Sunday, May 25, 2014
The world turn'd upside down: or, A briefe description of the ridiculous fashions of these distracted times by T. J., Taylor, John , Jordan, Thomas, London: Printed for John Smith, Jan 28 1646.
Pleasure of Curve (Statistics), 2013, ceramic, plaster, wood, 100x15x14cm
The systematic excavations implemented under the shadow of the ideas of neoclassicism and romanticism by the archaeological schools of the emerging European nation states, brought to light numerous, yet unseen, fragments of earlier cultures. The condition of the findings, despite the deterioration and the elliptical quality of the figures, was idealized and influenced the Western perceptibility. It configured, not only a visual model but also an ideological, ethical and aesthetical legacy. What until then had only been slightly discernible, was eventually embedded in the Western Canon of modernity: the aesthetics of the fragment, the poetics of elliptical narration, concealment, repulsion and hint; and in dialectical contradiction, the logic of the archive (as a substitution for the incoherently structured –early colonial– cabinet of curiosities), the need for recalling, narrating and putting in order an already existing material, the retrospective attribution of meaning.
Fever of the antique associates the poetics of fragmentation with the sense of detachment experienced by modern subjects; the dematerialisation of the present and the urge to constantly interpret the elusive past, constitute the subject of exploration by the artistic practices, which are woven together in the curatorial project. The exhibition, above all, seeks to remind the need for tracing the path towards the principle of reality and encourages an embedded perspective as a prop, which will provide the foundation for the lessening of the local identity’s precarious correlations. Finally, Fever of the antique addresses a positioning beyond antiquity’s continuous recurrence (i.e. out of the power of the precedent), testing the symmetries between the present and the past.
Curated by Evangelia Ledaki
Artists: Paki Vlassopoulou, Kostis Velonis, Efthimis Theou/Electra Angelopoulou/Anthi Efstratiadou, Lizi Kalliga, Alexandros Laios, Kostas Bassanos, Yiannis Papadopoulos, Nina Papaconstantinou, Dimitris Foutris, Kostas Christopoulos
FEVER OF THE ANTIQUE Association of Greek Archaeologists
Sunday, May 18, 2014
As mathematicians meet in New York to celebrate the 500th anniversary of Dürer's print Melencolia, Karl Galle asks whether it is a depiction of despairing genius or of scholarly optimism
Posted by Kostis Velonis Kωστης Βελωνης at 4:52 AM
Borrowing its title from the lyrics of the famous song by Talking Heads, the exhibition This is Not My Beautiful House will bring together four artists: Anastasia Ax, Apostolos Georgiou, Socratis Socratous and Kostis Velonis, who are engaged, directly or indirectly, with the present ‘Greek’ – not to say global – condition.
The everyday here in Greece seems like a leaky vessel. And while the water level is dropping, ideas on how to survive in the post-capitalism desert do not come easily. The scenario is pretty ruthless, yet life seems to go on, seeking its best outcome, under the warm sun.
As we are experiencing this period of change, where everything is in flux, the space loses its shape and transforms into nothingness. Athens reveals itself as a utopian place: a space for the impossible and for ‘everything that is possible’. Amidst all these we find ourselves in limbo. Unaccustomed to the speed of change as well as to the density of events that occur in multiple layers all at once we become alien to all our own given assumptions.
In terms of the best of the worse, the daily routine is not the daily routine we knew anymore; the city is not the city we knew anymore; the politics are not the politics we can recognise anymore; our belongings do not belong to us anymore; and the public space does not belong to us either, although private space is negotiable, if there still is one. We are an entity in transfer, a country on sale, in which nothing is familiar anymore. We are living through a rapture.
This is Not My Beautiful House as a title has no direct references to 80s pop music or New York culture. In the absence of any other significant manifestos, it serves as the perfect tag to describe a world that is unfolding between fears and desires stigmatised by the current economic and social moment. As a line from a pop song, this quote has surely been interpreted and felt in many different ways by many different people. In the case of this exhibition, it becomes a parable for the contemporary state of social and existential alienation. This is Not My Beautiful House refers here to contradictory notions and desires like going or staying, living or dying, trying or surrendering, hoping or giving up; a topography in which the only certainty is that things cannot go on anymore as they were.
Kunsthalle Athena chooses to focus this year once more on Greek artists. With the exception of Anastasia Ax, who is an artist with duel houses and duel exiles, and vividly experiences the Greek situation via family and relatives, the other artists insist on living in Athens, despite the difficult situation and the fact that their international careers might have provided them with a way to leave.
Participants : Anastasia Ax, Apostolos Georgiou, Socratis Socratous and Kostis Velonis
May 16 - September 11, 2014
Tuesday, May 13, 2014
Thursday, May 8, 2014
Michel Serres: Latour Educates a Naive Michel Serres: This essay titled The Englightenment Without the Critique: A Word on Michel Serres' Philosophy showed a while back as a Google Alert. …
Pre-Text is the first part of the large scale exhibition This Is A Historic Opportunity For Us (title taken from Antonis Pittas’ work). The idea of this exhibition came up as an internal need and an immediate response to the socio-political crisis that Greece has been through since 2009 as it is one of the first European countries to confront the aftermath of the global crisis. This Is A Historic Opportunity For Us is a project that has been designed since 2012 aiming to find the appropriate venue to host the exhibition in a European metropolitan city.
Pre-Text refers to socio-political conditions with connections to political history and our perception regarding historical knowledge. Through the works, the viewer “reads” a concrete political meaning that depends upon the dialectic of individuality and collectivity at play within a social system. They conjure up a universe of individual worlds that invoke contemporary awareness and use it as a prism through which to look upon how we experience reality. The artists explore areas where there are no rigid distinctions between theory and practice; where the boundaries between the two seem to blur.
Pre-Text questions the ways in which the past is conceptually and contextually reoriented towards the future. As a great number of contemporary philosophers argue “prior” is the new “after” and the notion of time transforms accordingly to continuous changes of social conditions. The viewer faces an up-to-date historical record of art that confronts the future as the present, art that talks about the future with works, created the last five years and function as knowledge tools to understand the present by reflecting it to the future.
The works suggest different readings and interpretations that aim to provoke the viewer’s perception regarding global sociological issues that affects one’s perception and individual participation to a collective “status quo”.
Curated by Ileana Tounta, Dimitrios Antonitsis and Katerina Nikou
Participating artists :Dimitris Andreadis, Kostas Bassanos, Kostas Christopoulos, Panos Famelis, Dimitris Foutris, Pavlos Fysakis, Christina Koutsospyrou & Aran Hughes, Irini Miga, Fryni Mouzakitou, Alexandros Papathanasiou, Theo Prodromidis, Kostas Sahpazis, Eva Stefani, Dimitris Tsoumplekas, Kostis Velonis
8 May 2014- 21 June 2014.
The Ileana Tounta Contemporary Art Center http://www.art-tounta.gr