photograph of a sculpture by Eduardo Paolozzi, 1950. The photograph
was taken at the 'Kenneth King, Eduardo Paolozzi, William Turnbull'
exhibition held at the Hanover Gallery, 32A George Street, London.
Kostis Velonis Kωστης Βελωνης
18ο αιώνα ο πολιτισμός δεν παράγεται
πλέον στα ανάκτορα και στα μοναστήρια,
αλλά στις αγροικίες και στις εξοχές. Η
περίφημη αγροικία του Goethe, τα τοπία του
Turner και του Constable, η αισθησιακή ρέμβη
του Rousseau, ο Μέλανας Δρυμός, δεν είναι
παρά σημεία μιας ολικής και σχεδόν
μαζικής εμβύθισης στη φύση, μια μέθεξη
στο τοπίο που έμελλε να είναι και η
τελευταία ιστορικά. Το ρομαντικό πρότυπο
της αγροικίας, «το κατοικείν των χωρικών»,
όπως θα πει ο Heidegger, είναι και το τελευταίο
ίχνος μιας αρχαίας αντίληψης για την
κατοίκηση που έρχονται να ανατρέψουν
εκ βάθρων οι νέοι καιροί. Ένα κατοικώ
που στοιχειώνει όμως ακόμη και σήμερα
το φαντασιακό μας. Η οικογένεια Eagles, τα
δεντρόσπιτα, η κατασκήνωση στη φύση, τα
παιδιά των διαμερισμάτων που συνεχίζουν
στις ιχνογραφίες τους να σχεδιάζουν
καλύβες με ξύλινους φράχτες, όταν τους
ζητείται να σχεδιάσουν το σπίτι τους,
μαρτυρούν ένα ίχνος που δείχνει να
αντιστέκεται σθεναρά. Η μορφική αντοχή
μιας ψυχικής ανάμνησης, της πιο βαθιάς
ανάμνησης σύμφωνα με τον Μπασελάρ, που
σαγηνεύει πάντα άμα τη εμφανίσει του.
πλαίσια της έκθεσης θα γίνεται καθημερινά
μια σειρά προβολών πάνω στο θέμα της
Καλύβας σε επιμέλεια της Κίκας Κυριακάκου.
κατάλογος της έκθεσης με κείμενα των
Αποστόλη Αρτινού, Κωστή Βελώνη, Δήμητρας
Βογιατζάκη, Φοίβης Γιαννίση, Γιάννη
Γρηγοριάδη, Ζήση Κοτιώνη, Ίριδας
Λυκουριώτη, Σταύρου Μαρτίνου, Γιώργου
Μητρούλια, Χρήστου Παπούλια, Βασιλικής
Πλαβού, Γιώργου Τζιρτζιλάκη και Χρήστου
Χρυσόπουλου, θα κυκλοφορήσει απ' τις
4 Νοεμβρίου – 13
Kostis Velonis Kωστης Βελωνης
It is often said that simple things that we may not be even aware of can have significant consequences. Arrows on highway signs, for example. Research shows that when they point up instead of down they give drivers a feeling of being more informed and having more time to react. Rijkswaterstaat, the Dutch ministry of infrastructure and the environment, has been studying this issue since as far back as 2008. A trial conducted on the highway at the Velperbroek junction near Arnhem indicated that using upward-pointing arrows can improve traffic flow by up to 10 kilometres per hour and reduce traffic delays by up to 30 minutes. Since then, the Netherlands have changed most of their signs to use upward-pointing arrows, and so have Sweden and Germany. Neighbouring Belgium is currently in the process of studying the effects of reversing the arrows, while most other countries, including the US, UK, Canada, France and Spain still use downward-pointing arrows. by Peter Biľak https://worksthatwork.com/artefacts/upside-down
Kostis Velonis Kωστης Βελωνης
vestíbulo de la Casa Eduardo Prieto López con “El ángel”
escultura por Mathias Goertiz, Jardines del Pedregal, México, DF
Arq. Luis Barragán - Reception hall of the Eduardo Prieto Lopez
House with “The Angel” sculpture by Mathias Goeritz, The Gardens
of Pedregal, Mexico City. Architect: Luis Barragan.
Kostis Velonis Kωστης Βελωνης
expanded term “trickster”, as a deity that, in shamanistic
mythologies, bears the characteristics of an anthropomorphic animal
but also the qualities of a mythological hero who breaks the laws
while being in fact a seducer. The game between two related
definitions – the one who works miracles and the trickster – can
be useful for appreciating a direction of today’s visual
production. If we consult the ancient Greek definition of “metis”,
which means cunningness and skill, we see that doing the trick was
coming along with both the materialization of a technical invention
or immediate necessity, and the styles of the artistic practice.
problem arisen unexpectedly, the apparent impasse not predicted in
the original design, lurks as contingency in the practices of the
artists examined here, as well as in our lives. But through the
multiple and variable wavering of Metis, it turns into a beneficial
accident, something not only manageable but almost desired. The point
of friction operates as a signal for the change of course and
tactics. It did and does indicate the internal dynamics of
situations, goes back to Odysseus and his “many devices”, is
opportunistic in the strategic meaning of the term, outside its
moralistic and negative meaning, and joins up with “cunning
intelligence”: the kind of noesis that Plato overthrew for the
purpose of establishing the idealistic thinking.The
vision of the curator of this exhibition is to assemble works of
contemporary artists who, by their tactics, bring forth the reading
of the world as a permanent global variation, where apparently
insignificant details of daily practice find their meaning in the
evolution of things, and the conjunctures are no longer problematic
imponderable factors but the field of genesis of new dynamics.
Karga, "Summer school for Applied Autonomy" , 2014
those works and tactics, a kind of intelligence still survives, which
does not paralyze in front of the unpredictable (the conjunctions),
which is able to cope with perplexities in front of the distance that
separates an ideal project from the effort of its implementation.
months ago, I came across a passage in a book that has haunted me
since. It was in Michael Ignatieff’s biography of Isaiah Berlin,
and it concerns a night Berlin spent in Leningrad in 1945. Berlin was
hanging out when a friend asked if he’d like to go visit Anna
Akhmatova. Not knowing much about her, Berlin said yes.
years older than Berlin, Akhmatova had been a great pre-revolutionary
poet. Since 1925, the Soviets had allowed her to publish nothing. Her
first husband had been executed on false charges in 1921. In 1938,
her son was taken prisoner. For 17 months, Akhmatova had stood
outside his prison, vainly seeking news of him.
was taken to her apartment and met a woman still beautiful and
powerful, but wounded by tyranny and the war. At first, their
conversation was restrained. They talked about war experiences and
British universities. Visitors came and went.
midnight, they were alone, sitting on opposite ends of her room. She
told him about her girlhood and marriage and her husband’s
execution. She began to recite Byron’s “Don Juan” with such
passion that Berlin turned his face to the window to hide his
emotions. She began reciting some of her own poems, breaking down as
she described how they had led the Soviets to execute one of her
4 in the morning, they were talking about the greats. They agreed
about Pushkin and Chekhov. Berlin liked the light intelligence of
Turgenev, while Akhmatova preferred the dark intensity of
and deeper they talked, baring their souls. Akhmatova confessed her
loneliness, expressed her passions, spoke about literature and art.
Berlin had to go to the bathroom but didn’t dare break the spell.
They had read all the same things, knew what the other knew,
understood each other’s longings. That night, Ignatieff writes,
Berlin’s life “came as close as it ever did to the still
perfection of art.” He finally pulled himself away and returned to
his hotel. It was 11 a.m. He flung himself on the bed and exclaimed,
“I am in love; I am in love.”
we live in a utilitarian moment. We’re surrounded by data and
fast-flowing information. “Our reason has become an instrumental
reason,” as Leon Wieseltier once put it, to be used to solve
night Berlin and Akhmatova spent together stands as the beau ideal of
a different sort of communication. It’s communication between
people who think that the knowledge most worth attending to is not
found in data but in the great works of culture, in humanity’s
inherited storehouse of moral, emotional and existential wisdom.
and Akhmatova could experience that sort of life-altering
conversation because they had done the reading. They were spiritually
ambitious. They had the common language of literature, written by
geniuses who understand us better than we understand ourselves.
night also stands as the beau ideal of a certain sort of bond. This
sort of love depends on so many coincidences that it only happens
once or twice in a lifetime. Berlin and Akhmatova felt all the pieces
fitting amazingly into place. They were the same in many ways. There
was such harmony that all the inner defenses fell down in one night.
you read the poems Akhmatova wrote about that night, you get the
impression that they slept together, but, according to Ignatieff,
they barely touched. Their communion was primarily intellectual,
emotional and spiritual, creating a combination of friendship and
love. If friends famously confront the world side by side and lovers
live face to face, Berlin and Akhmatova seemed to somehow enact both
postures at once. They shared and also augmented each other’s
Berlin, this night was the most important event of his life.
Akhmatova was stuck in the Soviet Union, living under a regime of
manipulation, fear and lies. She suffered horrendously for it. The
regime decided that she had cavorted with a British spy. She was
expelled from the Writers’ Union. Her son was thrown into prison.
She was desolated but never blamed Berlin, speaking of him fervently
and writing movingly about the numinous magic of that night.
old enough to remember when many people committed themselves to this
sort of life and dreamed of this sort of communion — the whole
Great Books/Big Ideas thing. I am not sure how many people believe
in or aspire to this sort of a life today. I’m not sure how many
schools prepare students for this kind of love.
Every city is reimagined and rebuilt as a result of a spectacle. Whether it is to boost tourism, to complete political promises or to encourage nationalism, the architecture of a city is often ornamented to demonstrate progress. Ever since the representation of nations at the World Fair´s from the XIX century, to the post-war urban renovation projects, buildings raise as artificial monuments that later become obsolete even when they disguise the urban reality.
The Theater of the World looks into the work of different artists interested in architecture as a place for political and social representation. Although, more than revealing the failed utopias from the past, this exhibition reflects on the world as stage, where the monuments, palaces, ruins and social housing projects coexist and renovate under the same façade of nation and apparent development.
Artists : Alexánder Apostol,Yto Barrada, Marcelo Cidade, Nathan Coley, Livia Corona, José Dávila, Marjolijn Dijkman, Gardar Eide Einarsson, Angela Ferreira, Andreas Fogarasi, Meschac Gaba, Carlos Garaicoa, Terence Gower Pedro Reyes, Pablo Hare, Heidrun Holzfeind-Christoph Draeger, David Maljkovic, Olivia Plender, Anri Sala, Kostis Velonis