Joko eta jolas

Kostis Velonis artistaren Sheltered lana, 2013koa

Maiz jo ditugu sinonimotzat joko eta jolas, baina ez dute gauza bera izendatzen. Arautua da jokoa, lehia dakar, eta baita irabazle eta galtzaileak ere, dirua ere tartean dela sarri. Egon liteke zoriaren esku utzitako parteren bat, eta trebezia behar izaten da arerioei eta zirkunstantziei aurre egiteko. Halakoak dira karta-jokoak, futbola edo esku-pilota, esaterako. Jolasari begiratzen badiogu, berriz, araurik, lehiarik, garailerik eta dirurik gabeko eginkizuna da, momentuko behar espontaneoari jarraitzen diona. Euskaltzaindiaren Hiztegiaren arabera, atsegin hartzen da jokoarekin, eta atsegin eta atseden jolasarekin. Definitzeko modu bat da atsedenaren aipamen hori, baina jolasak ere izan ditzake bere buruhausteak, beste era batekoak. Egia da jokoak piztu ohi dituela gehien tentsioa eta adrenalina, baina horrek ez du esan nahi jolasa hala moduz edo arretarik eta ahaleginik gabe egin beharreko kontua denik.

Konparazio —behartu— bat egingo bagenu egunerokotasuneko jarduerekin, soldatapeko lanpostuak badu jokoarekin zerikusirik. Aurrez ezarritako arauen barruan, eta dirua tartean dela, espero denari eta ez denari aurre egiteko gaitasunak erakutsi beharrak bat egiten du postfordismoaren funtzionamenduarekin. Beste aldean, emaitza arrakastatsu baten antsiarik gabe eta guk hala nahita egiten duguna izan daiteke jolasa. Jakitun naiz bizitza ez dela benetan partetan erraz banatzekoa, eta sailkapen horretatik kanpo geratzen direla ekintza asko —ordainsaririk gabeko lanak, eta abar—, baina hurrengo paragrafoetan zerbait esatea ahalbidetuko didan sinpletze ariketa egiten ari naiz.

2020ko udaberriko itxialdiaren inguruetan, kulturaren ustezko balioespen mezuak zabaldu ziren, ez omen genuelako izango bestela etxean zerekin entretenitu. Baina entretenimenduarekin lotzeak, goretsi ordez, gutxietsi egiten du kultura benetan. Gainera, denbora-pasagarri izan zen kultura hori, industriak sortutako ikus-entzunezkoak izango ziren gehienbat —nire inpresiotik diot, daturik gabe—. Enpresa handiek prestatutako produktuak dira horiek, non askotan dena oso ondo diseinatuta dagoen hartzaileak esfortzurik gabe arretarik gal ez dezan, eta beti ikusten jarraitu nahi izan dezan. Hain justu, nire inguruan bati baino gehiagori entzun izan diot hori dela telesail edo film bati eskatzen diona; eguneko kezken ondoren tarte batez dena ahaztu ahal izatea, edo «entzefalograma lau» jartzea, esaera hori ere erabiltzen da. Entretenimenduarekiko loturaren atzean sakoneko zer ikuskera dagoen pentsatzen jarrita, esan daiteke produktibitatea —jokoa— kontsideratzen dela inportantea, eta, beste aldean, jokoarekin jarraitzeko beharrezkoa den atsedengarri arintzat —eta batzuetan narkotikotzat— hartzen dela jolasa, kultur sorkuntzak ere tartean sartuta.

Interesgarri deritzot Carl Gustav Jung psikologoaren autobiografian datorren pasarte bati. Kontatzen duenez, galduta eta trabatuta ikusi zuen bere burua denboraldi batez, eta ez zekien zer gertatzen zitzaion, ezta hortik nola atera zitekeen ere. Amore emanda, kontzienteki libratu zituen inkontzienteko bulkadak, eta hamar-hamaika urte zitueneko oroitzapena etorri zitzaion: harri eta lokatzezko eraikuntzatxoak egiten ikusi zuen bere burua. Helduak falta zuen lilura ezagutu zuen haurrarengan, eta ekintza hartara itzuli beharko zuela pentsatu zuen. Erresistentziaz eta umiliazio sentsazioz bizi izan zuen haur jolasetan hasi beharra, baina ez zuen beste irtenbiderik aurkitu. Ahal zuen guztietan harrizko etxetxoak egiten hasi zen orduan, bazkalostean nagusiki, eta arratsean ere bai, pazienteekin goiz amaitzen bazuen. Kontatzen duenez, huraxe izan zen aurreranzko bidea topatzeko modua, aurretik ez zituen bestelako pentsamendu batzuk sortu zitzaizkiolako ekintza horren bidez. Eta gerora inoiz berriz ere trabatzen bazen, pintatu edo harri bat lantzen zuen.

Hori irakurtzen diodanean, arretatsuki jarduten irudikatzen dut nik, dela pazienteekin kontsultan edo harriekin jolasean. Oso astuna eta probetxurik gabekoa izan daitekeelako erdizka edo arreta eta ahalegin gutxieneko bat gabe egiten dena, ez bada espresuki esfortzurik batere gabekoa izateko diseinatutako zerbait, lehen aipatutako ikus-entzunezkoak bezala. Jolasa bera ere aspergarria izan daiteke arretarik jarri gabe. Bestalde, aipatzekoa da egilearen ikuspuntutik bizitako esperientzia bat dela kontatutako Jungen hori, baina eraldatzaileak izan daitezkeela hartzailearen lekutik bizitakoak ere. Eta pertsona jakin baten kasu zehatz bat da, ez duena zertan denentzat eredu izan. Artea bizitzeko modu asko daude, eta ez da dena umetako jarduera atseginetan ibiltzea. Hori baino askoz gehiago dago, eta buruhauste dezentez gehiagotan sartu ohi gara honetan denbora asko ematen dugunak —profesionalizatu nahi izatekotan, gainera, neurri batean joko ere bihurtzen zaigu lehen jolas soila zena, jolasaren kaltetan—. Baina, dena dela, jolasa denbora-pasagarri hutsa ez delako adibide ona da Jungena. Eman daitezkeen askoren arteko bat; bere burua bide ezberdinetatik sakonki ezagutzen saiatu zen norbaitena, kasu honetan.

Oier Iruretagoiena

https://www.berria.eus/paperekoa/1957/039/001/2022-10-02/joko-eta-jolas.htm 

Ανεμοδείκτης

Ανεμοδείκτης, 2022

Κυπαρίσσι, βυθισμένο πλοίο 

 

Η συγκεκριμένη γλυπτική χειρονομία που αφορά στην τοποθέτηση ενός  κυπαρισσιού διαγώνια  προς την θάλασσα, προκύπτει από την ιδέα του «ριζώματος», της εδραίωσης, αλλά και μιας αντίθετης συνθήκης, αυτή της «εκρίζωσης» και του ξεριζωμού ως μιας ευρύτερης έννοιας που σχετίζεται με τη βίαιη μετακίνηση. Οι δεντροφορίες (dendrophoriae) στην αρχαία Ελλάδα, γιορτές στις οποίες μετέφεραν τα δέντρα στους κεντρικούς δρόμους της πολιτείας, υπενθύμιζαν την εγγύτητα της αγροτικής ζωής μέσα στην πόλη, με την επανένωση του φυσικού στοιχείου με το τεχνητό. Όμως, η κυριολεκτική σημασία της μεταφοράς και της κίνησης αποτελεί μαρτυρία μιας αντίληψης για την εμψύχωση του δέντρου. Το κυπαρίσσι μετακινείται και επανατοποθετείται σε ένα προσωρινό σημείο στην ακτογραμμή της Ελευσίνας, στο ύψος του λιμανιού, πίσω από ένα βυθισμένο πλοίο, το κατάρτι του οποίου εξέχει, παίρνοντας διαγώνια κλίση. Στη διάρκεια της εγκατάστασης, κάποια τμήματα από το ανυψωμένο και στηριγμένο στα «τσιμεντένια κράσπεδα» κυπαρίσσι θα αποσπαστούν από την κύρια δομή, θα πέσουν ή θα σπάσουν. Η «ανεμόφιλη» κλίση του μπροστά από το λιμάνι της Ελευσίνας λειτουργεί ως ένδειξη μιας μετεωρολογικής συνθήκης, ένα είδος ανεμοδούρας. 

Η πλάγια κλίση του κυπαρισσιού συνεπάγεται τη δράση μιας δύναμης, τη σθεναρή αντίσταση  που συμπεριλαμβάνει την ανθρώπινη θέληση ενάντια στην οριζοντιότητα και τη λήθη. Όπως και με τη μεγάλη γλυπτική κατασκευή μέσα στα Παλαιό Ελαιουργείο Ελευσίνας, τα όρια του οργανικού-ανόργανου, της κίνησης και της ακινησίας, της έμψυχης και της άψυχης ύλης, της άνθησης και του μαρασμού στην έκκεντρη  τοποθέτηση αυτού  του δέντρου, είναι διαπραγματεύσιμα. Η «λοξή» στάση του δέντρου αναδεικνύει έννοιες όπως το βάρος, την ισορροπία, την οικοδόμηση και την πιθανή κατάρρευση, προβάλλοντας επιπλέον τη μεταβαλλόμενη πλαστικότητα του «καιρού» σε ένα προσωρινό ρίζωμα, το οποίο αγωνίζεται για να διατηρηθεί ζωντανό.  

Thighs of Demeter

Thighs of Demeter, 2022

2,5 x 8,2 x 12 m

 

The goddess Demeter and her daughter, Persephone, offer the ideal narrative for the merging of the inorganic with the organic element and how seemingly different entities and physical phenomena, defined by movement or immobility, animate and inanimate matter, flourishing and withering, can overlap and not work in opposition. The installation is a strict geometric delimitation that functions as a mechanism of gestation and harvesting, with agricultural activities being linked to the erotic act. However, the erotic narrative in this monumental sculptural installation is not only underlined by the triangular shape of its structure, but is also found in the functionality of the construction. The “thighs of Demeter” function as an insect shelter with floors consisting of different recyclable materials and plants, which “seduce” all kinds of insects that assist in the pollination process. The architectural scale of the construction connects to the notion of moira as protractor measurement unit with the notion of moira as destiny and luck. The stakes of this upright and vertical anthropomorphic field do not only concern the surface of the earth and the height of a “wind-friendly” structure, but also address a reverse course, where height can be understood as an ultimate depth. All the agricultural activities that Demeter (earth mother) takes care of by plowing, sowing and harvesting, also involve the chthonic element. Persephone and her stay in Hades for some months of the year reflect the continuation of a permanent existential narrative with the natural life cycle of plants as a symbol of birth, death and rebirth. 

 

MYSTERY 22 | Straw falling on concrete floors
Kostis Velonis

2023 Eleusis European Capital of Culture @2023eleusis 

Wednesday-Sunday 17:00-21:00

Old Olive Mill, Elefsina

28/8 - 23/10

 

Cur. by Zoi Moutsokou @zoi_moutsokou , Ioanna Gerakidi @ioanna.gerakidi 
Architectural curation: A Whale’s architects @a_whales_architects & Diogenis Verigakis @diogenisver 
opbo studio @opbostudio 
Scientific and material contribution: Agricultural University of Athens @agricultural_university_athens 

 

Builders, Housewives and the Construction of Modern Athens

Tassos Langis and Yannis Gaitanidis, Builders Housewives and the construction of Modern Athens, (still) 2022, film.

To celebrate the revised third edition of Ioanna Theocharopoulou’s book Builders, Housewives and the Construction of Modern Athens (Onassis Foundation, 2022), the Onassis Foundation is hosting a wide-ranging discussion in the context of Archtober 2022 (NYC's Architecture and Design Month) about the relevance of this modern city, its architecture, and ancient history. In a parallel trajectory, the Onassis Foundation produced documentary, by Tassos Langis and Yiannis Gaitanidis, based on Ioanna Theocharopoulou’s book and sharing the same title, begins (also this fall in New York) its United States and Canada tour, as part of the official Architecture and Design Film Festival program (2022–23).

North American premiere at the Architecture and Design Film Festival 2022
The city of Athens is so much more than the classical architecture that adorns it since there is a vibrant energy, buzz, and density that fills its streets and neighborhoods. The film Builders, Housewives and the Construction of Modern Athens (87 minutes, 2021) by Tassos Langis and Yiannis Gaitanidis unveils a new perspective of the city, examining the most distinctive Athenian building type—the polykatoikía—and the city's reconstruction by the anonymous lay builders and their housewives, who were the most unlikely “co-authors.” The documentary takes a deep dive into the lives of the provincials who came to Athens after the Civil War and sheds light on how they developed their craft and communicated with the educated architects. Based on the book of the same title by Ioanna Theocharopoulou, the film proposes a fascinating account of the provincials’ role and encounter with the “project of modernity.”

ADFF film screenings
September 30–October 1, 2022, New York: Cinépolis Cinemas: 260 W 23rd St: Friday, September 30, 6:45-8:45pm, Theatre 8 / Saturday, October 1, 4:15–6pm, Theatre 9.
November 2–5, 2022, Toronto
November 9–12, 2022, Vancouver
January 16–19, 2023, Los Angeles
January 26–29, 2023, Washington
February 2–5, 2023, Chicago

During the ADFF screenings in the United States and Canada, the third edition of the book will be available for purchase in collaboration with Actar Publishers.

Book launch & panel discussion at Archtober, New York
Thursday, October 13, 6–8pm
Center for Architecture, 536 LaGuardia Place, New York, NY 10012

Architectural historians have tended to disparage the lack of formal planning and the apparent homogeneity of Athen’s “box-like” concrete buildings. By casting Athens as a uniquely local mode of informal urbanism, a phenomenon that, in a broader sense, is found around the world and particularly in the “developing” world, Theocharopoulou’s book offers a critical re-evaluation of the city as a successful adaptation to circumstance, enriching our understanding of urbanism as a truly collective design activity. Builders, Housewives and the Construction of Modern Athens advocates for an architectural history that allows access to the conceptual worlds and the imaginations of builders and inhabitants. This approach departs from a focus on structures designed exclusively by architects and planners, to explore processes—financial, cultural, and material—that rely on self-organization and community. These improvisations and adaptations, which succeeded in producing a dense and vibrant city, can, in turn, help us imagine how to create more sustainable and livable urban models today.

Speakers: Simon Critchley, Hans Jonas Professor of Philosophy, The New School for Social Research / Neni Panourgiá, Adjunct Associate Professor, The Prison Education Program, Psychology Department; Academic Adviser, The Justice in Education Initiative, Columbia University / Ioanna Theocharopoulou, Visiting Lecturer, Department of Architecture, Art and Planning, Cornell University; Author, Builders, Housewives and the Construction of Modern Athens