Late Spring Morning, First Summer Night

Late Spring Morning, 2022/ Acrylic and oil on wood 

First Summer Night, 2022/ Acrylic and oil on wood 

120 x 60 cm

#Seasons #Almanac #Diaries #Almanachdesbergers #weather #field #kostisvelonis #ShepherdsDiary #painting # vertical#horizon #Spring #Summer #Days #Nights #Hμερολόγιοτωνβοσκών

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 

I’ll meet you here

 

Bas Jan Ader. I’ll meet you here, 1970

#basjanader #meetingpoint #lost

Why Protest Tactics Spread Like Memes

When items like umbrellas and leaf blowers are subverted into objects of resistance, they become very shareable.

 

A video frame captured in Hong Kong in August 2019 shows a group of pro-democracy protesters, smoke pluming toward them, racing to place an orange traffic cone over a tear-gas canister. A video taken nine months later and 7,000 miles away, at a Black Lives Matter protest in Minneapolis, shows another small group using the same maneuver. Two moments, two continents, two cone placers, their postures nearly identical.

 

Images of protest spread on social media reveal many other matching moments from opposite sides of the world, and they often feature everyday objects wielded ingeniously.

Leaf blowers are used to diffuse clouds of tear gas; hockey sticks and tennis rackets are brandished to bat canisters back toward authorities; high-power laser pointers are used to thwart surveillance cameras; and plywood, boogie boards, umbrellas and more have served as shields to protect protesters from projectiles and create barricades.

An Xiao Mina, an author, internet researcher and alumnus of the Berkman Klein Center for Internet and Society at Harvard University, has studied these echoes. In the summer of 2014, when the Umbrella Movement in Hong Kong and the Black Lives Matter protests in the United States that followed the police killing of Michael Brown were taking place, she noted that the protesters spoke a common language, even sharing the same hand gesture characterized by the chant “Hands up, don’t shoot.”

July 31, 2020

By Tracy Ma,

With Natalie Shutler,Written by Jonah Engel Bromwich,Video by 

Shane O’Neill

https://www.nytimes.com/2020/07/31/style/viral-protest-videos.html?smid=fb-share&fbclid=IwAR2e6tfmEe-K0v7RiFwrtFqXE5boHmrXCRQrlUR6vm1GmTzZ6wox6ek-FlI

Εφοδιαστικό έγγραφο μέλους της Φιλικής Εταιρείας

Εφοδιαστικό έγγραφο μέλους της Φιλικής Εταιρείας 

A Shelter for Bells

We do not belong with them ; that's why we serve them.  I speak with you by touching sound. I embrace you by opening and closing my eyes. I let the wind, which was with you, into my room. I am beyond and behind people, a voice that disappears. 

Hans Jürgen von der Wense

Some notes about the art of falling: Charlie Chaplin

In this piece from our January 2015 issue, John Berger considers Chaplin a century after The Tramp first strolled on to cinema screens, and finds that his early films have lost none of their surprise or humour or bite or illumination.

He sees what’s happening in the world as something both pitiless and inexplicable. And he takes this for granted. His energy is concentrated on the immediate, on getting by and on finding a way out to something a bit brighter. He has observed that there are many circumstances and situations in life which occur and reoccur and are therefore, despite their strangeness, familiar. Since early childhood he has been familiar with dictums, jokes, hints of advice, tricks of the trade, dodges, which refer to these recurrent daily puzzles of life. And so he faces them with a proverbial foreknowledge of what he’s up against. He’s seldom nonplussed.

Here are some of the axioms of the proverbial foreknowledge he has acquired:

o   The arse is the centre of the male body; it’s where you first kick your opponent, and it’s what you most frequently fall on when knocked down.

o   Women are another army. Watch above all their eyes.

o   The powerful are always hefty and nervous.

o   Preachers love only their own voices.

o   There are so many disabled around that wheelchairs may need a traffic controller.

o   The words are missing to name or explain the daily run of trouble, unmet needs and frustrated desire.

o   Most people have no time of their own yet they don’t realise this. Pursued, they pursue their lives.

o   You, like them, count for nothing, until you step aside and stick your neck out; then your companions will stop short and gaze in wonder. And in the silence of that wonder there is every conceivable word of every mother tongue. You’ve created a hiatus of recognition.

o   The ranks of men and women possessing nothing or almost nothing can offer a spare hole of exactly the right size for a little fellow to hide in.

o   The digestive system is often beyond our control.

o   A hat is not a protection from the weather; it’s a mark of rank.

o   When a man’s trousers fall down it’s a humiliation; when a woman’s skirts are uplifted it’s an illumination.

o   In a pitiless world a walking stick may be a companion.

Other axioms apply to location and settings.

o   To enter most buildings money – or evidence of money – is required.

o   Staircases are slides.

o   Windows are for throwing things or climbing through.

o   Balconies are posts from which to scramble down or from which to drop things.

o   Wild nature is a hiding place.

o   All chases are circular.

o   Any step taken is likely to be a mistake, so take it with style to distract from the probable shit.

Something like this was part of the proverbial knowledge of a kid, around ten years old – ten the first time your age has two numerals – hanging out in South London, in Lambeth, at the very beginning of the 20th century.

A lot of this childhood was spent in public institutions, first a workhouse and then a school for destitute children. Hannah, his mother, to whom he was deeply attached, was incapable of looking after him. During much of her life she was confined to a lunatic asylum. She came from a South London milieu of music-hall performers.

by John Berger 

https://www.bfi.org.uk/news-opinion/sight-sound-magazine/archives/john-berger-notes-on-charlie-chaplin

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 

Designs of Destruction

Between 1943 and 1945, the Allied Air Forces produced aerial photographs of 79 Italian cities, annotated them with the location of monuments, and appended them with elaborate instructions for aerial bombers on “how to miss cultural sites.” Similar lists and maps of monuments were produced by the Allies for almost every country in Europe, expanded or shrunk to fit various phases and types of fighting. The longest German list was 150 pages; one map of 23 monuments for the whole of France was once made.

 What kind of media were these? To what use were they put; how did they partake in the technologies of precision on which Allied aerial strategy hinged, and how did they help inaugurate a new global regime of cultural preservation?

Lucia Allais draws from her book, Designs of Destruction: The Making of Monuments in the 20th Century (Chicago: 2018). The book chronicles the triumph of the cultural monument as a modern and global building type between the 1930s and 1970s.

Tue, 11/27 · 5:00 pm—7:00 pm · N107 School of Architecture 

M+M Program in Media and Modernity

http://soa.princeton.edu/#2259

Kon Wajiro’s Archaeology of Present Times

Japanese architect, sociologist, and educator Kon Wajiro was living in Tokyo when the violent 1923 earthquake occurred. With his students, he visited the areas where people gathered after the natural disaster. Through simple yet refined drawings he began to register the temporary shelters and the sparse belongings of the refugees in order to testify their state of living, a condition reduced to the bare minimum.

During his life, Kon Wajiro kept on documenting the memories of Japanese civilisation in an attempt to keep their testimony in the event of their sudden disappearance or of their possible fading due to modernisation. He meticulously traced houses and types of furniture, ways of dressing and commodities, ordinary objects and people’s habit, generating a complex visual taxonomy of the transition of a culture toward modernity.

His studies gave birth to a branch of sociology, called “modernology” which aimed at documenting the evolution of places and cultures as a consequence of modernisation.

http://socks-studio.com/2017/12/10/kon-wajiros-archaeology-of-present-times/

Η Μνήμη της Επανάστασης

Memorial to Collective Utopia, 2010

#kostisvelonis#sculpture#memorial#collectiveconsciousness#collective#utopia#dystopia #domesticity#furniture#statemuseumofcontemporaryart#colorstudy#gustavklucis #gustavklutsis#colortheory

Την εκδοχή 70 σύγχρονων Ελλήνων εικαστικών δημιουργών για τα σύμβολα, τις εικόνες και τους πρωταγωνιστές της Οκτωβριανής Επανάστασης, τα μηνύματα, τα συνθήματα, το πνεύμα, την ορμή και τον δυναμισμό της, τις διαστάσεις ενός από τα ιστορικά γεγονότα που «συγκλόνισαν» τον κόσμο και καθόρισαν την ιστορία του 20ού αιώνα φιλοξενεί η έκθεση «Η Μνήμη της Επανάστασης – Σύγχρονοι Έλληνες Εικαστικοί», σε συνδιοργάνωση του Κρατικού Μουσείου Σύγχρονης Τέχνης της Θεσσαλονίκης Κρατικό Μουσείο Σύγχρονης Τέχνης / State Museum of Contemporary Artκαι της Ανωτάτης Σχολής Καλών Τεχνών / Ανωτάτη Σχολή Καλών Τεχνών.

Η έκθεση διοργανώθηκε και πρωτοπαρουσιάστηκε με μεγάλη επιτυχία στο ΚΜΣΤ στη Θεσσαλονίκη την άνοιξη του 2017, όπου είχαν την ευκαιρία να τη δουν χιλιάδες επισκέπτες. Η έκθεση παρουσιάζεται στην Αθήνα εμπλουτισμένη με έργα περισσότερων καλλιτεχνών. Συνοδεύεται από αναπαραγωγές έργων της συλλογής Κωστάκη του ΚΜΣΤ που σκιαγραφούν το σκηνικό της εποχής της ρωσικής πρωτοπορίας. Η τέχνη της ρωσικής πρωτοπορίας αποτελεί, εξάλλου, μέχρι σήμερα για τους καλλιτέχνες μια ανεξάντλητη πηγή έμπνευσης, προβληματισμού και ερεθισμάτων, οδηγεί σε θετικούς ιστορικούς και πολιτισμικούς συνειρμούς, αφού υλοποιεί εξαιρετικά και υποδειγματικά ριζοσπαστικές καλλιτεχνικές και κοινωνικοπολιτικές ουτοπίες.

Η έκθεση «Η Μνήμη της Επανάστασης – Σύγχρονοι Έλληνες εικαστικοί» δεν στοχεύει να υποκαταστήσει την αυστηρή ιστορική μελέτη, τις διαφορετικές αναγνώσεις, αντικρουόμενες ερμηνείες και αποτιμήσεις των ιστορικών. Αντίθετα, επικεντρώνεται σ' έναν ξεχωριστό προβληματισμό με τις έννοιες της Ουτοπίας και της Επανάστασης, αλλά και τους πειραματισμούς των Ρώσων πρωτοπόρων καλλιτεχνών, να βρίσκονται στον πυρήνα της και να συγκροτούν το νοηματικό της άξονα. Οι καλλιτέχνες της έκθεσης μέσα από διαφορετικές προσεγγίσεις "μεταφέρουν" την έννοια της Επανάστασης δυναμικά στο παρόν, έρχονται να μιλήσουν για τη δυναμική και την αντοχή της στον χρόνο, σε μια κρίσιμη περίοδο μετάβασης, κρίσης και αναμονής, αμφισβήτησης και έκπτωσης των ιδεολογιών.

Την έκθεση πλαισιώνουν επίσης 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 ΚΜΣΤ. 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.

Συμμετέχοντες καλλιτέχνες: Γιώργος Αλεξανδρίδης, Άγγελος Αντωνόπουλος, Νίκος Αρβανίτης, Αννίτα Αργυροηλιοπούλου, Μιχάλης Αρφαράς, Βασίλειος Βασιλακάκης, Κωστής Βελώνης, Μπάμπης Βενετόπουλος, Ανδρέας Βούσουρας, Βασίλης Γεροδήμος, Δημήτρης Γεωργακόπουλος, Μανώλης Γιανναδάκης, Λεωνίδας Γιαννακόπουλος, Κορνήλιος Γραμμένος, Λυδία Δαμπασίνα, Γιώργος Διβάρης, Στέφανος Επιτρόπου, Θεόδωρος Ζαφειρόπουλος, Δημήτρης Ζουρούδης, Βασίλης Ζωγράφος, Αντιγόνη Καββαθά, Στέφανος Καμάρης, Δημήτρης Καρλαφτόπουλος, Γιάννης Καστρίτσης, Θεόφιλος Κατσιπάνος, Θοδωρής Λάλος, Γιάννης Λασηθιωτάκης, Ανδρέας Λυμπεράτος, Αλέξανδρος Μαγκανιώτης, Μιχάλης Μανουσάκης, Πάνος Ματθαίου, Ειρήνη Ματσούκη, Δημήτρης Μεράντζας, Τάσος Μισούρας, Μανώλης Μπαμπούσης, Εμμανουήλ Μπιτσάκης, Ξενοφών Μπήτσικας, Νικόλας Μπλιάτκας, Άλκης Μπούτλης, Νίκος Παπαδημητρίου, Αντώνης Παπαδόπουλος, Λήδα Παπακωνσταντίνου, Αιμιλία Παπαφιλίππου, Λίλα Παπούλα, Αλίκη Παππά, Κωνσταντίνος Πάτσιος, Νατάσσα Πουλαντζά, Γεωργία Σαγρή, Ξενής Σαχίνης, Χριστίνα Σγουρομύτη, Νίκος Σεπετζόγλου, Δήμητρα Σιατερλή, Γιάννης Σκαλτσάς, Άγγελος Σκούρτης, Μάριος Σπηλιόπουλος, Στεφανία Στρούζα, Δημήτρης Τάταρης, Νίκος Τρανός, Βίκυ Τσαλαματά, Γιώργος Τσεριώνης, Κώστας Τσώλης, Πάνος Χαραλάμπους, Γιώργος Χαρβαλιάς, Μανώλης Χάρος, Θάλεια Χιώτη, Κώστας Χριστόπουλος, Διονύσης Χριστοφιλογιάννης, Έλλη Χρυσίδου, Θοδωρής Χρυσικός, Γιάννης Ψυχοπαίδης

Επιμέλεια έκθεσης: Γιάννης Μπόλης, Ιστορικός της τέχνης - Επιμελητής του ΚΜΣΤ

Ανώτατη σχολή καλών τεχνών 

12.02 -14.04 

http://www.greekstatemuseum.com/kmst/exhibitions/article/1313.html 

Turmoil of the Blue

Turmoil of the Blue, 2017

Iron, wool fabric

133 x 157 x 155 cm

Historiosophical Scheme

Andrei Bely, Historiosophical Scheme, Tcikhis -Dziri, Georgia,1927

Watercolor, ink, pencil on paper

Aladdin Toys Catalogue

Joaquin Torres Garcia, Aladdin Toys Catalog, 1920's

https://www.flickr.com/photos/migueloks/sets/72157619805175139/ 

Words in the Forms of Poems

Announcement. 
Black offset on one side. For the show at John Weber Gallery, NYC, Jan. 11 - Feb. 5, 1975. 12.7x21.1 cm.

Instructions for Happiness

Happiness can be understood as a basic human need. And the exhibition is all about the personal pursuit for happiness. But instructions for happiness?

As happiness is quite an individual matter, instructions for happiness are of course a pretty absurd promise. Regardless of whether happiness is sought after in the interpersonal, the immediate or the everyday respectively the beauty of the small things in life – the exhibition tries to question the notions of happiness.

Selected artists were invited to contribute a work, that also includes a manual: A work that – based on an instruction – invites to do something, for instance use an object, react to a situation, interact with others under certain rules, perform something for others or oneself or simply initiates a thought process. The form of the work (as well as the instruction) could take any possible shape – resulting in artworks that are as diverse and formally divergent as the technical possibilities. But the seemingly chaotic diversity also reflects a plurality of perspectives on happiness that the artist (as well as society) share.

Aside from the question of happiness in the context of today’s Athens, the exhibition also tries to reflect upon art’s possibilities of immediate effects on society. Thus the boarders of the power of the aesthetic field can be questioned in the show on one side, while tracing the notions of happiness on the other side through experiencing the works in order to maybe also find answers for oneself.

Untitled (Life without tragedy Series), 2015 

Featuring works by Anna Sophie Berger, Liudvikas Buklys, Heinrich Dunst, Simon Dybbroe Møller, Christian Falsnaes, Benjamin Hirte, Barbara Kapusta, Stelios Karamanolis, Alexandra Kostakis, Adriana Lara, Lara Nasser, Rallou Panagiotou, Natasha Papadopoulou, Angelo Plessas, Maruša Sagadin, Hans Schabus, Björn Segschneider, Socratis Socratous, Misha Stroj, Stefania Strouza, Jannis Varelas, Kostis Velonis and Salvatore Viviano; curated by Severin Dünser and Olympia Tzortzi

Opening Tuesday, 20.12.2016, 8pm

21.12. – 30.12.2016, 12pm – 8pm

Lekka 23 – 25 & Perikleous 34, Athens

Kindly supported by The Federal Chancellery of Austria, NON SPACES and KUP