Friday, March 24, 2017

Perished Sun

Kostis Velonis, "Unlearning Alphabet", 2016, wood, plywood, acrylic, 250 x 80 x 7 cm

Kalfayan Galleries, Athens present the group show
of Yiannis Papadopoulos, Panos Tsagaris and Kostis Velonis titled “Perished Sun”.
In ancient Greece, the eclipse was considered to be an evil omen, an augury of discord and suffering. The endless eclipses that Greece has experienced during the last years, beyond being the pleasurable experience of an astronomical phenomenon, bear witness to the covert dimension that accompany superstitions.
The exhibition attempts to shed light on these signs that pass unseen through the routine of ordinariness. Together with the failures and setbacks in everyday life, the show translates them into a geometry of their elliptical shapes, their eclipses and shadows. This ambivalent approach to the eclipse in the projects of Yiannis Papadopoulos, Panos Tsagaris and Kostis Velonis is transcribed as a resistance to pre-existing structures, as an error that seeks its continuation, the tension of a disorder that becomes the product of creativity and revision of the established order.

Yiannis Papadopoulos, "The World according to Kosmas Indicopleustes", 2017, oil paint on prepared carton, 75 x 91.2cm

Panos Tsagaris, "From the unreal, lead me to the real from darkness, lead me to light",  2016,  acrylic paint, spray paint and silkscreen on canvas, 200 x 150 cm

Perished Sun
Kalfayan Galleries, Athens
31 March- 6 May 

Ground Control

Through ceramic sculptures, videos and photographs, the artist outlines a discontinuous narration,starting from her own body and linked to space exploration. Precisely, the works of the exhibition revolve around the relationship of the artist’s body with her work materials, essentially the ceramics. Through the performative link and the double meaning between subject and material, between structure and mass, Teresa Solar reflects on concepts such as control, resistance, a definitely precarious balance of sense and accident.

The title of the exhibition, Ground Control, has a double meaning. On one hand it is a direct reference to the material, ground or clay, and the pressure exerted on it when working on the potter’s wheel. The body of the artist fights against the resistance that the material offers to control it and, in turn, this effort makes it become matter. On the other hand, on a large scale, it has a reading related to the space race: the ground control monitors the takeoff of a rocket into space.

The idea of tense balance between oneself and the world is present in the videos of the exhibition. In Being a person you did not know you were, we see a puppet that adopts the role of the divided adult, of the unknown who is born in us, who turns us in foreigners inside our body and invalidates the certainty of the outside world. Continuing with the idea of the divided subject, in the video Ground control, the artist is transformed into the clay ball that turns on the potter’s wheel. The image of the turning body is accompanied with fragmented stories that connect the accident of the space shuttle Columbia, exploding into pieces due to a failure in its protective skin, with the injuries suffered by the artist herself.

This double relationship is also present in the sculptures. The pressure of the metal bars alludes to the process of creation, remembering, in turn, the pile of rubble of an accident, in which the ceramic becomes the body of the subject. Ceramics allow us to emphasize the contrast between the primitivism of a material and a technique as old as humanity, with the technological sophistication of the ceramic skins that cover the rockets.

Teresa Solar Abboud
Ground Control
24/03/2017 – 03/06/2017

Sunday, March 19, 2017


Poster for Akropolis, courtesy of the Grotowski Institute

A performance based on Stanisław Wyspiański’s dramatic epic poem, first presented at the Laboratory Theatre of 13 Rows on 10 October 1962. Staging: Jerzy Grotowskiwith Józef Szajna who, among other things, was responsible for the set design, costumes and props. Initially the mise en scène was to have been created by Piotr Potworowski, but he died on 24 April 1962. Wyspiański’s poetic drama, written between 1903 and 1904, is set on the night of Easter Saturday with works of art in the Wawel cathedral in Kraków coming to life. In act I, statues from tombs become animated, in acts II and III it is figures from tapestries, while in act IV the carvings from the choir come alive. Wyspiański’s text is a certain summa of Mediterranean culture combined with themes from Polish history (see act I), Homeric sequences (act II depicts a night in besieged Troy) and Biblical themes (act III is the story of Jacob, while act IV includes the song of David the Harpist). All the acts are set on the Wawel Hill, the central site of Polish historical consciousness, which is effectively visited by all the grand Judeo-Christian myths. The main theme of Akropolis is, then, resurrection, considered both as salvation from death, inertia and forgetting, but also a task beholden upon each human being. In the version staged in Opole by Grotowski and Szajna, these complex themes acquired an additional dimension, with the text’s reality transferred to a concentration camp. In the performance, then, Auschwitz became ‘our Acropolis’ – a synthesis of the contemporary age – whereby the grand myths of Western civilisation were confronted with the Holocaust, which for the artists was and remained a radical and unimaginable ordeal. The prisoners, in constructing a camp on stage and showing with intensity the hellish futility of life in it, therefore also created, using Wyspiański’s words as the foundation, a certain synthetic repetition of the history of humanity which forever returns to the same starting point – a site which is also the centre of inertia. The cycle of repetition was broken in the finale by the ‘leader of a dying tribe’ (played by Zygmunt Molik), who began a grand monologue that gradually transformed into a hymn in honour of the Resurrected (in Wyspiański this was the sun god Apollo-Christ). Following a series of ecstatic acclamations that revealed the arrival of the Saviour, a procession formed that carried the Saviour’s ‘figure’ – a corporal human-shaped form, in fact a ragdoll, with which the choir of prisoners entered a construction that symbolised a grave-crematorium. Once the final character disappeared into it, the opening words of Wyspiański’s drama became audible in the silence: ‘Poszli – i dymu snują się obręcze’ – ‘They are gone and the smoke rises in spirals’. This was the only response to the ecstatic prayer of those heading to their deaths and praying for salvation. Grotowski, Szajna and Gurawski again, as they did in Kordian, for example, located the audience and actors in one space. But instead of constructing through this a community, they used this physical proximity to create a situation of absolute distance, generated primarily through acting means. As a result of working on mimicry (those famous ‘life-masks’ created through faces frozen in grimaces), movements and the voice (Akropoliswas Grotowski’s first performance to be permeated significantly by music and musicality), the actors not only created protagonists who completely negated the presence of the audience through their behaviour, but also evoked an audio-visual environment that generated an impression that one was in an alien and hostile world. In this way it became possible to depict on stage the unimaginable reality of the camps. And this was considered the creators’ and actors’ great achievement, which was evidence of their exceptional technique. Akropolis is considered a particular realisation of the poor theatre and is still considered one of the canonical masterpieces of twentieth-century theatre. Shown for the first time in October 1962, the performance underwent numerous changes in the following months and years. The creators marked the changes by announcing premieres of different versions which – beyond the changes in cast noted below – feature significant differences that have yet to be fully researched. The cast of the first version was: Maja Komorowska, Rena Mirecka, Zygmunt Molik, Zbigniew Cynkutis, Antoni Jahołkowski, Ryszard Cieślak, Andrzej Bielski (Ewa Lubowiecka also participated in rehearsals). The second version was first presented on 25 November 1962 with Maja Komorowska missing from the cast; her place was taken by Maciej Prus which resulted in the dialogue of love between Helena and Paris becoming an exchange between two male lovers. The premiere of the third version took place on 10 June 1964 (Zbigniew Cynkutis and Maciej Prus had left the group, while Mieczysław Janowski and Gaston Kulig joined), while the fourth version was shown for the first time on 16 January 1965 in the theatre’s new space in Wrocław. The best known is the fifth and final version with Zygmunt Molik (as Jacob and the Harpist), Rena Mirecka (as Rebecca and Cassandra), Antoni Jahołkowski (as Isaac and the Guard), Ryszard Cieślak (occasionally replaced by Czesław Wojtała as Esau and Hector), Zbigniew Cynkutis (as Laban and Paris), Stanisław Scierski (as Clio and Helena) and Andrzej Paluchiewicz. This version was first performed on 17 May 1967 in Wrocław and then on foreign tours, beginning in Amsterdam (18–19 June 1967), Utrecht (20 June 1967), The Hague (21–22 June 1967), Rotterdam (23–24 June 1967), Brussels (26–28 June 1967), Edinburgh (22–30 August 1968), Paris (24 September – 26 October 1968), Aix-en-Provence (4–26 November 1968), and New York (4–15 November 1969). This version was also filmed between 27 October and 2 November 1968 by US television (produced by James McTaggart; the television broadcast was introduced by Peter Brook). The first and second versions were performed outside Opole during guest performances in Wrocław (12–14 November 1962), Poznań (16–19 November 1962), Złoty Stok (4 December 1962), Gliwice (6–7 December 1962), Katowice (9–11 December 1962), Łódź (20 February – 3 March 1963, and Kraków (9–15 May 1963). The fourth version was presented in Kłodzko (18 June 1965).

Representing Misery: Courbet’s Beggar Woman

Gustave Courbet, L'Aumône d'un mendiant à Ornans (1868), oil on canvas, 221 × 175.3 cm. Burrell Collection, Glasgow

Within the complex allegorical structure of Gustave Courbet’s L’Atelier du peintre (Painter’s Studio, 1854–55)the Irish beggar woman constitutes not merely a dark note of negativity calling into question the painting’s utopian promise but, rather, a negation of that promise as a whole. The poor woman—dark, indrawn, passive, a source of melancholy within the painting as well as a reference to it outside its boundaries—is both a sardonic memorial to Albrecht Dürer’s historical Melencolia I (1513–14) and the repressed that returns (one might think of William Hogarth’s drunken, degraded mother reaching for her snuffbox as her luckless infant slides off her lap in the British artist’s moralizing allegory of 1751, Gin Lane). She is a figure undermining both the would-be harmony of Courbet’s allegory and the image of art’s triumph that dominates the center.

By Linda Nochlin

Friday, March 17, 2017


Athen-Batterie (After Joseph Beuys Capri-Batterie) 2017
Lemon, black light bulb, plug socket, wood, acrylic, 76 x 40 x 65 cm 


Joseph Beuys, Capri-Batterie, 1985 
Lemon, light bulb, plug socket

Reset Modernity!

Modernity has had so many meanings and tries to combine so many contradictory sets of attitudes and values that it has become impossible to use it to define the future. It has ended up crashing like an overloaded computer. Hence the idea is that modernity might need a sort of reset. Not a clean break, not a “tabula rasa,” not another iconoclastic gesture, but rather a restart of the complicated programs that have been accumulated, over the course of history, in what is often called the “modernist project.” This operation has become all the more urgent now that the ecological mutation is forcing us to reorient ourselves toward an experience of the material world for which we don’t seem to have good recording devices.

Reset Modernity! is organized around six procedures that might induce the readers to reset some of those instruments. Once this reset has been completed, readers might be better prepared for a series of new encounters with other cultures. After having been thrown into the modernist maelstrom, those cultures have difficulties that are just as grave as ours in orienting themselves within the notion of modernity. It is not impossible that the course of those encounters might be altered after modernizers have reset their own way of recording their experience of the world.

At the intersection of art, philosophy, and anthropology, Reset Modernity! has assembled close to sixty authors, most of whom have participated, in one way or another, in the Inquiry into Modes of Existence initiated by Bruno Latour. Together they try to see whether such a reset and such encounters have any practicality. Much like the two exhibitions Iconoclash and Making Things Public, this book documents and completes what could be called a “thought exhibition:” Reset Modernity! held at ZKM | Center for Art and Media Karlsruhe from April to August 2016. Like the two others, this book, generously illustrated, includes contributions, excerpts, and works from many authors and artists.
Jamie Allen, Terence Blake, Johannes Bruder, Dipesh Chakrabarty, Philip Conway, Michael Cuntz, Eduardo Viveiros de Castro, Didier Debaise, Gerard de Vries, Philippe Descola, Vinciane Despret, Jean-Michel Frodon, Martin Giraudeau, Sylvain Gouraud, Lesley Green, Martin Guinard-Terrin, Clive Hamilton, Graham Harman, Antoine Hennion, Andrés Jaque, Pablo Jensen, Bruno Karsenti, Sara Keel, Oleg Kharkhordin, Joseph Leo Koerner, Eduardo Kohn, Bruno Latour, Christophe Leclercq, Vincent-Antonin Lépinay, James Lovelock, Patrice Maniglier, Claudia Mareis, Claude Marzotto, Kyle McGee, Lorenza Mondada, Pierre Montebello, Stephen Muecke, Cyril Neyrat, Cormac O’Keeffe, Hans Ulrich Obrist, P3G, John Palmesino, Nicolas Prignot, Donato Ricci, Ann-Sofi Rönnskog, Maia Sambonet, Henning Schmidgen, Isabelle Stengers, Hanna Svensson, Thomas Thwaites, Nynke van Schepen, Consuelo Vásquez, Peter Weibel, Richard White, Aline Wiame, Jan Zalasiewicz

April 10, 2016–August 21, 2016
ZKM | Center for Art and Media Karlsruhe

Η Μνήμη της Επανάστασης

Kostis Velonis, Memorial to Collective Utopia,2010 
141 x 80 x 54 cm 
Wood, acrylic, watercolour

Στη διάρκεια των 100 χρόνων μετά την Οκτωβριανή Επανάσταση που συμπληρώνονται φέτος, τα σύμβολα, οι εικόνες, τα μηνύματα και τα συνθήματα, το πνεύμα, η ορμή, ο δυναμισμός και οι διαστάσεις ενός από τα ιστορικά γεγονότα που συγκλόνισαν τον κόσμο και καθόρισαν την ιστορία του 20ού αιώνα, παραμένουν επίκαιρα και αποτυπώνονται στη δημιουργία πολλών σύγχρονων εικαστικών. Η έκθεση με τίτλο «Η Μνήμη της Επανάστασης. Σύγχρονοι Έλληνες Εικαστικοί-100 χρόνια από την Οκτωβριανή Επανάσταση» στο Κρατικό Μουσείο Σύγχρονης Τέχνης στη Μονή Λαζαριστών από τις 22 Μαρτίου έως τις 22 Ιουλίου 2017, παρουσιάζει το «αφήγημα» της Οκτωβριανής Επανάστασης μέσα από την ιδιαίτερη προσέγγιση 31 σύγχρονων Ελλήνων εικαστικών δημιουργών, οι οποίοι καλούνται να δώσουν τη δική τους εκδοχή και να διαμορφώσουν μια ενιαία εικαστική παρέμβαση, για την ουτοπία της επανάστασης.
Τα έργα -ζωγραφική, γλυπτική, εγκαταστάσεις, χαρακτική, βίντεο- τα περισσότερα των οποίων δημιουργήθηκαν με αφορμή την έκθεση ανήκουν στους εικαστικούς: Μιχάλη Αρφαρά, Κωστή Βελώνη, Μπάμπη Βενετόπουλο, Ανδρέα Βούσουρα, Κορνήλιο Γραμμένο, Λυδία Δαμπασίνα, Δημήτρη Ζουρούδη, Αντιγόνη Καββαθά, Στέφανο Καμάρη, Δημήτρη Καρλαφτόπουλο, Θοδωρή Λάλο, Γιάννη Λασηθιωτάκη, Ανδρέα Λυμπεράτο, Αλέξανδρο Μαγκανιώτη, Δημήτρη Μεράντζα, Μανώλη Μπαμπούση, Ξενοφώντα Μπήτσικα, Νικόλα Μπλιάτκα, Αντώνη Παπαδόπουλο, Αλίκη Παππά, Κωνσταντίνο Πάτσιο, Νατάσσα Πουλαντζά, Νίκο Σεπετζόγλου, Γιάννη Σκαλτσά, Μάριο Σπηλιόπουλο, Γιώργο Τσεριώνη, Κώστα Τσώλη, Πάνο Χαραλάμπου, Κώστα Χριστόπουλο, Θοδωρή Χρυσικό και Γιάννη Ψυχοπαίδη. Η επιμέλεια της έκθεσης ανήκει στον Γιάννη Μπόλη, ιστορικό της τέχνη και επιμελητή του ΚΜΣΤ.
Πέρα από τον όποιο επετειακό χαρακτήρα, η έκθεση δεν είναι περιγραφική, ούτε φιλοδοξεί να υποκαταστήσει την αυστηρή ιστορική μελέτη, τις διαφορετικές αναγνώσεις, αντικρουόμενες ερμηνείες και αποτιμήσεις των ιστορικών. Αντίθετα, στοχεύει σ' έναν ξεχωριστό προβληματισμό και σε ιστορικούς και πολιτισμικούς συνειρμούς, με εκκίνηση έργα των Καζιμίρ. Μαλέβιτς, Ιβάν Κλιούν, Λιουμπόβ Ποπόβα, Κλιμέντ Ρέντκο, Αλεξάντρ Ρότσενκο, Κονσταντίν Μεντουνέτσκι, Αλεξέι Μπάμπιτσεφ, Ιβάν Κουντριασόφ, Ξένια Έντερ κ.ά από τη συλλογή Κωστάκη του ΚΜΣΤ, που παρουσιάζονται ως ξεχωριστή ενότητα στην έκθεση, μαζί με αρχειακό υλικό, περιοδικά, αφίσες και φωτογραφίες από το αρχείο Κωστάκη και ιδιωτικές συλλογές. Οι έννοιες της Επανάστασης και της Ουτοπίας βρίσκονται στον πυρήνα αυτής της ενότητας με τέσσερις διαφορετικές θεματικές: Νέα Αισθητική, Καθημερινή Ζωή, Εκπαιδευτικοί Νεωτερισμοί, Τέχνη και Προπαγάνδα. Η τέχνη εξάλλου της ρωσικής πρωτοπορίας αποτελεί μέχρι σήμερα για τους καλλιτέχνες μια ανεξάντλητη πηγή έμπνευσης, προβληματισμού και ερεθισμάτων.
Την έκθεση πλαισιώνουν αντικείμενα (αφίσες και προτομές με τους ηγέτες της Οκτωβριανής Επανάστασης, φωτογραφίες, ζωγραφικοί πίνακες σοσιαλιστικού ρεαλισμού, κ.ά.) της συλλογής του Βασίλη Κωνσταντίνου, την οποία έχει παραχωρήσει στο Κρατικό Μουσείο Σύγχρονης Τέχνης. Η συλλογή έχει συγκροτηθεί μέσα από πολυάριθμα ταξίδια και πεισματικές αναζητήσεις του συλλέκτη στη μεγάλη γεωγραφική περιοχή των Βαλκανίων και λειτουργεί αναμνηστικά, αλλά και ως υπόμνηση μιας μεγάλης πολιτικής ιστορίας και ταυτόχρονα πιο προσωπικά, αφού αποκαλύπτει πολλές κρυφές ιστορίες της ατομικής διαχείρισης της ιστορίας.

Επιμέλεια: Γιάννης Μπόλης
Κρατικό Μουσείο Σύγχρονης Τέχνης, Μονή Λαζαριστών
22 Μαρτίου – 22 Ιουλίου 2017

Wednesday, March 15, 2017

Poussez la porte, le soleil est à l'intérieur

Paul Nougé, Poussez la porte, le soleil est à l'intérieur, 1925 

Το όραμα για το «Tάμα του Εθνους»...

Η πολιτική επικαιρότητα των ημερών έφερε ξανά στην επιφάνεια ένα ζήτημα που γεννήθηκε λίγο μετά με την ίδρυση του σύγχρονου ελληνικού κράτους. Η ιστορία του «Τάματος του Εθνους» (ακριβέστερα, η φιλοδοξία ανέγερσης ενός ναού για τον Σωτήρα) μετρά κοντά 190 χρόνια ζωής. Με εκκίνηση την περίοδο του Καποδίστρια, το θέμα αναδύεται ιδιαίτερα στις μεγάλες επετείους της Επανάστασης του 1821 (όταν εορτάστηκαν, για παράδειγμα, τα 50 και 100 χρόνια), καθώς και σε στιγμές που πολλοί θεωρούν ότι ο Ελληνισμός απειλείται και ότι οφείλει να επιστρέψει στις ρίζες του για να αναγεννηθεί. Αυτό υπογραμμίζει ο πανεπιστημιακός Δημήτρης Αντωνίου, ο οποίος έχει αφιερώσει τα τελευταία χρόνια στην αρχειακή και εθνογραφική έρευνα της υπόθεσης, φέρνοντας στο φως νέα στοιχεία.

Από την Μαργαρίτα Πουρνάρα

The Plasticity of Libido After the Dillema of Abstraction and Figuration

Athens School of Fine Arts
Visual Arts Semester Courses. Spring 2017

The Plasticity of Libido After the Dillema of Abstraction and Figuration 

In some recent artistic practices, there is an approach that betrays the libido, in both its Latin sense as “desire” and its Freudian interpretation. In this section, we will see how “arts plastiques” borrow their ability to use supple materials from the vocabulary of psychoanalysis. We will focus on a certain sculpture and a certain three dimensional painting, in modern and contemporary art, that are viewed more on the level of matter than on the level of geometry. Our main guide to a critical examination of formless matter will be Georges Bataille’s ideas expressed in the journals Documents (1929-1930) and Acéphale (1936-1939). We will also discuss corresponding cases, in the history of music, of music viewed on the level of matter (the history of percussion instruments, the recording tape, the body as a musical instrument in embodied performance through sensors).

Ανώτατη σχολή καλών τεχνών
«Εικαστικές Τέχνες – Σεμινάρια Εαρινού Εξαμήνου” 2017

Η πλαστικότητα της λίμπιντο μετά το δίλημμα της αφαίρεσης και της αναπαράστασης

Σε κάποιες πρόσφατες καλλιτεχνικές πρακτικές υπάρχει μια κατεύθυνση που προδίδει τη libido, τόσο με την έννοια της λατινικής σημασίας της ως “επιθυμία” όσο και με την φροϋδική ερμηνεία του όρου. Στην συγκεκριμένη ενότητα θα διαπιστώσουμε πως οι “πλαστικές” τέχνες δανείζονται την ικανότητα για τη χρήση των εύπλαστων υλικών από το λεξιλόγιο της ψυχανάλυσης. Θα εστιάσουμε σε μια γλυπτική όπως και σε μια διευρυμένη ζωγραφική στη μοντέρνα και στη σύγχρονη τέχνη η οποία γίνεται αντιληπτή περισσότερο στο επίπεδο της ύλης και λιγότερο της γεωμετρίας. Οδηγός για μια κριτική αξιολόγηση της άμορφης ύλης θα αποτελέσουν κυρίως οι ιδέες του George Bataille μέσα από τις περιοδικές εκδόσεις Documents (1929-1930) και Acéphale (1936-1939). Αντιστοιχίσεις στην ιστορία της μουσικής, σε περιπτώσεις μουσικής η οποία γίνεται αντιληπτή στο επίπεδο της ύλης (ιστορία των κρουστών, μαγνητοταινία, το σώμα ως μουσικό όργανο στην embodied performance μέσω αισθητήρων).

Βιβλιογραφία/ Bibliography

Yve-Alain Bois & Rosalind Krauss, «Base materialism» in L' Informe. Mode d'Emploi. (Paris: Centre Georges Pompidou, 1996).

Georges Bataille, «Le bas materialisme et la Gnose», Documents, no 1, 1930

Georges Bataille, Ηλιακός πρωκτός, μετ. Κ. Παπαγιώργης (Αθήνα: Νεφέλη, 1980)

Salvador Dali “De la beauté terrifiante et comestible, de l’architecture Modern style”, Minotaure 3–4 (Paris: Editions Albert Skira, 1933)

Gilles Deleuze et Claire Parnet, Dialogues (Paris : Flammarion, 1977)

Denis Hollier, “The labyrinth, the pyramid and the Labyrinth” in Against Architecture : the writings of Georges Bataille (Cambridge, Massachusetts, London : The MIT Press,1992)

Ben Highmore “Imager-breaking , God -making Paollozi's Brutalism, October 136, Spring 2011

Jamer Hunt, Ingestion / The Shelf-Life of Liquefying Objects, Cabinet magazine, Issue 13, Spring 2004

Rosalind E. Krauss, “No More Play” in “The Originality of the Avante-Garde and Other Modernist Myths” (MIT Press, 1986)
Lewis Kachur, An afternoon on the outskirts of european history : Salvador Dali's Dream of Venus Pavilion in Displaying the Marvelous, Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations (Cambridge, Massachusetts: MIT Press, 2001).

Julia Kristeva, Pouvoirs de l'horreur : essai sur l'abjection (Paris : Édition Seuil, Collection : Tel Quel,1980)


Lemi, E. and Serafin S. (2016). Researching Gesture as a Multi-Sensory Haptic Feedback. In: Musical Gesture as Creative Interface. p.79-80

Lemi, E. (2016) Visual Narration in Sonic Ambience: a Case Study based on Tiberius Grotto, In: Ar- chaeoacoustics, The Archaeology of Sound II Conference, OTS Foundation, pp.81-92

Lucretius, On the Nature of Things (De Rerum Natura), transl. by Martin Ferguson Smith (Indianapolis & Cambridge: Hackett, 1969)

J. Laplanche & J.-B. Pontalis, Λεξιλόγιο της ψυχανάλυσης, μετ. Β. Καψαμπέλης, Λ. Χαλκούση, Α. Σκουλήκα, Π. Αλούπης. (Αθήνα: Κέδρος,1986), σ.385
Micheal Leiris, “Alberto Giacometti," Documents no 1, 1929
Piero Manzoni, “Free Dimension” in Charles Harrison and Paul Wood (eds.), Art in Theory 1900–2000: An Anthology of Changing Ideas, Oxford 1993, σ.709
Anthony Vidler, Homes for Cyborgs in The Architectural Uncanny: Essays in the modern unhomely (Cambridge, Massachusetts, London : The MIT Press,1992

Kostis Velonis “Alfred Jarry and Asger Jorn: The Epicurean Influence as Social “Swerve”

Κωστής Βελώνης, “Η γλυπτική της επιθυμίας”, Αυγή της Κυριακής, 31 Μαιου 2015

Βλάσσης Kανιάρης/ Nίκος Κεσσανλής/Γιώργος Λαζόγκας/ Ντόρα Οικονόμου/ Κώστας Σαχπάζης/ Μαρία Γεωργούλα/ Παντελής Χανδρής /Νανά Σαχίνη/Γιώργος Σαπουντζής/ Poka Yio
Vlassis Caniaris/ Nikos Kessanlis/Yorgos Lazongas/Dora Economou/Kostas Sahpazis/Maria Georgoula/ Pantelis Chandris/Nana Sachini/Poka Yio/Yorgos Sapountzis/
Μedardo Rosso/ Αlberto Βurri/ Lucio Fontana's Ceramica Spatiale/Piero Manzoni's 'Achromes','Artist's Shit' /John Latham/ Alina Szapocznikow / Dali's 'Dream of Venus Pavilion' 1939 /Antoni Tapies / Rauschenberg's 'Combines'/ Bernard Requichot's 'Reliquaires'/ Giacometti's Bord games/ Eduardo Paolozzi's lecture, ICA, London, 1958/ Paul McCarthy & Mike Kelley--Heidi, 1992


Keywords: plastizität der Libido- freie Beweglichkeit / L'informe (Formless) versus l'art informel / Dirty Abstraction/ / L'abject -Julia Kristeva/ Bas materialisme – Georges Bataille/ Agencement -Gilles Deleuze /Between Abject and Grotesque/ Sculpture hysterique-Dali/Karl Marx's 'Warenfetischismus' / Abjection as Swerve / Clinamen -Lucretius.

Friday, March 10, 2017


Documents: doctrines, archéologie, beaux-arts, ethnographie was a Surrealist art magazine edited by Georges Bataille. Published in Paris between April 1929 and January 1931, it ran for 15 issues, each of which contained a wide range of original writing and photographs.

Tuesday, March 7, 2017

On the mineralogy of the “Anthropocene Epoch”

The “Anthropocene Epoch” has been proposed as a new post-Holocene geological time interval—a period characterized by the pervasive impact of human activities on the geological record. Prior to the influence of human technologies, the diversity and distribution of minerals at or near Earth’s surface arose through physical, chemical, and/or biological processes. Since the advent of human mining and manufacturing, particularly since the industrial revolution of the mid-eighteenth century, mineral-like compounds have experienced a punctuation event in diversity and distribution owing to the pervasive impact of human activities. We catalog 208 mineral species approved by the International Mineralogical Association that occur principally or exclusively as a consequence of human processes. At least three types of human activities have affected the diversity and distribution of minerals and mineral-like compounds in ways that might be reflected in the worldwide stratigraphic record. The most obvious influence is the widespread occurrence of synthetic mineral-like compounds, some of which are manufactured directly for applications (e.g., YAG crystals for lasers; Portland cement) and others that arise indirectly (e.g., alteration of mine tunnel walls; weathering products of mine dumps and slag). A second human influence on the distribution of Earth’s near-surface minerals relates to large-scale movements of rocks and sediments—sites where large volumes of rocks and minerals have been removed. Finally, humans have become relentlessly efficient in redistributing select natural minerals, such as gemstones and fine mineral specimens, across the globe. All three influences are likely to be preserved as distinctive stratigraphic markers far into the future.

Text by Robert M. Hazen, Edward S. Grew,Marcus J. Origlieri, Robert T. Downs


One of my studies on visual poetry, using typography, something I really love.
© Ana Mendes 2014, all rights reserved.


Borders (Puppetry for Long Distance People) 2016
 Concrete, wood, acrylic
 25 x 58 x 25 cm

Thursday, March 2, 2017


André Masson, Acéphale, nº 2, 1937

Wednesday, March 1, 2017

The Impossible Return and the Question of Diaspora

Athens School of Fine Arts
Visual Arts Semester Courses. Spring 2017

The Impossible Return and the Question of Diaspora

The aim of the class is to attempt to juxtapose different approaches to critical discourses around the notion of sculpture in the expanded field. Symptoms that range from the modernist abolition of the enclosed sculptural mass, to recent affinities of the sculptural medium with an architectural conception of contemporary cultural production will be examined through an interdisciplinary methodology including essays and conversations with artists and scholars.

In the aftermath of a subversive modernism nowadays, the effect of this opening up will enable the emergence of a vital space which ultimately is literally inhabited.

How does contemporary art respond to the violent but also conscious displacements or to the experience of exile and Diaspora? How are the morphological narratives affected by a revision of the dominant narratives on the static view of an obsolete territorial and gender identity? How can we still have a sense of urgency designed into a sculpture that translates the precarious form of employment? How does this quest for mobility translate into the traditional artistic media? Ultimately, are there still any viable reasons why we should be fascinated by the tectonic rigidity of the form?
Focusing on student’s identity as artists and social beings we take into consideration the fact that visual arts are also connected to other arts, innovative technology, human studies and science.
The class is subdivided into 3 chapters, one for each of the spring months: 

MarchThe plasticity of libido after the dillema of abstraction and figuration 
April: Beyond the border
May: Games of scale; from the architectural model to dollhouse 
Every Thursday 11:00 - 3:00 at the old library room 
Lecturers: Esther Lemi, Kostis Velonis
up to 30 students (listeners are welcome); subscribe until Feb 28 at   

Ανώτατη σχολή Καλών τεχνών
«Εικαστικές Τέχνες – Σεμινάρια Εαρινού Εξαμήνου” 2017

Η αδύνατη επιστροφή και το ερώτημα της διασποράς

Στόχος του μαθήματος είναι να αναρωτηθούμε μέσα από μια διεπιστημονική μεθοδολογία πάνω στα συμπτώματα της σταδιακής κατάργησης του περίκλειστου πλαστικού όγκου, του ανοίγματος του σχεδίου και της πανοπτικης προδιάθεσης του τεχνολογικού υλικού ώστε να καταδείξουμε τις συγγένειες προς μια αρχιτεκτονική σύλληψη της σύγχρονης πολιτισμικής παραγωγής.

Στον απόηχο μιας ανατρεπτικής νεωτερικότητας οι συνέπειες αυτής της διάνοιξης που φέρουν το ρήγμα στην παραδοσιακή αυτονόμηση του έργου τέχνης θα αντιπαρατεθεί από μια αναλυτική προσέγγιση που κάνει ορατές τις κατασκευαστικές λεπτομέρειες του έργου και επιτρέπει την ανάπτυξη ενός ζωτικού χώρου μέχρι την κυριολεκτική κατοίκηση του.

Αυτή η χωρική κατεύθυνση θα αποδοθεί εξίσου στις κοινωνικές επιστήμες , όπου θα αναδειχθούν εκείνα τα χαρακτηριστικά που επιτρέπουν την απομυθοποίηση τόσο από τους κανονιστικούς κώδικες μιας 'ομαλής' σύλληψης του έργου τέχνης όσο και από μια οντολογική εδραιστική αντίληψη της σχέσης του υποκειμένου με μια αυστηρή γεωγραφική ζώνη.

Πώς ανταποκρίνεται η σύγχρονη τέχνη στις βίαιες αλλά και στις συνειδητές παρεκτοπίσεις όπως και στην εμπειρία της εξορίας και της διασποράς; Πώς μια αναθεώρηση των κυρίαρχων αφηγήσεων πάνω στη στατική αντίληψη μιας παλιωμένης ταυτότητας του εδαφικού και του φυλετικού επιδρά στις μορφολογικές αφηγήσεις; Πώς μπορεί να υφίσταται ένας σχεδιασμός του επείγοντος σε μια γλυπτική που μεταφράζει τις επισφαλείς μορφές εργασίας; Πώς μεταφράζεται αυτή η αναζήτηση της κινητικότητας στα παραδοσιακά εκφραστικά μέσα; Τελικά υπάρχουν ακόμη βάσιμοι λόγοι όπου μπορεί να μας γοητεύει η τεκτονική ακαμψία της φόρμας;

Μάρτιος : Η πλαστικότητα της λίμπιντο μετά το δίλημμα της αφαίρεσης και της αναπαράστασης
Απρίλιος: Πέρα από τα σύνορα
Μάιος: Παιχνίδια της κλίμακας: από το αρχιτεκτονικό μοντέλο για κουκλόσπιτο
Κάθε Πέμπτη 11:00-3:00 στην παλιά αίθουσα βιβλιοθήκης

Διδάσκοντες: Εσθήρ Λέμη, Κωστής Βελώνης