activities and events. pick nick will be present every Tuesday between 15:00 19:00.

BOM DIA was founded in 2011 by Manuel Raeder and Manuel Goller in Berlin, solely run by Manuel Raeder since 2013. A focus of Bom Dia lies in publishing contemporary artists from Latin America. The books of Bom Dia are produced in close collaboration with a group of artists, among others Henning Bohl, Daniel Steegmann Mangrané, Mariana Castillo Deball, Haegue Yang, Leonor Antunes, Abraham Cruzvillegas, Danh Vo, Nina Canell, and BLESS.

Dandilands' by pick nick Point Commissions 201
Book Launch Manuel Raeder, BOM DIA,Berlin Friday, 30 March 2018/18:30

Point Centre for Contemporary Art

'Dandilands', pick nick

Saturday, March 24, 2018


Agnes Denes, Wheatfield - A Confrontation: Battery Park Landfill, Downtown Manhattan

Two acres of wheat planted and harvested by the artist on the Battery Park landfill, Manhattan, Summer 1982.

After months of preparations, in May 1982, a 2-acre wheat field was planted on a landfill in lower Manhattan, two blocks from Wall Street and the World Trade Center, facing the Statue of Liberty. Two hundred truckload of dirt were brought in and 285 furrows were dug by hand and cleared of rocks and garbage. The seeds were sown by hand adn the furrows covered with soil. the field was maintained for four months, cleared of wheat smut, weeded, fertilized and sprayed against mildew fungus, and an irrigation system set up. the crop was harvested on August 16 and yielded over 1000 pounds of healthy, golden wheat.
Planting and harvesting a field of wheat on land worth $4.5 billion created a powerful paradox. Wheatfield was a symbol, a universal concept; it represented food, energy, commerce, world trade, and economics. It referred to mismanagement, waste, world hunger and ecological concerns. It called attention to our misplaced priorities. The harvested grain traveled to twenty-eight cities around the world in an exhibition called "The International Art Show for the End of World Hunger", organized by the Minnesota Museum of Art (1987-90). The seeds were carried away by people who planted them in many parts of the globe.
The questionnaire was composed of existential questions concerning human values, the quality of life, and the future of humanity. The responses were primarily from university students in various countries where I spoke or had exhibitions of my work. Within the context of the time capsule the questionnaire functioned as an open system of communication, allowing our descendants to evaluate us not so much by the objects we created—as is customary in time capsules—but by the questions we asked and how we responded to them.
The microfilm was desiccated and placed in a steel capsule inside a heavy lead box in nine feet of concrete. A plaque marks the spot: at the edge of the Indian forest, surrounded by blackberry bushes. The time capsule is to be opened in 2979, in the 30th century, a thousand years from the time of the burial.
There are, still within the framework of this project, several time capsules planned on earth and in space, aimed at various time frames in the future.

Here ye! Here ye!

The time has come to talk of many things,
While all laid bare is seemingly forgot
Of grave unearth a corpse of hot line rings
As bells of hells awake the piping hot
Enough to boil through a bone of steel
And smelt it down into a might pen
Dueling sharp whips from an electric eel
For might foes hide not in darker dens
To raise the dead beyond the catacombs
Or fear the ghouls kept watch between the lines
For monsters be not built of styrofoams
Nor trims of meat chorus deafening whines
As mobs chew on the fat of Romeos
I am Frankenstein at the rodeo!

Alex Turgeon, 2018 

Wednesday, March 21, 2018

Minimalism’s Migration in the Museum

Sculpture is what you bump into when you back up to see a painting.

Attributed to Barnett Newman (sometimes Ad Reinhardt), the above quote alludes to the primacy of painting in modernist art history. Newman suggested that sculpture is visually forgettable, but also that painting’s increasingly large scale demanded more gallery space. Although nowadays sculpture is most often bumped into in order to take a selfie, Newman’s quote still resonates in the contemporary museum’s placement of sculpture.
From readymades to installations, the concept of the sculpture and its relationship to the spaces around it shifted radically in the twentieth century from the object on the pedestal to an engagement with the phenomenological and material world, what Rosalind Krauss called the “expanded field.” Many of minimalism’s forms even literalized Newman’s criticism of physical obstruction  by enlarging sculpture to the scale of architecture.
By placing works on the floor, artists like Donald Judd and Carl Andre challenged (or dared) viewers not to trip over or step onto their works. Their works created more of a physical hazard for the gallery-goer than she posed to precious objects on elevated pedestals. In short, minimalist sculpture made the viewer more aware of the physical field of the gallery and less engrossed in the visual. At least, this is what happens when installed in certain gallery spaces. In recent years I have noted the placement of minimalist sculpture in major museums following large renovations or new constructions negates these challenges to the viewer.

Text by Annie Dell'Aria

Monday, March 19, 2018

State of Suspense

State of Suspense, 2017 
Wood, acrylic, felt, oil 
10 x 5 x 4 cm

Homeless, home-making, and archaeology: "To be at home wherever I find myself"

Zimmerman, Larry J.2016 Homeless, home-making, and archaeology: 
"To be at home wherever I find myself"

 pp. 256-272

Saturday, March 17, 2018

Haltung als Handlung - Das Zentrum für Politische Schönheit

Das Zentrum für Politische Schönheit (ZPS) ist eine Sturmtruppe zur Errichtung moralischer Schönheit, politischer Poesie und menschlicher Großgesinntheit. Das ZPS gehört zu den innovativsten Inkubatoren politischer Aktionskunst und steht für eine erweiterte Form von Theater: Kunst muss weh tun, reizen, Widerstand leisten. In eine Begriffsallianz gebracht: aggressiver Humanismus. 
Die Publikation stellt erstmals alle wichtigen Aktionen des künstlerischen Kollektivs in Buchform vor und hinterfragt deren Arbeit zudem in fünf Essays namhafter Autoren – Karen van den Berg, Florian Malzacher, Mely Kiyak, Raimar Stange, Florian Waldvogel – mit unterschiedlichen theoretischen Fragestellungen. 
Ein Interview von Raimar Stange mit Shermin Langhoff und Jakob Augstein  beleuchtet schließlich die Aktionen des ZPS gleichsam aus der Außenperspektive.
Grundüberzeugung des ZPS ist, dass die Lehren des Holocaust durch die Wiederholung politischer Teilnahmslosigkeit, Flüchtlingsabwehr und Feigheit annulliert werden und dass Deutschland aus der Geschichte nicht nur lernen, sondern auch handeln muss.

Haltung als Handlung - Das Zentrum für Politische Schönheit

hg. von Raimar Stange, Miriam Rummel, Florian Waldvogel

Can we fix it? The repair cafes waging war on throwaway culture

A vacuum cleaner, a hair straightener, a laptop, Christmas lights, an e-reader, a blender, a kettle, two bags, a pair of jeans, a remote-control helicopter, a spoon, a dining-room chair, a lamp and hair clippers. All broken.
It sounds like a pile of things that you’d stick in boxes and take to the tip. In fact, it’s a list of things mended in a single afternoon by British volunteers determined to get people to stop throwing stuff away.
This is the Reading Repair Cafe, part of a burgeoning international network aimed at confronting a world of stuff, of white goods littering dumps in west Africa and trash swilling through the oceans in huge gyres.
The hair clippers belong to William, who does not want to give his surname but cheerfully describes himself as “mechanically incompetent”. He has owned them for 25 years, but 10 years ago they stopped working and they have been sitting unused in his cupboard ever since.

By Kate Lyons

Sunday, March 11, 2018

How to change the course of human history

For centuries, we have been telling ourselves a simple story about the origins of social inequality. For most of their history, humans lived in tiny egalitarian bands of hunter-gatherers. Then came farming, which brought with it private property, and then the rise of cities which meant the emergence of civilization properly speaking. Civilization meant many bad things (wars, taxes, bureaucracy, patriarchy, slavery…) but also made possible written literature, science, philosophy, and most other great human achievements.
Almost everyone knows this story in its broadest outlines. Since at least the days of Jean-Jacques Rousseau, it has framed what we think the overall shape and direction of human history to be. This is important because the narrative also defines our sense of political possibility. Most see civilization, hence inequality, as a tragic necessity. Some dream of returning to a past utopia, of finding an industrial equivalent to ‘primitive communism’, or even, in extreme cases, of destroying everything, and going back to being foragers again. But no one challenges the basic structure of the story.
There is a fundamental problem with this narrative.
It isn’t true.
First published in Eurozine
© David Graeber, David Wengrow / Eurozine

Tuesday, March 6, 2018

Debunked best-sellers of days gone by

The needle, the haystack, the thread

Stringing words together while working on this exhibition at the Arts Club of Chicago, the needle, the haystack, the thread made a certain sense, made a certain space for Britta Marakatt-Labba and Lala Meredith-Vula and Aboubakar Fofana and the late Maria Lai.
If these artists and the fruits of their labors cannot be easily summarized, thematized, named, tamed, or otherwise put in a proverbial drawer of available artistic or geographic or cultural criteria, their shared story is telling and wants to be told.
It speaks of a free association that keeps the society of things and thoughts and animals and plants and minerals and materials together. Humans take part. Yet they are not necessarily the center. There is no center. There is rather an invitation to connect and consider what is sometimes called traditional work or farm work or craft work anew.
Imagine between these artists, between their works, something like the red thread handed by Ariadne to Theseus to get him in and out of the Labyrinth.
Tending to their integrated ways of working and living [grounded in distinct traditions, advancing techniques shared across continents, and resistant to the soul-draining transformations of their communities wrought by violent histories of division and conquest] becomes our common task, however temporarily.
See it also as the seed of a sur-rural imaginary in an urban context
Curated by Monika Szewczyk
The Arts Club of Chicago
March 15th- May 19

Sunday, March 4, 2018

Days Left

Days Left, 2017 
170 x 102 x 125 cm
Wood, plywood, acrylic,oil 

Saturday, March 3, 2018


Der Stein.
Der Stein in der Luft, dem ich folgte.
Dein Aug, so blind wie der Stein.
Wir waren
wir schöpften die Finsternis leer, wir fanden
das Wort, das den Sommer heraufkam:
Blume – ein Blindenwort.
Dein Aug und mein Aug:
sie sorgen
für Wasser.
Herzwand um Herzwand
blättert hinzu.
Ein Wort noch, wie dies, und die Hämmer
schwingen im Freien.

Paul Celan, 1959 

Saturday, February 17, 2018

Wikipedia:List of hoaxes on Wikipedia

This is a list of known historical hoaxes on Wikipedia. Its purpose is to document hoaxes on Wikipedia, in order to improve our detection and understanding of them. It is considered a hoax if it was a clear or blatant attempt to make up something, as opposed to libelvandalism or a factual error. A hoax is considered notable enough for inclusion in this list if it evaded detection for more than one month or was discussed by reliable sourcesin the media. This list is incomplete, as many hoaxes remain undiscovered.

There is no criticism, only history

There is no such thing as criticism; there is only history. What usually is passed off as criticism, the things you find in architecture magazines, is produced by architects, who frankly are bad historians. As for your concern for what should be the subject of criticism, let me propose that history is not about objects, but instead is about men, about human civilization. What should interest the historian are the cycles of architectural activity and the problem of how a work of architecture fits in its own time. To do otherwise is to impose one’s own way of seeing on architectural history.

What is essential to understanding architecture is the mentality, the mental structure of any given period. The historian’s task is to recreate the cultural context of a work. Take for example a sanctuary dedicated to the cult of the Madonna, built sometimes in the Renaissance. What amazes us is how consistently these buildings have a central plan and an octagonal shape. The form cannot be explained without a knowledge of the religious attitudes of the period and a familiarity with the inheritance from antiquity — a reproposal of the temple form devoted to female divinities. Or take the case of Pope Alexander VII, whose interest in Gothic architecture at the cathedral of Siena [mid-17th century] compared to his patronage of Bernini in Rome can only be explained through a knowledge of the Sienese environment and traditions. The historian must evaluate all the elements that surround a work, all of its margins of involvement; only then can he start to discover the margins of freedom, or creativity, that were possible for either the architect or the sponsor.

“There is no criticism, only history,” an interview with Manfredo Tafuri conducted in Italian by Richard Ingersoll and translated by him into English, appeared in Design Book Review, no. 9, spring 1986, pages 8-11.

“Κωστής Βελώνης : A Puppet Sun" / Η εποχή των εικόνων

13.02.2018 ΕΡΤ2-Η εποχή των εικόνων “Κωστής Βελώνης : A Puppet Sun”. Συνέντευξη στην Κατερίνα Ζαχαροπούλου

Tuesday, February 13, 2018

Stopping Point

Theo Michael, "It’s Complicated", weathered print, 180x130 cm, 2018

Entre l’homme et l’amour,
Il y a la femme.
Entre l’homme et la femme,
Il y a un monde.
Entre l’homme et le monde,
Il y a un mur.
Antoine Tudal, Paris en l’an 2000

In erotic literature, we often find descriptions of the impasse of a relationship based on sexual difference.

The exhibition takes as its point of departure a poem by Antoine Tudal, which describes the difficulty of love through the acoustic and verbal similarity of “love” (l’amour) and “wall” (le mur) in French.

However, Jacques Lacan’s apt reference to the poem as a semiology of difference and similarity provides a basis in order to justify the relationship through the two lovers’ blunders and fumbles, their vain and unfulfilled reveries, even through excruciating pain (la douleur exquise) that turns into tragicomedy when there is no mutual response.

The exhibition reveals what pushes away instead of uniting, what stands as an obstacle and makes relationships incompatible through the difference of the subjects. Archaic and biblical references about the eternal battle of sexes, as well as the rhetoric of contemporary psychology on “complementary” relationship, become the ingredients of an indirect acceptance of the separation caused by biological difference.

The emergence of divergence between desire and the obstacle that annuls it conveys the comical or melancholic outcome of an event that echoes not just the division of the relationship, but also the conflict, the struggle and the effort surrounding it. Here, there may be winners and losers, but in reality both sides annihilate each other, since idealizations and erotic frenzies are altered and extinguished in the corrosive flow of time.

In perceiving the wordplay of l’a-mur as an insurmountable “love-wall”, or even as a temporarily surmountable obstacle, the exhibition aims at parodying discontinuity in this libidinal architecture of delimitation and cut.

Participants : Alexandros Georgiou, Maria Georgoula, Zoe Giabouldaki, Dimitris Ioannou, Eleni Kamma, Chrysanthi Koumianaki, Markela Kontaratou, Karolina Krasouli, Konstantinos Kotsis, Margarita Myrogianni, Theo Michael, Myrto Xanthopoulou, Nina Papakonstantinou, Tereza Papamichali, Kostas Roussakis, Georgia Sagri, George Stamatakis, Stefania Strouza, Evangelia Spiliopoulou, Alexandros Tzannis, Dimitris Foutris
Curated by Kostis Velonis
Assistant Curator Faidra Vasileiadou
21/02/2018 – 10/03/2018
Wednesday, Thursday & Friday 18:00–22:00 | Saturday 12:00 – 17:00

Στην ερωτική φιλολογία συναντάμε συχνά την καταγραφή του αδιέξοδου μιας σχέσης η οποία βασίζεται στη διαφορά των δυο φύλων.
H έκθεση εχει ως αφετηρια ένα ποίημα του Antoine Tudal στο οποίο περιγράφεται η δυσκολία του έρωτα μέσα από την ηχητική και λεκτική ομοιότητα του “έρωτα” (l' amour) και του 'τοίχου”( le mur) στη χρήση της γαλλικής γλώσσας.

Εν τουτοις, η εύστοχη αναφορά του Lacan πανω στο ποιημα ως μια σημειολογία της διαφοράς και της ομοιότητας προσφέρει υλικό να αιτιολογηθεί η σχεση μέσα από τις γκάφες και τις αδεξιότητες του εραστή και της/του ερωμένης-νου, τις αδιέξοδες ονειροπολήσεις των ερωτευμένων που δεν πραγματώνονται άλλα ακόμη και τον οδυνηρό πόνο (la douleur exquise) ο οποίος εξελίσσεται σε ιλαροτραγωδία, όταν δεν υπάρχει αμοιβαία ανταπόκριση.

Στην έκθεση φανερώνεται εκείνο που αποδιώχνει αντί να ενώνει, στέκεται ως εμπόδιο και καθιστά τις σχέσεις ασύμβατες μέσα από την διαφορετικότητα των υποκειμένων. Αρχαϊκές και βιβλικές αναφορές περί της αιωνίας διαμάχης των φύλων, όπως και η ρητορική της σύγχρονης ψυχολογίας περί “συμπληρωματικής” σχέσης αποτελούν συστατικά μιας έμμεσης αποδοχής της διαχωρισμού που προκύπτει από τη βιολογική διαφορά.

Η ανάδειξη της απόκλισης ανάμεσα στην επιθυμία και το εμπόδιο που την ακυρώνει μεταφέρει την κωμική η την μελαγχολική έκβαση ενός γεγονότος που δεν απηχεί μονάχα το διαχωρισμό της σχέσης άλλα την διαμάχη, την πάλη και τη προσπάθεια γύρω από αυτήν. Εδώ μπορεί να υπάρχουν νικητές και ηττημένοι άλλα κατά βάθος και οι δυο πλευρές εξοντώνονται, αφού οι εξιδανικεύσεις όπως και οι ερωτικοί παροξυσμοί αλλοιώνονται και αφανίζονται στην φθορά του χρόνου.

Αντιλαμβανόμενοι λοιπόν το λογοπαίγνιο του l'a-mur, ως ένα ανυπέρβλητο “ερωτοτοιχο” η ακομη και ως ένα προσωρινό προσπελάσιμο εμπόδιο, η έκθεση στοχεύει στη διακωμώδηση της ασυνέχειας σε αυτήν την λιβιδινικη αρχιτεκτονική της οροθεσίας και της αποκοπής.

Αλέξανδρος Γεωργίου, Μαρία Γεωργούλα, Ζωή Γιαμπουλντάκη, Δημήτρης Ιωάννου, Ελένη Καμμά, Χρυσάνθη Κουμιανάκη, Μαρκέλλα Κονταράτου, Καρολίνα Κρασούλη, Κωνσταντίνος Κωτσής, Μαργαρίτα Μυρογιάννη, Τέο Μιχαήλ, Μυρτώ Ξανθοπούλου, Νίνα Παπακωνσταντίνου, Τερέζα Παπαμιχάλη, Κώστας Ρουσσάκης, Γεωργία Σαγρή, Γιώργος Σταματάκης, Στεφανία Στρούζα, Ευαγγελία Σπηλιοπούλου, Αλέξανδρος Τζάννης, Δημήτρης Φουτρής

Επιμελεια Κωστής Βελώνης
Βοηθος επιμελητή Φαίδρα Βασιλειάδου

Εγκαίνια 21/02 στις 19:00
Τετάρτη, Πέμπτη & Παρασκευή 18:00–22:00 | Σάββατο 12:00 – 17:00
21/02/2018 – 10/03/2018