Tuesday, February 26, 2013

Head and Tail

Head and Tail, 2013
Granite, wood, ceramic, acrylic, plaster, pencil , 74 x 10 x 22

Night Sky #17

Vija Celmins, Night Sky #17, 2000-01
Oil on linen, mounted on wood, 31 x 38 inches

Monday, February 25, 2013

From "Vertigo"

It is only a question of discovering how we can get ourselves attached to it again”
-a drawing by Vija Celmins
I practice interruption to get used to it, get up to get the cup
and then sit down, go out to look at the sign on the corner, sit
down, open the book to 37, “Moon Surface [Luna 9],” close
it, open my mouth to get used to what it says and then
in some weathers, it’s offered up freely and you have to
cover the books in plastic, remember to take it with you just in case
and you have to be grateful not to think things up.
Her surface drawings put one squarely on the moon
and there’s nothing to take your mind off it, no one brings coffee,
and she’s reminded of a scene where the actor talks about how
he’s scared to leap off a balcony and then he finally leaps.
Someone keeps coming to the door, someone makes a mark
like graphite until it builds up slowly on the surface.

Martha Ronk,“Vertigo,” 2007.


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Under Creative Commons License: Attribution Non-Commercial

Training in hammering

Training in hammering from the Russian Central Institute of Work and its Methods and Means for Training Workers. Management engineering : The Journal of Production (New York) 4 , no 4 (april1923), 243. This photograph documents a typical training exercise at TsIT-in this case , a worker being instructed by a mannikin in the art of hammering. The mannikin's two left arms demonstrate the correct posture of the arm relative to the body at the start and conclusion of its swing. Mannikins, templates, jigs, training frames, and photo-cyclograms are often used at TsIT in the construction of unskilled workers in correct body postures and work motions.
Source : Maria Gough, The Artist As Producer: Russian Constructivism in Revolution, Berkeley and Los Angeles: University of California Press, 2005.


Την Παρασκευή πρώτη του Μάρτη στις 7:30 το απόγευμα. Ανοικτή συμποσιακή συζήτηση, στο SalonDeVortex με αφορμή την “Υπονόμευση (-του ξενοδοχείου-) της Μεγάλης Βρετανίας, το Δεκέμβρη του 44 από τον ΕΛΑΣ”
Συζήτηση επί του πολιτικού εδάφους της Αθήνας, με αφορμή μια πρωτοφανή και μοναδική διαμάχη στο υπέδαφος της, και την κορύφωση της σύγκρουσης των Ελλήνων με την Βρετανική Αυτοκρατορία.
Η μορφή των παρεμβάσεων είναι ανοικτή.
Τα γεγονότα θα παρουσιάσει επι χάρτου ο ιστορικός Τάσος Σακελαρόπουλος. Στην κουβέντα έχουν κληθεί να συμμετάσχουν οι:
Ηλίας Μαρμαράς. Νίκος Σκοπλάκης, Ελένη Γκίνη, Θεόφιλος Τραμπούλης, Κατερινα Ηλιοπούλου, Γιώργος Τζιρτζιλάκης, Αλέξανδρος Κιουπκιολής, Νίκος Μπελαβίλας, Γιάννα Μπαρκούτα, Κωστής Βελώνης, Νάντια Καλαρά , Φοίβη Γιαννίση, Ιωάννα Λαλιώτου, Πολυμέρης Βόγλης, Γιάννης Ιωαννίδης, Χριστόφορος Μαρίνος, Μαρία Τοπάλη, Αντριάννα Καλφοπούλου, Αλίκη Σαμαρά, Σταύρος Σταυρίδης.
Μαζί με τον Ζήση Κοτιώνη συντονίζουν για το SalonDeVortex οι Γιάννης Γρηγοριάδης και Γιάννης Ισιδώρου.Φράσεις και λέξεις κλειδιά: απώθηση, συλλογικό τραύμα, λήθη, ήττα, αρχείο, εποπτεία, περιφρούρηση, οριοθετήσεις της πόλης, νεοαποικιοκρατία, νομιμότητα και ανατροπή, κατακτητής, επιστροφή του αποθυμένου, υπονόμευση, αστικό ασυνείδητο, ένοπλη σύγκρουση, πολιτικό έδαφος, ιστορία και νόημα, το παρόν του παρελθοντος

Monday, February 11, 2013

Conical Hat

A piece of stiff brown cardboard cut in the shape of a conical hat. Holes have been drilled in the crown to form a decorative pattern. An additional strip of reinforcing cardboard has been attached to the base of the hat with one rivet at one end, two at the other. The costume hat is worn by Kolitiris, a character in the centuries-old Greek Shadow Puppet Theatre (Karaghiozis) tradition. Kolitiris wears it in the Introduction of every performance as part of his costume in order to change his appearance to make it more comical.
This costume hat was made in the 1960s by the Greek puppeteer and popular artist Abraam (Antonakos) in his Athens workshop, and used in performances in Greece during the 1960s. This and most of the puppets in the collection were brought to Australia by Abraam Antonakos for his performances at the Astor Theatre in Melbourne in 1977. He then left the collection with Dimitri Katsoulis who used them in all his subsequent performances in Victoria and in South Australia from 1978 to 1991.Dimitri Katsoulis migrated to Australia in 1974 to escape a regime that repressed Greek artists. He had trained in Greece with theatre and film companies as an actor and technician. A master of the traditional Greek shadow puppet theatre, his performances explored contemporary issues such as the isolation of migrant women and children. Unable to obtain funding and support, he returned to Greece in 1991, leaving his entire collection to the people of Victoria. It includes 32 shadow puppets and around 170 props, set backdrops and technical tools and stage equipment. Dimitri has since returned to Melbourne and assists the Museum to continue to document this rich art form within both local and international contexts.


Sunday, February 10, 2013

What Do We Mean by Autonomy?

What Do We Mean by Autonomy?
A review of Lisa Siraganian, Modernism’s Other Work: The Art Object’s Political Life. Oxford University Press, 2012.
Text by  .

Saturday, February 9, 2013

Untitled XVI

Nasreen Mohamedi , Untitled XVI, photograph, circa 1980 – 1989.

Sunday, February 3, 2013


                                          Speech (Fortune-Teller)  2013 Marble, wood, acrylic, pencil, pastel,  39 x 21 x 6 cm

Larynx during pronounciation of letters

John Wilkins, An essay towards a real character and a philosophical language, London, 1668.

Behind the Presidential Curtains

One of the many huge velvet curtains in the palace of the parliament in Bucharest, designed by the Ceausescu regime, 2013.

The Door in the Sky

A flight of stairs, leading to a door markedEXIT
The Truman Show”, 1998. Director:Peter Weir, Writer:Andrew Niccol.