Author: gourgourini

Within the framework of the second part of the F.A.R. (Floor Area Ratio) program, 3 137’s glass facade hosts a new installation by artist Myrto Xanthopoulou.

Her work titled The Opposite of Falling covers 3 137’s windows. It is a grid made of masking tape and scotch tape; a composition of shapes and text. The materials used are secondary – familiar and ordinary, opaque but light-permeable. Light penetrates them and thus the work is transformed throughout the day. The tapes are both connections and borders, they frame and delete. The work is a comment on light, certainties and permeability, footnotes or endnotes.

Myrto Xanthopoulou’s installation is placed next to the existing interventions presented by Can Altay, Diohandi, Zoe Giambouldaki, and Kostis Velonis as part of the first installment of the F.A.R. program. Thus, the presence and coexistence of these works transforms 3 137’s outdoor space into an informal public exhibition space.

F.A.R. (Floor Area Ratio) maps the economic, cultural, and residential changes that have been taking place in the city, while giving prominence to multiple narratives and images of both the past and the future of Athens. A reference point as well as a source of inspiration, the city of Athens becomes a field of action hosting a series of artistic interventions in its public space. These interventions mainly aim at provoking the public’s imagination, while also prompting unexpected encounters with the residents of the city; consequently, these interventions aim to reveal the conceptual bonds between the material world that surrounds us and the economic models that (re)structure it.

F.A.R. (Floor Area Ratio) Part II was made possible with the support of the Hellenic Ministry of Culture and Sports, Outset Contemporary Art Fund Greece, and Mécène / Mycenae (the membership scheme of 3 137).

F.A.R. PART II

The Opposite of Falling

A work by

Myrto Xanthopoulou

May 10 – June 10, 2021

3 137, window display

(Visible 24/7)

Myrto Xanthopoulou is a visual arts SNF ARTWORKS Fellow.

Five Fellows – Sasha Streshna, Spiros Kokkonis, Iasonas Kampanis, Anastasia Pavlou and Pavlos Tsakonas –  participate in the exhibition Against the Linear, opening in May 15th. The exhibition is the aesthetic extension of a discussion between artists about how and where the fragmentary experience acquires material substance in their work. The exhibition can be seen as a sampling selection, curated by Konstantinos Lianos accompanied by Aris Anagnostopoulos’s text entitled Fictioning – towards a technology of potentiality.

Artists:

Sasha Streshna
Anna Gonzalez Noguchi
Theo Michael
Spiros Kokkonis
Iasonas Kampanis
Anastasia Pavlou
Konstantinos Lianos
Kostis Velonis
Pavlos Tsakonas

curated by Konstantinos lianos
text by Aris Anagnostopoulos

Konstantinos Samaras, Daphne Heretakis and TETTTIX meet at the Piraeus Municipal Theater to create a new kind of movie. An empty theater, against the backdrop of an empty Athens, becomes the refuge of a group of musicians, but also of a mysterious woman named Nora.

Directed by our Fellows Konstantinos Samaras and Daphne Heretakis.

Screen days:
Thursday 13/05
Friday 14/05
Saturday 15/05
Sunday 16/05
Wednesday 19/05
Thursday 20/05
Friday 21/05
Saturday 22/05
Starting time:
21:00

http://tetttix.com/

The second part of the Hydroexpress Project will focus on the correlation between “The Commons” and the Greek family model, as far as their mechanisms used by the members to survive, coexist and support each other, are concerned. Hosted artists, writers and architects analyze and highlight the notion of “Community” through the three main axes that characterize the commons (goods, community, and their regulatory framework), which are reproduced in the traditional way of life of people who share the Greek mentality and culture.

In this chapter, we will examine the uniqueness of the Greek family where through the care of each other and the deference for their needs, the boundaries between the individual and the collective have become fluid. But also, how in “the Commons” the members, not related by blood or kinship, are greater in number and usually work without hierarchies for the benefit of the community. We will also see the differences between the family and “the Commons”. The kinship between family members often creates a closed character; the members end up facing patriarchal remnants, intervening behavior and interdependence. While, on the other hand, “the Commons” value the osmosis of ideas that taking place between members, strengthening concepts and values such as collectivity, solidarity, care etc.

This year, Maria Varela is hosted in Hydroexpress Space presenting the work “Family Structures of Finite State” while in this edition the writers are Eva Vaslamatzi, Daphne Dragona and a Whale’s Architects, as well as there are works by Theodora Kanelli and Artemis Papachristou.
*The Hydroexpress Project is an initiative of the artist Marina Papadaki. It started in 2019 on the occasion of the co-location of her father’s business (YDROEXPRES) and her art studio in an old family house in Kaminia in Piraeus.

Marina Papadaki, Maria Varela, Eva Vaslamatzi and Theodora Kanelli are SNF ARTWORKS Fellows.

May 15th, 2021 // 13:30 – 20:00
Paxon 8 Piraeus
Exhibition Duration 16/5 – 23/5
Open: Saturday & Sunday 18:00 – 20:00

Due to the epidemic situation from the virus Covid 19, inside the space will be maximum of two people each time keeping all the necessary safety measures and the use of a mask is mandatory.

Snow silent, a quiet numbness as space is proofed from sound. Minute crystals accumulate to transform our sight into whiteness that blinds. And then (as if) melting it dissipates, ebbs out of view and consciousness. Imprinted on our memory we long for its next cycle of fullness and flow.

Both Andreas Ragnar Kassapis & Constantinos Hadzinikolaou set similar questions, responding with different means. Ellipses become materiality as they tentatively struggle with the insidiousness of image-making. Each work is a small triumph in the lowly and lonely quest of thinking about form, the resurfacing of its absence, the lacunae in our memories of. How objective is our relationship to the everyday objects that surrounds us, these support structures that condition the patina of our lives? Both artists think about the fine line that connect us to the everyday and its representation: the surface pull, the depth that calls, that pallid in-between.

Both artists allow us to witness the arduous process of articulating the hows and wheres of images, the punctum, negative and positive, our prelingual memories which may have been erased. In the exhibition a painting leads you to a word (like a gaping question mark), on to a muffled sound, followed by an intravenous explosion of color, to the tonality of silence, then shade and dusk and back again to the surface pull of the simple pleasures of paint on canvas. One artist’s suggestion sets the stage for the next, thinking together and apart in a subtle choreography of give and take. Unclear of what is spoken and what is left unsaid, Kassapis and Hadzinikolaou, nudge us gently to an ontological horizon between each of them and everyone of us, between the blueness of a son’s ear and the helplessness of a blanched brushstroke.

The haptic, the acoustic, the muteness of painting, the meticulously handwritten (where the rush of words become a glutinous web of meanings), the somnolence of accumulation, the recording on and off and on again, a constant flow of visual signifiers, function as residues that seem to come from some dark point within. Kassapis and Hadzinikolaou enlighten them, bringing them to the surface, together, for us to see: images we know, have known, we see, somewhere (yes!) we have seen.

Andreas Ragnar Kassapis is a painter who looks at photographs and a writer. Constantinos Hadzinikolaou is an artist, writer and film-maker. This exhibition is based on a friendship and a long-term conversation on images and the making-of.

~

Andreas Ragnar Kassapis (1981) studied at the School of Fine Arts in Athens from 1999-2004 where he lives and works. His work includes paintings, drawings, photographs, texts, sound and music. He has also worked on set designs and as a teacher. In his practice he has focused on mechanisms of memory and representation within cultural history using methodologies linked to psychoanalysis, phenomenology and contemporary cultural criticism.

Solo shows: Songs. Athanasios Argianas / Andreas Ragnar Kassapis (Hero Gallery, Amsterdam, 2018), Breakwater (Independent Space, Athens 2015), How Can oneRemember Thirst? (Loraini Alimantiri Gallery, Athens 2011), Bones are Tight (Loraini Alimantiri Gallery, Athens 2008), Numb (Loraini Alimantiri Gallery, Athens 2006).

Selected group shows: Documenta 14 (Art, Director Adam Szymczyck cur. Katerina Tselou, Athens / Kassel 2017), Reverb: new art from Greece (cur. Evita Tsokanta – Eirine Efstathiou, Boston, 2014), Hell as Pavillion (cur, Nadia Argyropoulou, Palais de Tokyo, Paris, 2013), Heaven, Athens Biennale (cur. Christoforos Marinos, Athens, 2009), Anathena (cur. Marina Fokidi-Marina Gioti, Athens, 2006).

Selected set designs: Era Povera, Patricia Apergi (Athens 2012. As my Heart in a Storm, Bijoux de Kant (Athens 2012). Blossom, Agni Papadeli Rossetou.

Selected musical works: Rooms in negative-Lucky Boys published on tape.(untitled. 1) 2019. Rooms in Negative, published on vinyl (2009), Look and the Beast, Music for the dance performance by Agni Papadeli Rossetou.

Constantinos Hatdzinikolaou (1974) was born and lives in Athens. He studied Surveyance at N.T.U.A, Cinema at New Sorbonne University, digital arts at the Athens School of Fine Arts MA program. His practice includes texts, films, performance, photography and installations. In 2013 he took part in the 4th Athens Biennale, while in 2017 he presented two works at documenta 14. In 2019 his filmic work using Super8 was presented at Belvedere 21 in Vienna. He has published the novel Iakovos (Antipodes publications, Menis Koumantareas Award for best first novel) as well as the collection of poetry Mimes co-authored with Andreas Ragnar Kasapis. He contributes frequently to Kathimerini newspaper. He has published texts in numerous publications, catalogues and magazines. He used to be part of the film collective Kine.

~

Andreas Ragnar Kassapis is SNF ARTWORKS Fellow in visual arts.

IN STANDING WATERS
Konstantinos Kotsis
01.04.2021-09.04.2021
18:00-20:00

CLOSING SOON
Address: Egiidon 31, 118 53 Athens GR
E-mail: [email protected]
Instagram: closingsoonart
Website: www.closingsoon.gr

The new short “documentaries” series entitled “Look, Listen, Think & Imagine” by Vlefaro live cinema, continues. Reality and fiction come together to give creative answers to everyday questions, inspired by true questions asked by children.

The purpose of these videos, in addition to inspiring, entertaining and providing learning opportunities for children, is to familiarize them with the process of creative thinking, connotations, dreams and, by extension, art and poetry. Children are invited to create their own works of art, often without being shown how, and following therefore, a reverse approach to the one usually adopted by creative workshops.

Paintings, photographs, animated images and original melodies are enlisted to set in motion an unusual animated encyclopaedia, which uses information as the launchpad to create something new. Each time, children are presented with a description of the theme, a piece of research, real and fictional data, famous works of art and connotations that arise from the particular episode’s concept. Then, they are free to choose the media they wish to use in order to create their own original artworks.

In April, we are looking into stories that are well hidden into history.

We combine them with imaginary narratives and scenarios, presenting another series of fiction documentaries, full of ideas and images, leading us to the creation of unique artwork.

Human, culture, art and science evolution are full of answers. However, we find leads raising more questions about everyday life. When was the first wig invented? Why Do Witches Ride Brooms? and not umbrellas?
What happens when we dream? How many shapes did the Earth change before scientists came to its spherical truth?

Where does the myth end and where does reality begin?

Let’s explore the world together.

Contributors:
Concept, Creative guidance: Angeliki Bozou
Music, montage, animation, narration: Thanos Kosmidis
Texts: Angeliki Bozou, Nelli Poulopoulou

Saturday 03, 10, 17, 24/04 | 11.00
For children aged 5+

Episodes will be available on this page, as well as on SNFCC’s Facebook page and YouTube Channel.

BEYOND NOSTALGIA HIJACK

group show

Konstantinos Giotis
Eva Papamargariti
Konstantinos Pettas
Marios Stamatis
Valinia Svoronou

Duration: 17.04.21 – 22.05.21

Opening: Saturday 17 of April 11am-4pm

Konstantinos Giotis, Eva Papamargariti, Kontantinos Pettas and Valinia Svoronou are SNF ARTWORKS Fellow.

*

Taking into account all health measures for the safety of our visitors we kindly ask you to wear a mask when entering the space.

Up to 4 people will be allowed in the exhibition simultaneously.

The Mediterranean Biennale, organised by BJCEM – Biennale des Jeunes Créateurs de l’Europe et de la Méditerranée, will present the works of over 70 artists from 21 different countries, hosted for the first time by the Republic of San Marino. The title chosen for the nineteenth edition is School of Waters, imagining the Biennale as a collective platform capable of deconstructing stereotypes derived from the Eurocentric interpretation of the Mediterranean basin.

From 15 May to 31 October 2021, the Republic of San Marino will play host to MEDITERRANEA 19, the Biennale of Young European and Mediterranean Artists, promoted and organised by BJCEM – Biennale des Jeunes Créateurs de l’Europe et de la Méditerranée, an international association with 47 members and partners in 16 European and Mediterranean counties, in partnership with the Republic San Marino Ministry of Education and Culture, the Cultural Institutions of the Republic of San Marino and the University of the Republic of San Marino.

The eighteen editions since the Biennale first started life in 1985 in Barcelona have been hosted in such cities as Marseille, Valencia, Lisbon, Sarajevo and Athens, while the latest edition was held in the two cities of Tirana and Dürres, in Albania. The list of hosting institutions is no less impressive, taking in the MACRO in Rome, the Nottingham Contemporary in the UK and the Thessaloniki Museum of Contemporary Art in Greece.

With its title School of Waters, MEDITERRANEA 19 Young Artists Biennale will unfold in several spaces in the historical nucleus of San Marino, some in the National Gallery and others elsewhere, such as the First Tower – the republic’s original fortification atop Monte Titano, the Pianello Cisterns – a large mediaeval space located underneath the floor of the Public Palace, and the Old Convent of Santa Chiara, which now houses the University of San Marino.

The Biennale will present works, site-specific installations, films, videos and performances by more than 70 artists from the Mediterranean area, from Italy to Tunisia, from Spain to Montenegro, from France to Jordan and from Malta to Lebanon, with the aim of employing the common heritage of these shared waters as a starting point for overcoming nationalisms and rediscovering the Mediterranean as a complex platform of lifeforms and processes of knowledge.

The curatorial team has envisaged the Biennale as a temporary school, inspired by radical, experimental teaching methods and by how they challenge artistic, curatorial and research formats. Seen in this light, School of Waters acts as a collective tool for deconstructing the stereotypes that manipulate our geographical imaginings, especially the ones closest to the Eurocentric interpretation of the Mediterranean basin.

MEDITERRANEA 19 is curated by an international scientific committee comprising the founders and participants of the third edition of A Natural Oasis?, a training and research programme supported by BJCEM, directed since 2015 by Alessandro Castiglioni and Simone Frangi and open to curators, artists and cultural research under 34.
In addition to Castiglioni and Frangi (Senior Curators), the members of the Biennale’s curatorial board are Theodoulos Polyviou (Cyprus/UK), Denise Araouzou (Cyprus/Italy), Panos Giannikopoulos (Greece), Angeliki Tzortzakaki (Greece/Netherlands), Nicolas Vamvouklis (Greece/Italy), Giulia Gregnanin (San Marino/UK) and Giulia Colletti (Italy/UK).

The Biennale will be opened to the public on Friday 14 May 2021, in the presence of the institutions involved and of representatives of artists, BJCEM members and curators. The agenda, which will continue for the entire following week, will also include talks, performances and screenings, which will also be available in live streaming. A second appointment, this time with a greater focus on the performing arts, will be held in July 2021.
The opening will also be the occasion for the presentation of a book of research devoted to School of Waters, published by Archive Books of Berlin.

-.-.-

MEDITERRANEA 19 YOUNG ARTISTS BIENNALE
Republic of San Marino, multiple locations
15 May – 31 October 2021
Opening: Friday 14 May 2021, from 5.00 p.m.

FB @BjcemNetwork
IG @school_of_waters
bjcem.org | mediterraneabiennial.org
#schoolofwaters
#mediterranea19biennale
[email protected]

Catalogue
Published by Archive Books

Selected Artists: 

Noor Abed (PS), Adrian Abela (MT), Noor Abuarafeh (EG), ALTALENA (IT), Marco Antelmi (IT), Panos Aprahamian (LB), Bora Baboci (AL), Riccardo Badano & Hannah Rullman (IT), Hanan Benammar (NO), Yesmine Benkhelil (TN), Maeve Brennan (UK), Johanna Bruckner (AT), Dante Buu (ME), Madison Bycroft (FR), Annalisa Cannito (IT) in collaboration with, Wendimagegn Belete (ETH-NO), Valerio Conti (SM), Selin Davasse (TR), Binta Diaw (IT), Adji Dieye (IT), Enar de Dios Rodríguez (AT), Caterina De Nicola (IT), Marianne Fahmy (EG), Alessandra Ferrini (IT), Enrico Floriddia (IT), Victor Fotso Nyie (IT), Haris Giannouras (GR), Marco Giordano (IT), Adrijana Gvozdenović (ME), Bianca Hisse (NO), Areej Huniti & Eliza Goldox (JO), KABUL MAGAZINE (IT), Valentina Karga (GR), Dalia Khalife (LB), Ru Kim (FR), Gašper Kunšič (SI), Sotiris Tsiganos & Ionian Bisai (GR), Vesna Liponik (SI), DDC | Design di Comunità (SM), Filippo Marzocchi (IT), Corinne Mazzoli (IT), Dina Mimi (PS), Tawfik Naas (UK), Eleni Odysseos (CY), Francis Offman (IT), Mila Panić (BA), Eva Papamargariti (GR), GianMarco Porru (IT), Gabriele Rendina Cattani (IT), Jacopo Rinaldi (IT), Virginia Russolo (IT), Pablo Sandoval (ES), Michele Seffino (IT), Selma Selman (BA), Vanja Smiljanić (RS), Alcaeus Spyrou (AL), Chara Stergiou (GR), Valinia Svoronou (GR), Theo Triantafyllidis (GR), Endi Tupja (AL), Sophie Utikal (AT), Marina Xenofontos (CY)

ARTWORKS with the support of the Stavros Niarchos Foundation (SNF) partners with  Mediterranea 19 Young Artists Biennale “School of Water” and supports the 4 Greek artists and SNF ARTWORKS Fellows who have been selected to participate in the exhibition program (Jonian Bisai, Eva Papamargariti, Chara Stergiou and Valinia Svoronou).

More info: https://mediterraneabiennial.org/

Titled 水体 Bodies of Water, the 13th Shanghai Biennale will advocate for processes of planetary re-alliance relying on transspecies collectivity. Exploring forms of fluid solidarity, the Biennale will convene artists to think beyond human-centered and nation-based narratives, connecting the discussions of bodies with those of the environment.

The Biennale is engaging with the history and geography of Shanghai, a long-standing arena for liquid territorial bodies, and the site for this Biennale. The city is intimately connected to the 5,000-meter descent to the East China Sea of Qinghai-Tibet Plateau’s meltwaters located at the intersection of the Huangpu and the Yangtze Rivers, and in the vicinity of the human-made Jing-Hang Grand Canal. Particles dragged from up to 6,300 kilometers of sediment are metabolized by edible plants at the Yangtze Delta, China’s most fertile agricultural site. Mineral and organic matter, travelling suspended as part of bodies of water, is then rebodied. Water flowing reconstructs geographies and vitalizes organisms. Not without struggle.

The Shanghai Biennale, the oldest art biennale in China, will ultimately interrogate its own situation at PSA, a former coal-electric plant that fueled the industrialization of the Huangpu River, a cauldron of accelerated production and bodily mobilization.

This edition will nurture art as an ecosystem of practices closely connected to different forms of human and non-human knowledge, sense, and intelligence. In close collaboration with Shanghai’s universities and networks of independent art spaces and activism, the Biennale will build on art’s interdependency with science, social constructs, technology, and modes of spirituality. Rather than presenting art as autonomous, it will provide a platform to acknowledge the diversity in which research and knowledge-making happens and is disseminated.

THE PHASES: IN CRESCENDO BIENNALE

For the first time, the Shanghai Biennale will operate as an eight-month “in crescendo” project, unfolding in three phases:

PHASE 01: A WET-RUN REHEARSAL. November 10–14, 2020. A summit bringing together contributors to present their work in the form of a performative assembly taking place in the PSA’s Grand Hall and spreading out to networks of art spaces along the Yangtze River, as well as online.

PHASE 02: AN ECOSYSTEM OF ALLIANCES. November 15, 2020 – April 9, 2021. Keeping a permanent post at the PSA, the “in crescendo” project associates itself with infrastructures where online/offline social and communal life are taking place. These include streaming TV channels, social media, university programs, and serial interventions on urban dynamics.

PHASE 03: AN EXHIBITION. April 10 – June 27, 2021. Opening with a festival, the Biennale will unfold into an exhibition that will run through PSA and expand into a series of locations along the Huangpu River and across the city of Shanghai.

Shanghai Biennale 水体 Bodies of Water: The 13th Shanghai Biennale

Tuesday, November 10, 2020 – Sunday, June 27, 2021

Chief Curator: Andrés Jaque

Curators: YOU Mi, Marina Otero Verzier, Lucia Pietroiusti

Head of Research and Publications: Filipa Ramos

Participating artists:
Alberto Baraya; Ana Mendieta; Antoni Muntadas*; Astrida Neimanis*; Aunty Rhonda Dixon-Grovenor; Clare Britton*; Ayesha Tan Jones*; Cao Minghao and Chen Jianjun*; Carlos Casas*; Carlos Irijalba*; Cecilia Vicuña; Cheng Xinyi; Cooking Sections (Daniel Fernández Pascual and Alon Schwabe); Dai Chenlian*; Debajo del Sombrero (participating artists: Andrés Fernández, José Manuel Egea, Miguel García, María Lapastora and Belén Sánchez); Diakron and Emil Rønn Andersen*; Diane Severin Nguyen*; Feliciano Centurión; Guo Fengyi; Heather Phillipson*; Ibiye Camp*; Itziar Okariz*; Jenna Sutela; Joan Jonas*; Karrabing Film Collective; Kyriaki Goni*; Liam Young; Michael Wang*; Nerea Calvillo (C+arquitectas)*; P Staff in collaboration with Basse Stittgen*; Pepe Espaliú; Pu Yingwei*; ReUnion X DMAS*; Revital Cohen and Tuur Van Balen; Sun Xiaoxing, Qiu Zhen, Zhao Kunfang and Huang Siyao*; Tabita Rézaire; Torkwase Dyson*; Vera Frenkel; WORKac (Amale Andraos and Daniel Edward Wood); Zadie Xa and Benito Mayor Vallejo*; Zheng Mahler (Royce Ng and Daisy Bisenieks)

*Names with asterisks correspond to new commissions. Further artists to be announced at the press preview on April 15, 2021.

Kyriaki Goni is an SNF ARTWORKS Fellow 2018.

The co-Living Room Community will be united by separation. The workshop will end up in the creation of common sculpture, a PARAVAN (folding screen) through personal insights around the concepts of travel, movement, route, trail and transition. The PARAVAN will enclose embroidery and sewing techniques, of which free motives, volumes and designs, a multilayer and textured surface will come up . Each participant will  trace its personal journey harmoniously intertwined with that of his neighbor. At the end of the workshop, the individual artworks will be collected and composed to the final artwork, THE PARAVAN, which will be installed in the actual Living Room of Victoria Square Project.

Total number of participants: 30
Teams: 2
Workshops: 2 per team
Duration: 1,5 hour per workshop
Workshop design & co-ordination: Sevastiana Konstaki (Fellow 2020) & Maria Foka

In this moment of profound change, where structures that were once thought to be stable are revealed to be precarious, broken, or on the verge of collapse, the 2021 Triennial recognizes artists reimagining traditional models, materials, and techniques beyond established institutional paradigms. Their works exalt states of transformation, calling attention to the malleability of structures, porous and unstable surfaces, and the fluid and adaptable potential of both technological and organic media. The works included in the exhibition look back toward overlooked artistic traditions and technological building blocks, while at the same time look forward toward the immaterial, the transitory, and the creative potential that might give dysfunctional or discarded remains new life.

The title of the 2021 Triennial, “Soft Water Hard Stone,” is taken from a Brazilian proverb: Água mole em pedra dura, tanto bate até que fura (Soft water on hard stone hits until it bores a hole). The proverb can be said to have two meanings: if one persists long enough, the desired effect can eventually be achieved; and time can destroy even the most perceptibly solid materials. The title speaks to ideas of resilience and perseverance, and the impact that an insistent yet discrete gesture can have in time. It also provides a metaphor for resistance, as water—a constantly flowing and often underestimated material—is capable of eventually dissolving stone—a substance associated with permanence, but also composed of tiny particles that can collapse under pressure.

“Soft Water Hard Stone” is curated by Margot Norton, Allen and Lola Goldring Curator at the New Museum, and Jamillah James, Senior Curator, The Institute of Contemporary Art, Los Angeles (ICA LA). Curatorial Fellow: Jeanette Bisschops.

Iris Touliatou is Fellow 2020 in visual arts.

More info: https://www.newmuseum.org/exhibitions/view/2021-triennial-soft-water-hard-stone

The exhibition will open in October 28th 2021 and will run through January 23, 2022.

Two Greek films in the 2021 New Directors/New Films lineup
MoMA The Museum of Modern Art and Film at Lincoln Center announced the 50th-anniversary edition of New Directors/New Films (ND/NF), available April 28 – May 8 via virtual cinema. Throughout its half-century history, the festival has celebrated filmmakers who represent the present and anticipate the future of cinema, and whose daring work pushes the envelope in unexpected ways. This year’s festival will introduce 27 features and 11 shorts to audiences nationwide in the MoMA and FLC virtual cinemas, and to New Yorkers at Film at Lincoln Center. Two Greek features, Apples by Christos Nikou and Moon, 66 Questions by Jacqueline Lentzou are among the 27 features of this year’s line up.

https://www.youtube.com/watch?v=4Tw2pvynYPA

More info: https://www.moma.org/calendar/film/5302

Christos Nikou and Jacqueline Lentzou are  moving image SNF ARTWORKS Fellows.

“Cora” directed by  Evi Kalogiropoulou won the Εurimages Co-production Development Award in the International Film Festival of Rotterdam. “Cora” follows the story of two women who fall in love and fight to go beyond the limitations of a dystopian patriarchal society.

Evi Kalogeropoulou is an SNF ARTWORKS Fellow 2019 in visual arts.

The celebrations for the two hundred years since 1821 have begun and as we expected the size of exaggeration and nationalist trash reached the levels of Athens 2004 and beyond. In the midst of a pandemic, where class differences really stand out and brutal policing violates every human right in a democratic society, the Homeland-Religion-Family mythology is underlined again and again, shouting loudly, flattening in its passage any discord that does not fit the master narrative. Greek society expels everything foreign, wipes out immigrants from Victoria, cleans Omonia sq. up of drug users, saves the Exarchia neighbourhood from (flying) anarchists and replaces them with cyan and white greek flags, stories of ancient greek greatness and covid-denying orthodox priests. The complexities of the stories of queers, the disabled, refugees do not concern these celebrations of the one and only, perfect, glorious Nation.

​

What is our homeland after all? is it not the construction of a national fantasy based on the extermination of everything that does not fit in the image of the strong and brave fighter? Can it be the majestic high mountains of the greek landscape? And why does this issue return so often in the nationalist discourse of the modern greek state? If greekness is a monster that does not make much sense, we must demonstrate the contradictions and silenced crimes that make it up – because that is the only way to survive.

This exhibition is made by subjects and talks about subjects who suffocate within the framework of greek orthodox patriotism and use creative means to express their dissatisfaction with a mythology that does not include them, does not express them, does not concern them.

FYTA, March 2021

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SNF ARTWORKS Fellows 2020 Anthi Kougia and Vasiliki Lazaridou took part in the exhibition.

Member of the artistic duo FYTA is Foivos Dousos, SNF ARTWORKS Fellows 2020.

http://www.f-y-t-a.com/

https://www.200xronia.com/

To celebrate Eye’s 75th anniversary this year, seven artists were asked by EYE Filmmuseum (Amsterdam) to provide a film work for a digital exhibition. They are all artists with whom EYE Filmmuseum has collaborated over the past ten years in the context of an exhibition. The films are as different as the artists themselves, but they are all situated at the interface between film and visual art, precisely the focus of our exhibition policy.

Waiting for the Time to Pass (Janis Rafa, 2021, 4’30’’) watch the film
A dog waits in a car. The windows fog up and we hear the creature panting and whining softly – his impatience and restlessness are contagious. The dog is entirely at the mercy of people in escaping from this predicament. Janis Rafa connects this image with early Soviet space flights in which dogs were sent into space as part of experiments. Waiting for the Time to Pass is a new work, made during the corona pandemic, and the association with the limited freedom of movement and uncertainty about the lockdown is clear. In her earlier work, Rafa often commented subtly on the ecological disaster caused by anthropocentrism.

Janis Rafa (1984) is a visual artist and filmmaker. Her work featured in Eye’s 2016 exhibition Close-Up: A New Generation of Film and Video Artists in the Netherlands. She was artist in residence at Amsterdam’s Rijksakademie van beeldende kunsten, and her work has been presented at Paris’ Centre Pompidou, New York’s MoMA and London’s Tate Modern. With her first feature film she won the VEVAM Fund Prize from the Directors Forum and the Prize of the Circle of Dutch Film Journalists.