Γέρω Τσιάμης της Χαλκιδικής

Picturing Protest

Gordon Parks, Untitled, Washington, D.C., 1963 

The civil rights movement and the movement against the U.S. war in Vietnam came to the fore in the 1960s, spurring protests across America both spectacular and everyday. As protests gave material form to First Amendment freedoms—religion, speech, press, assembly, and petition—photographers transformed the visibility of collective action, much of it led by students. Fifty years after the watershed events of 1968, Picturing Protest examines the visual framing of political demonstrations around the country and on Princeton’s campus. These images archive protests’ choreography, whether procession, sit-in, or violent clash. They also capture the gestures of protest, with hands signaling anguish, self-defense, and solidarity. At a time when the coverage and circulation of news media was rapidly expanding, many of these photographs became icons of social struggle, fundamentally changing the ways people visualized America; five decades later, they continue to do this work. Drawn from Princeton University collections, the images on view compel us to contemplate the capacity of protest, and of art, to imagine, interpret, and cultivate change.

Princeton University Art Museum 

May 26 -October 14, 2018

http://artmuseum.princeton.edu/art/exhibitions/3439  

Daniel Defoe's "Robinson Crusoe" & the Robinsonades

Daniel Defoe's "Robinson Crusoe" & the Robinsonades is a collection of various editions of Robinson Crusoe and similarly themed texts such as the popular The Swiss Family Robinson.  The term "Robinsonades" is used to describe literary works about survival without the aid of civilization, frequently on a deserted island. This genre takes is name from the 1719 novel Robinson Crusoe by Daniel Defoe. 

In the archetypical Robinsonade, the protagonist is suddenly isolated from the comforts of civilization, usually shipwrecked or marooned on a secluded and uninhabited island. He must improvise the means of his survival from the limited resources at hand. The protagonist survives by his wits and the qualities of his cultural upbringing, which also enable him to prevail in conflicts with fellow castaways or over local peoples he may encounter. Some of the titles here may appear more tangentially related; for instance, collections of stories that include Robinsonades.

Robinson Crusoe was influential in creating a colonialization mythology - As novelist James Joyce eloquently noted the true symbol of the British conquest is Robinson Crusoe: "He is the true prototype of the British colonist… ". Later works expanded on and explored this mythology. Though Defoe's Robinson Crusoe is set within tropical environs, several of the Robinsonades collected here tell the Crusoe story in settings as different as the Arctic, the American west, and other global locations. 

This collection of Robinsonades is valued as much for it popularity as its popular use in enculturation and language learning. Variant editions available here, for example, retell the tale for children in words of one syllable which serves as an aid to learning the language and provides early exposure to the highly regarded cultural values of courage, independence, inventiveness, creativity and resourcefulness.

http://ufdc.ufl.edu/defoe 

Lady with Venus

Clarence Hudson White, Lady with Venus, 1902

Wikipedia:List of hoaxes on Wikipedia

This is a list of known historical hoaxes on Wikipedia. Its purpose is to document hoaxes on Wikipedia, in order to improve our detection and understanding of them. It is considered a hoax if it was a clear or blatant attempt to make up something, as opposed to libel, vandalism or a factual error. A hoax is considered notable enough for inclusion in this list if it evaded detection for more than one month or was discussed by reliable sourcesin the media. This list is incomplete, as many hoaxes remain undiscovered.

https://en.wikipedia.org/wiki/Wikipedia:List_of_hoaxes_on_Wikipedia

Parapolitics: Cultural Freedom and the Cold War

Lene Berg, Stalin by Picasso or Portrait of a Woman with Moustache, 2008. Façade-banner. Courtesy the artist.

In Amos Tutuola’s 1954 novel My Life in the Bush of Ghosts, the young protagonist is running away from slave-catchers when he accidently crosses the border of reality as he knows it. His flight from bondage, however, does not earn him freedom. Rather, he finds himself in an absurd, liminal world of conversing symbols and delirious phantasms, in which the entire regime of meaning-production is subject to tectonic shifts. Tutuola—whose idiosyncratic use of English language and Yoruba folklore propelled a battle of interpretations—would later become a member of the Mbari Clubs, the first of which was established in Ibadan in 1961. These cultural centers, initiated by the German-Jewish expatriate Ulli Beier, were a gathering place for a generation of African artists, writers, and musicians. Together, they spearheaded a renaissance of Yoruba culture.

One of the sponsors of the Mbari Clubs was the Paris-based Congress for Cultural Freedom (CCF), an organization founded in West Berlin in June 1950 by a group of writers driven to consolidate an "anti-totalitarian" intellectual community. Its ten-year anniversary was celebrated at the then newly inaugurated Kongresshalle, today’s Haus der Kulturen der Welt. With offices in more then 30 countries, the CCF subsidized countless cultural programs from Latin America to Africa and Southeast Asia, developing a network of journals, conferences, and exhibitions that advanced a "universal" language of modernism in literature, art, and music. By 1967, it was revealed that the CCF was secretly bankrolled by America’s espionage arm, the Central Intelligence Agency. The CIA scandal confirmed the lingering suspicion that had trailed the CCF from the days of its origin: not quite an autonomous entity, the organisation had been enlisted in shoring up an anti-Communist consensus in the service of US hegemony during the Cultural Cold War. The disclosure destroyed the CCF’s reputation, exposing the ideological contradictions and moral ambiguities of advocating freedom and transparency by means that are themselves outside of democratic accountability.

The term "parapolitics" refers to the use of soft power in the Cold War. Employing the history of the Congress for Cultural Freedom as an optical device, the project brings Picasso’s famous dictum  "art is a lie that tells truth" into relation with the work of an intelligence agency whose "art lies in concealing the means by which it is achieved."

In the shadowy underside of liberal consensus, freedom appears as always contingent on its foreclosures. Tracing tectonic shifts in intellectual affiliations across political conflict lines through the 20th century, the exhibition explores artistic strategies of engagement and subversion. It underlines how the play with meaning in an increasingly conceptually and semantically oriented world of art production has acted on the assertion of an endangered, precarious autonomy. Within the choreography of parapolitics, the canon of the Cold War modernism becomes a bush of ghosts.

Parapolitics brings together archival documents and artworks from the 1930s to the present by artists that prefigure and reflect the ideological and formal struggles arising from the cultural Cold War, but also works by contemporary artists critically reassessing the normalized narratives of modernism. It features magazines such as Der Monat (Germany), Encounter (UK), Sasanggye (South Korea), Quest (India), Africa South (South Africa), Black Orpheus (Nigeria), Transition(Uganda / Ghana), The New African (South Africa), Hiwar(Lebanon), and Mundo Nuevo (Latin America), that were either initiated or at times supported by the Congress for Cultural Freedom.

With works by Art & Language, Doug Ashford, Michael Baers, Antonina Baever, Alessandro Balteo-Yazbeck (with Media Farzin and Paolo Gasparini), Robert Barry, Romare Bearden, Samuel Beckett, Lene Berg, Broomberg and Chanarin, Fernando Bryce, Daniel Buren, Luis Camnitzer, Alice Creischer, Didactic Exhibition, Liu Ding, Charles and Ray Eames, Miklos Erdély, Peter Friedl, Liam Gillick, Sheela Gowda, Philip Guston, Gruppe Gummi K, Max de Haas, Chia Wei Hsu, Iman Issa, Voluspa Jarpa, David Lamelas, Jacob Lawrence, Norman Lewis, İlhan Mimaroğlu, Moiseyev Dance Company, Museum of American Art in Berlin, Solomon Nikritin, Irving Norman, Guillermo Nuñez, Branwen Okpako, Boris Ondreička, Nam June Paik, Décio Pignatari, Howardena Pindel, Sigmar Polke, Rebecca H. Quaytman, Walid Raad, Steve Reich, Ad Reinhardt, Gerhard Richter, Faith Ringgold, Norman Rockwell, Peter Roehr, Martha Rosler, Charles Shaw, Yashas Shetty, Francis Newton Souza, Frank Stella, The Otolith Group, Endre Tót, Suzanne Treister, Twins Seven Seven, Josip Vaništa, Wolf Vostell, and Susanne Wenger.

An accompanying conference titled "Freedom in the Bush of Ghosts" will be held on December 15 and 16, 2017 at Haus der Kulturen der Welt.

Curated by Anselm Franke, Nida Ghouse, Paz Guevara, and Antonia Majaca.

https://www.hkw.de/en/programm/projekte/2017/parapolitics/parapolitics_start.php

Paper Airplane

Harry Smith's paper airplane collection, photographed by Jason Fulford, published by Anthology Film Archive

Man contemplating the expansion of the 20th century city, Athens

Man contemplating the expansion of the 20th century city, Athens, 1957. Credit: Benaki Museum, Costas Megalokonomou Archives

What is What in the World of Labor?

http://quod.lib.umich.edu/l/lbc2ic?cc=lbc2ic;page=index;c=lbc2ic    

La Barricade de la rue Saint-Maur-Popincourt avant l’attaque par les troupes du général Lamoricière

Thibault, La Barricade de la rue Saint-Maur-Popincourt avant l’attaque par les troupes du général Lamoricière, le dimanche 25 juin 1848

Graffitis de prisonniers

Voula Papaioannou, Graffitis de prisonniers sur les murs de la prison allemande de la rue Merlin à Athènes, 1944

Soulèvements

Ce parcours propose vingt-cinq images sélectionnées et commentées par Benjamin Bardinet et Ève Lepaon, conférenciers-formateurs au Jeu de Paume. Il est articulé en cinq sections introduites par Georges Didi-Huberman, commissaire de l’exposition : Éléments (déchaînés), Gestes (intenses), Mots (exclamés), Conflits (embrasés), Désirs (indestructibles).

Se soulever, comme lorsqu’on dit « une tempête se lève, se soulève ». Renverser la pesanteur qui nous clouait au sol. Alors, ce sont les lois de l’atmosphère tout entière qui seront contredites. Surfaces – draps, drapés, drapeaux – qui volent au vent. Lumières qui explosent en feux d’artifice. Poussière qui sort de ses recoins, qui s’élève. Temps qui sort de ses gonds. Monde sens dessus dessous. De Victor Hugo à Eisenstein et au-delà, les soulèvements seront souvent comparés à des ouragans ou à de grandes vagues déferlantes. Parce qu’alors les éléments (de l’histoire) se déchaînent.

On se soulève d’abord en exerçant son imagination, fût-ce dans ses « caprices » ou ses « disparates », comme disait Goya. L’imagination soulève des montagnes. Et lorsqu’on se soulève depuis un « désastre » réel, cela veut dire qu’à ce qui nous oppresse, à ceux qui veulent nous rendre les mouvements impossibles, on oppose la résistance de forces qui sont désirs et imaginations d’abord, c’est-à-dire forces psychiques de déchaînement et réouvertures des possibles. (G. D.-H.)

http://soulevements.jeudepaume.org/parcours/

Malevich's Coffin

Nikolai Suetin’s arkhitekton coffin for Malevich (1935)

Artistic Practices: Housing as social agreement Οngoing archive

Kosmonaut House, 2007. Wood, acrylic, 68 x70 x 27 cm. 

Postwar capitalism in the West has promoted its growth on the ideal of house ownership (with recent catastrophic financial effects) in a process of commodification of necessities of life. Commodification of housing though, more than being just a method of capital accumulation, resulted in the reconceptualisation of public and private space. Pierre Bourdieu describes a person’s existential relation to their position in terms of the social status conferred by the appropriation/possession of a particular extent of physical space: “Each agent may be characterized by the place where he or she is situated more or less permanently, that is, by her place of residence (those who are “without hearth or home,” without “permanent residence” … have almost no social existence—see the political status of the homeless) … It is also characterized by the place it legally occupies in space through properties (houses and apartments or offices, land for cultivation or residential development, etc.) which are more or less congesting … . It follows that the locus and the place occupied by an agent in appropriated social space are excellent indicators of his or her position in social space.

Nowadays, in the wake of the recent housing crises which have subverted the notion of housing as a consumer commodity, co-housing and community projects emerge as answers to the “Housing Question”. This shift towards collective solutions has been addressed by artistic, architectural and curatorial initiatives that over the past five decade have variously depicted and intervened into this unevenly developing urban condition.

“Artistic Practices: Housing as social agreement” is an ongoing archive aiming to unfold a cartography of approaches by artists to the notion of the house, investigate and challenge the ways in which housing is not only imagined, but also effectuated by artists. Furthermore intends to point out the ways in which forms of cultural production can be reclaimed as tools with which to design, defend and reinvent social space.

The works featured in the archive are organized around four leitmotifs :‘Housing as utopia”, highlights the transformative, disruptive potential of housing in the social imagination, as the first step to a radical autonomy.“Housing as uneven development “raises the issues of inequalities in the distribution of the right to housing. “Housing as dystopic construction” illustrated by a series of projects that explore the conflicts and correlations between the represented space of and the social and political action. “Housing as community building” explores the role of artist as social designer, the statial practices of commons, and arts based revitalization of under-resourced urban areas.

Curated by Giorgos Papadatos & Sofia Dona

Featured works byRebecca Agnes / Jonas Dahlberg / Giorgos Gyparakis / Tea Mäkipää / Artemis Potamianou / Kostis Velonis / Erwin Wurm /Angela Ferreira / Eugenio Tibaldi / Yiannis Theodoropoulos / Mona Vatamanu Florin Tudor / Giorgos Papadatos / Dorit Margreiter / Errands / Taysir Batniji/Kimsooja / Michael Rakowitz / Nicos Charalambidis / Róza El-Hassan / Tudor Bratu / Teddy Cruz / Raumlabor/Ahmet Öğüt / Sofia Dona / Marjetica Potrč / Zafos Xagoraris / Rick Lowe/ Project Row Houses

Parallel to the workshop Co-housing practices/ Ιnventing Prototypes for Athens

organized by Co-Hab Athens & NetHood (Zurich) & INURA Zurich & Athens

Hosted by Greek Pavilion, Giardini.

26 October – 27 November 2016

15^th International Architecture Exhibition La Biennale di Venezia

http://thisisaco-op.gr/en/

Smyging

“Smyging” was one of many methods used to cure epilepsy in Norway. This photo was teken in 1922.

http://tidsskriftet.no/article/3270023/

Αρχείο νεώτερων μνημείων

Αρχείο νεώτερων μνημείων-Εθνικό Ιδρυμα Ερευνών
http://www.eie.gr/archaeologia/gr/arxeio.aspx

Avant-garde and modernist magazines

This index lists avant-garde and modernist periodicals, first issues of which appeared between 1890 and 1939. Besides serving as an engine of discovery, it is also made to help following bibliographic references to sources. A couple of technical notes.. The 'Online' column lists freely accessible digitized versions of each magazine; the abbreviations used for digital libraries are listed in the section below. The first column points to the wiki pages with more information about titles which in many cases also contain versions mirrored on Monoskop. Some columns are sortable. Information is sourced from a number of repositories and reference websites. The list is far from being exhaustive [1] [2], preference is given to periodicals accessible online. As with all sections on Monoskop this page is a work in progress and contributions are welcome.

You can download it here :

http://monoskop.org/Avant-garde_and_modernist_magazines#Index 

Vegetazione Romana

Giacomo Caneva, Vegetazione Romana (study), 1852

Salt print from paper negative

Η χρήση του αρχείου στις εικαστικές πρακτικές ως «πορνογραφία της οργάνωσης»

Δημήτρης Ιωάννου, “CMYK Series: The Collection”, 1999-2013

Τα τελευταία χρόνια μαζί με τη χρήση της φωτογραφίας ως ένα αυτόνομο χειραγωγημένο καλλιτεχνικό μέσο έχει αυξηθεί η προοπτική της αρχειακής της ιδιότητας. Από τις συνεχείς εκθέσεις του Ινστιτούτου Σύγχρονης Ελληνικής Τέχνης που είναι βασισμένες στο αρχείο της μέχρι και τις καθαρά φωτογραφικές εκθέσεις, η χρήση της φωτογραφικής εικόνας συνεισφέρει στον προσδιορισμό ενός γνωσιολογικού πεδίου στα πλαίσια μιας ταξινόμησης. Παρόλα αυτά δεν ενδιαφέρομαι να επιδοθώ εδώ σε μια ιστορική αξιολόγηση ούτε και σε μια πρόσφατη αποτίμηση της αρχειακής πρακτικής όσο να θέσω κάποια ζητήματα που αφορούν τη ψυχολογία αυτής της πρακτικής. Φωτογράφοι που κινούνται στο χώρο των εικαστικών και εικαστικοί που δανείζονται το μέσο της φωτογραφίας με την προοπτική να αξιοποιήσουν τη ρεαλιστική ρητορική της μηχανικής αναπαραγωγής επαληθεύουν την εμμονή τους με την αρχειοθέτηση. Αυτή η πρακτική δεν μπορεί να εξαντληθεί στη φωτογραφία κατά τη γνώμη μου αλλά αποτελεί το παράδειγμα της  ταξινομητικής λογικής, ακόμη και όταν έχουμε να διαπραγματευτούμε με αντικείμενα ή κείμενα και όχι εικόνες[i].

Το κύριο σύμπτωμα της ιδεοψυχαναγκαστικής συμπεριφοράς είναι η συνεχής αναζήτηση της τάξης. Στο πλαίσιο μιας καλλιτεχνικής πρακτικής που βασίζεται στην αρχειακή της συγκρότηση, η λογική της επανάληψης ενός φωτογραφικού ή πολιτισμικού ντοκουμέντου ή η εμμονή της επιστροφής στο ίδιο θέμα και η φορμαλιστική ανάγκη για τη συμμετρικότητα δεν απέχουν από τη θεραπευτική διάγνωση του ψυχαναγκασμού. Ασφαλώς η καλλιτεχνική πρακτική δεν βασίζεται στον αποκλεισμό των παθογενειών, θα λέγαμε το αντίθετο. Όμως η δυνατότητα της αξιολόγησης μιας καλλιτεχνικής πρακτικής με τους όρους μιας θεωρίας του σχεδιασμού ή της οπτικής σύνταξης μπορεί να μας επιτρέψει να εξάγουμε ενδιαφέροντα συμπεράσματα για τις σύγχρονες πολιτισμικές τάσεις και τις συλλογικές  νευρώσεις.

Κωστής Βελωνης

Διαβάστε περισσότερα 
http://avgi-anagnoseis.blogspot.gr/2015/09/blog-post_13.html 

Robert Rauschenberg's Endless Combinations

When you're Looking for the Robert Rauschenberg archive, everything starts to resemble a Rauschenberg. The chance juxtaposition of a vibrant yellow school bus next to a red Staples sign seems somehow intended, part of the artist’s grand design. So too might the pale lavender blossoms of wisteria that frame the gray painted door tucked away in a hardscrabble industrial zone of lots and chain-link fencing.

By Dan Chiasson, June 3, 2015

www.nytimes.com/2015/06/03/t-magazine/robert-rauschenberg-endless-combinations.html