https://www.youtube.com/watch?v=VQwAU6klke0
La cuccagna, released as A Girl... and a Million, directed by Luciano Salce, 1962
Wednesday, December 18, 2019
La cuccagna
https://www.youtube.com/watch?v=VQwAU6klke0
La cuccagna, released as A Girl... and a Million, directed by Luciano Salce, 1962
Saturday, December 14, 2019
Αφηγήσεις της ρυπαρότητας : Βρώμικο και λασπώδες
Αφηγήσεις της ρυπαρότητας : Βρώμικο και λασπώδες
Dirty and Muddy
Βιβλιογραφία /Bibliography
REF/ Works Cited / films
REF/ Works Cited / films
White, Anthony, Lucio Fontana: Between Utopia and Kitsch, Grey Room, No. 5 Autumn, 2001, pp. 54-77
Lucio Fontana, Ceramica spaziale, 1949
Galimberti, Jacopo, The Intellectual and the Fool: Piero Manzoni between the Milanese Art Scene and the Land of Cockaigne, Oxford Art Journal, Vol. 35, No. 1, 2012, pp. 75-93
Piero Manzoni, Socle du monde (base of the world), 1961 https://kostisvelonis.blogspot.com/2019/12/socle-du-monde.html
Rohrer, Denis, In the land of Cockaigne
https://www.alimentarium.org/de/node/3968
La cuccagna, released as A Girl... and a Million, directed by Luciano Salce, 1962
Corpi d'Aria di Piero Manzoni, 1959. https://kostisvelonis.blogspot.com/2019/12/httpsyoutu.html
Ponge, Francis, Η φωνή των πραγμάτων, μτφρ. Χριστόφορος, Λιοντάκης, Αθήνα : Γαβριηλιδης, 1999
Ghostbusters Movie CLIP - He Slimed Me (1984)
The Green Slime (1968) trailer
Slime People, The 1963 Trailer
Lovecraft Howard Phillips, Ο τρόμος του Ντάνγουιτς, μτφρ. Πανώριος Μάκης, Αθηνα : Αιολός, 1986
Sartre, Jean Paul, Το είναι και το μηδέν, μτφρ. Παπαγιώργης Κωστής, εκδ. Αθήνα : Παπαζήσης, 2008
Krauss, Rosalind, “Informe” without Conclusion. October, Vol. 78, Autumn 1996, pp. 89-105.1996
Bois, Yve-Alain & Rosalind Krauss, «Base materialism» in L' Informe. Mode d'Emploi. (Paris: Centre Georges Pompidou, 1996).
Bataille, Georges «Le bas materialisme et la Gnose», Documents, no 1, 1930
Charlotte, Healy, A Radical Disregard for the Preservation of Art: Robert Rauschenbergs Elemental Paintings, Interventions Journal, issue 1, Vol.4
Mikhail Bakhtin, Rabelais and His World, trans. Helena Iswolsky, Indiana University Press: Bloomington, 1984.
Georges Bataille, Ηλιακός πρωκτός, μτφρ. Παπαγιώργης Κωστής, Αθήνα : Νεφέλη, 1980.
Olli Lagerspetz , Dirt and refuse in a world of Things
Campkin, Ben, Placing “Matter Out of Place”: Purity and Danger as Evidence for Architecture and Urbanism, Architectural Theory Review, 18:1, 46-61, 2013 https://www.tandfonline.com/doi/full/10.1080/13264826.2013.785579
Αδεξιότητα και νεωτερικότητα (We Are All Clowns)
Τέχνη στο συγκείμενο ( Art in context )
ΑΣΚΤ -Χειμερινό εξάμηνο
Αμφιθέατρο νέας βιβλιοθήκης, Πειραιώς 256
Accurata Utopiae Tabula Das ist Der Neu entdeckten Schalk Welt oder des so offt benannten, und doch nmie erkannten Schlaraffenlandes
Accurata Utopiae Tabula, an "accurate map of Utopia”. Johann Baptist Hommann’s map of Schlaraffenland published by matthaus Seutter, Ausburg, 1730
Socle du monde
Piero Manzoni, Socle du monde (base of the world), 1961
Iron, bronze
82 x 100 x 100 cm
Unfinished Ode to Mud
Our soul resents it. Our feet and wheels trample it. “Mud” is how we address those we hate, paying little attention to the injustice done to the mud. Does it really deserve the constant humiliation, attacked with such an atrocious persistence? Mud, so despised, I love you. Mud is pleasant to the noble hearts because it is despised. In my essay, oh mud, fly in the face of your detractors! How beautiful you look after the rain has softened you — beautiful, you, carried on blue wings!
When not only the distant, but all that is close-by has turned dark and like in a dream with a funeral, the rain beats suddenly, bruising the earth. That is when the ground starts melting into mud. And those of pure gaze adore it. The azure kneels upon the slimy body broken by the hostile wheels; during long intervals from a deep teal to an opinionated passage, who knows where, liberty and devotion guide our steps. This is how a savage spot turns into a loveliest place giving off a powdered odour.
From there on, the earth’s finest flower, the bane of artist’s life, mud flies best, and defends itself best against the feet of its detractors. All by itself, it resists our direct approach, forcing long detours on stilts. And it’s not due to the lack of hospitality or a surplus of jealousy, since she immediately attaches herself to whoever is coming by — that dog of mud keeps jumping on me, holding onto my foot; and she holds with tenacity, no matter her age — the older, the stronger the grip: When I trespass, when I enter her domain, she doesn’t let me go, but fastens onto my limbs, lassos them with elastic traps, grapples them like wrestlers lying on the ground.
What do you think about such lasting connection? You find it overbearing? Not me. An emotional tie I can readily forgive. I certainly prefer it to indifference: better to be caked in mud than making little progress. I adore it, although my pace is slackened; and I am grateful in spite of all the detours forced upon me.
Mud appeals to the valiant. You left your footprints on her face — she’s got your number and will pay back. Your destiny is sealed. She dies clenching her jaws. Mud perseveres, you have to wait for her to dry before she lets go. Its stick-to-it-ive-ness is that of ivy. You cannot brush her off. Try better scraping with a knife, scratching to dust, — that’s right, dust, which shares the destiny of all the carbohydrates, including ourselves.
Certain books, whose time has passed — they have done all the damage, as well as all the good they could, had claimed mud as the origins of man. Man is an imposter and is not without his pretentious claims. Certainly, the claim was meant as derogatory, to keep us down, to strip us of all the pretensions. Actually it is derogatory for both mud and man. There are no obvious ties of close kinship between the two of us. Man’s flesh is too pink for that — we’ll talk about man in his turn. As for the mud’s pretensions, the most important of them is that there’s nothing we can do to it and that we cannot give it any structure.
It carries on the way snails and earthworms do when they pass through it, and reciprocally, the way mud passes through them – phlegmatically like slime passes through certain fish. If I were poetically inclined, I could continue the way I did earlier when talking about mud-wrestling, lassos and ivy; but myself, just like all the others who happen to be bogged down and should let mud dry, waiting on the side of the road, I need to let it dry now in this text. Although truth be told, I cling to that mud a lot more than the mud clings to my poem; so, it is really up to me to quit putting mud into words, especially since by definition, mud is hostile to form and is the bastion of resistance to all things artistic; in fact, I believe it entices me in order to frustrate. Therefore, the best I can do to its glory andmy shame is diligently quit wrestling with this unfinished ode….
Francis Ponge
https://francispongeonlineanthology.wordpress.com/2017/08/02/mud-the-unfinished-ode-a-text-of-francis-ponge-translated-by-vadim-bystritski/
Fiato d'artista di Piero Manzoni
https://youtu.be/7gbQV8nITRw
The forty-five Corpo d’aria (literally: body of air) that Manzoni made in 1959 consist of a large white balloon and a stand in a specially made box. The buyer could purchase only the base and an empty balloon, or the balloon filled with the artist’s breath. This latter version was more expensive: 200 lire per litre of breath. Each balloon can hold 300 litres. In this series Manzoni plays with the aura of the artist and the desire to preserve everything he produces.
Sunday, December 1, 2019
Objects
Inanimate objects are always correct and cannot, unfortunately, be reproached with anything. I have never observed a chair shift from one foot to another, or a bed rear on its hind legs. And tables, even when they are tired, will not dare to bend their knees. I suspect that objects do this from pedagogical considerations, to reprove us constantly for our instability.
Zbigniew Herbert
𝙖.𝙊.-𝙗.𝙘.(after Olympics - before crisis)
Kostis Velonis, Athens Community in the Kibbutz
Hard paper, marble, ceramic, wood, acrylic, brick, 2010
Hard paper, marble, ceramic, wood, acrylic, brick, 2010
Fifteen years after the end of the 28th Olympic Games in Athens, Greece has not recovered from the crisis. Traveling back to 2004-2010, a re-visiting through the spectrum of culture reveals a lot about the climate then and now. In September 2004, just after the successful hosting of the Olympics, Greece was slowly embarking on a economic downturn, invisible to the majority of the population. It led on April 23rd 2010, to then Prime Minister George Papandreou to announce that Greece was entering the International Monetary Fund (IMF) support mechanism; the beginning to an endless path of austerity.
This exhibition sheds light on a five-year period of rich audio and visual cultural production in the interval between those two events: the end of the Olympics, and the entry into the IMF mechanism. The prevailing global narrative on Greece at the end of the Olympics was a positive one: the cradle of European thinking, the mother of Western culture, succeeded in organising a highly celebrated aesthetically pleasing event that was viewed by millions all over the world. In just five years Greece would have a completely different profile on the front pages of international press, as a bankrupt country, not civilised enough, in a collapsed financial state due to corruption and over-spending of European grants; a country that over-borrowed but was begging for more money. A country that wanted to deceive the economically stable Northern Europe, with Greeks portrayed as "lazy".
This exhibition attempts to trace the footprints of this change over the past five years through examples of cultural production of the period, and to contour what kind of climate was prevailing in Athens by the end of the Olympics, and how it shifted but also to look for possible examples of utopian or dystopian representations for a future for Athens and Greece through the narrative of artists, filmmakers, musicians and designers.
a.O. - b.c. zooms in specifically on the question of art and its relationship to the fetishistic narrative (both foreign and of the Greek society) of contemporary Greece as a continuation of its ancient heritage as well as its reflection on the concept of “Greekness”, and furthermore aims to unearth the articulation of a glossary that contoured the cultural production of the period. The exhibition aims to highlight the efforts traced in cultural production that formed the basis but also the introduction, to the current international interest in Athens in its post-documenta era.
From artistic collectives, curatorial initiatives and independent movements of filmmakers, to music groups with a newfound political discourse and experimentations through new media, cultural production in Athens between 2004-2010 was a nucleus for the redefinition of national identity, sociopolitical concerns, investigations and positioning but also a ground for a new discourse that described local cultural production in new terms in relation to its past but also the global international scene.
The exhibition serves as a sample presentation of a small section of many examples of initiatives and actions presented at that time, through the memories of State of Concept's team (Vicky Zioga, Electra Karatza, Maria Adela Konomi, Lydia Markaki and iLiana Fokianaki).
This exhibition sheds light on a five-year period of rich audio and visual cultural production in the interval between those two events: the end of the Olympics, and the entry into the IMF mechanism. The prevailing global narrative on Greece at the end of the Olympics was a positive one: the cradle of European thinking, the mother of Western culture, succeeded in organising a highly celebrated aesthetically pleasing event that was viewed by millions all over the world. In just five years Greece would have a completely different profile on the front pages of international press, as a bankrupt country, not civilised enough, in a collapsed financial state due to corruption and over-spending of European grants; a country that over-borrowed but was begging for more money. A country that wanted to deceive the economically stable Northern Europe, with Greeks portrayed as "lazy".
This exhibition attempts to trace the footprints of this change over the past five years through examples of cultural production of the period, and to contour what kind of climate was prevailing in Athens by the end of the Olympics, and how it shifted but also to look for possible examples of utopian or dystopian representations for a future for Athens and Greece through the narrative of artists, filmmakers, musicians and designers.
a.O. - b.c. zooms in specifically on the question of art and its relationship to the fetishistic narrative (both foreign and of the Greek society) of contemporary Greece as a continuation of its ancient heritage as well as its reflection on the concept of “Greekness”, and furthermore aims to unearth the articulation of a glossary that contoured the cultural production of the period. The exhibition aims to highlight the efforts traced in cultural production that formed the basis but also the introduction, to the current international interest in Athens in its post-documenta era.
From artistic collectives, curatorial initiatives and independent movements of filmmakers, to music groups with a newfound political discourse and experimentations through new media, cultural production in Athens between 2004-2010 was a nucleus for the redefinition of national identity, sociopolitical concerns, investigations and positioning but also a ground for a new discourse that described local cultural production in new terms in relation to its past but also the global international scene.
The exhibition serves as a sample presentation of a small section of many examples of initiatives and actions presented at that time, through the memories of State of Concept's team (Vicky Zioga, Electra Karatza, Maria Adela Konomi, Lydia Markaki and iLiana Fokianaki).
With:
Loukia Alavanou, Nadja Argyropoulou, Barking Dogs United (Nikos Arvanitis and Naomi Tereza Salmon), Bill Balaskas, Manolis Baboussis, Athens Biennial, Margarita Bofiliou, Mary and the Boy, Amateur Boyz, Voltnoi Brege, Berlin Brides, Kostas Christopoulos, Lydia Dambassina, Dora Economou, DESTE Foundation, Anastasia Douka, Drog A Tek, Erasers, Futura editions, Farida el Gazzar, Eva Giannakopoulou, Marina Gioti, Kyriaki Goni, Yota Ioannidou, Lakis & Akis Ionas / The Callas, Dionysis Kavallieratos, Eleni Kamma, Vlassis Kaniaris, Nikos Kanarelis, Irini Karayannopoulou, Elpida Karaba, Vasilis Karouk, Panos Kokkinias, Panos Koutras, Yorgos Lanthimos, Panayotis Loukas, Greece is for Lovers, Vardis Marinakis, Yolanda Markopoulou, Christoforos Marinos, Dimitris Merantzas, Margarita Myrogianni, Nikos Navridis, Nikos Nikolaidis, Orthologistes, Malvina Panagiotidi, Rallou Panagiotou, Maria Papadimitriou, Ilias Papailiakis, Leda Papakonstantinou, Eftyhis Patsourakis, Tassos Pavlopoulos, Natassa Poulantza, Theo Prodromidis, Kostas Roussakis, Nana Sachini, Kostas Sahpazis, Yorgos Sapountzis, Cristos Sarris, Fani Sofologi, Stixoima, Danae Stratou, Stefania Strouza, Thanasis Totsikas, Sofia Touboura, Nikos Tranos, Alexandros Tzannis, Syllas Tzoumerkas, Panos Tsagaris, Athina Rachel Tsangari, Jannis Varelas, Kostis Velonis, Vangelis Vlahos, Eirini Vourloumis, Tassos Vrettos, Poka-Yio, Despoina Zefkili, Mary Zygouri.
Loukia Alavanou, Nadja Argyropoulou, Barking Dogs United (Nikos Arvanitis and Naomi Tereza Salmon), Bill Balaskas, Manolis Baboussis, Athens Biennial, Margarita Bofiliou, Mary and the Boy, Amateur Boyz, Voltnoi Brege, Berlin Brides, Kostas Christopoulos, Lydia Dambassina, Dora Economou, DESTE Foundation, Anastasia Douka, Drog A Tek, Erasers, Futura editions, Farida el Gazzar, Eva Giannakopoulou, Marina Gioti, Kyriaki Goni, Yota Ioannidou, Lakis & Akis Ionas / The Callas, Dionysis Kavallieratos, Eleni Kamma, Vlassis Kaniaris, Nikos Kanarelis, Irini Karayannopoulou, Elpida Karaba, Vasilis Karouk, Panos Kokkinias, Panos Koutras, Yorgos Lanthimos, Panayotis Loukas, Greece is for Lovers, Vardis Marinakis, Yolanda Markopoulou, Christoforos Marinos, Dimitris Merantzas, Margarita Myrogianni, Nikos Navridis, Nikos Nikolaidis, Orthologistes, Malvina Panagiotidi, Rallou Panagiotou, Maria Papadimitriou, Ilias Papailiakis, Leda Papakonstantinou, Eftyhis Patsourakis, Tassos Pavlopoulos, Natassa Poulantza, Theo Prodromidis, Kostas Roussakis, Nana Sachini, Kostas Sahpazis, Yorgos Sapountzis, Cristos Sarris, Fani Sofologi, Stixoima, Danae Stratou, Stefania Strouza, Thanasis Totsikas, Sofia Touboura, Nikos Tranos, Alexandros Tzannis, Syllas Tzoumerkas, Panos Tsagaris, Athina Rachel Tsangari, Jannis Varelas, Kostis Velonis, Vangelis Vlahos, Eirini Vourloumis, Tassos Vrettos, Poka-Yio, Despoina Zefkili, Mary Zygouri.
Athens School of Fine Arts (ASFA)
State of Concept
12 Dec-15 Jan
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