Author: gourgourini

‘Mila’ (Apples, Greek: Μήλα), a drama film which explores selective memory, has been submitted by Greece for the best international feature category at the 93rd Academy Awards.

The Culture Ministry chose the specific film directed and produced by Christos Nikou

‘Mila’ Synopsis
Amidst a worldwide pandemic that causes sudden amnesia, Aris finds himself enrolled in a recovery program designed to help unclaimed patients build new identities. Prescribed daily tasks on cassette tapes so he can create new memories and document them on camera, Aris slides back into ordinary life, meeting Anna, a woman who is also in recovery.

The 93rd Academy Awards will take place on April 25, 2021.

Christos Nikou is a moving image Fellow 2020.

Are you a Prepper or you belong to the Golden Horde? Readiness, an epic Live Action Role Playing Game will unravel over the next four days inside an immersive Bootcamp and be Live Streamed continuously.

This is a call to arms!

READINESS : THE LARP has Begun! A 4 day long experiment in the form of a Live Action Role Playing Game that takes place in an immersive play space and will be continuously live streamed. See you at the chat ;)

Drawing on the reactionary cult of “preppers” (individuals and groups prepping for survival in scenarios of catastrophe and civil collapse), Kostis Stafylakis, Theo Triantafyllidis and Alexis Fidetzis use role play to develop the world of “Readiness,” an immersive work that seeks to dissect the apocalyptic fantasies of preparedness. “Readiness” unfolds in the form of an epic battle between a group of preppers and the Golden Horde, the rampant mass of the ‘unprepared’, in preppers’ patriotic jargon and literature.

“Readiness” is a Chamber LARP (Live Action Role Playing Game) for 8-16 Players and a Game Master that takes place inside the “Encampment”, a fictional campsite constructed by the Preppers to protect themselves against an upcoming apocalypse of mysterious origins. “Readiness” is informed by current global turmoil and the attitudes of survival, alienation and vigilance built around it. It combines elements of gaming culture, performance, and post-media art.

The LARP will play out over 4 days, including an introduction and character building workshop and 3 Acts played in real time over 3 days. Players of “Readiness” will be assigned to one of 3 Clans (Preppers, Horde, Boogaloos) and given a Character Outline, who they can further design and refine. Once the Game starts, the Players will continuously be in character and asked to respond to various challenges and achieve their goals within the given scenario. The LARP will be broadcasted as a Live Stream and recorded for further editing and exhibition.

“Notes to Readiness: Step 1” was created in the context of ENTER project, an initiative of ONASSIS FOUNDATION. ONASSIS STEGI and Onassis USA give artists from all around the world 120 hours to create from home a series of new original commissions; sharing their new reality.

15 OCT – 18:30 – 22:30 (ATH) Character Creation Workshop
16 OCT – 19:30 – 22:30 (ATH) LARP DAY 1 – STREAM LINK
17 OCT – 18:30 – 22:30 (ATH) LARP DAY 2 – STREAM LINK
18 OCT – 18:30 – 22:30 (ATH) LARP DAY 3 – STREAM LINK

Readiness: The LARP

By Kostis Stafylakis, Theo Triantafyllidis & Alexis Fidetzis

With: Vasilis Bakalis, Stathis Chalkias, Sotiris Fokeas, Christos Fousekis, Marilia Kaisar, Kosmas Kosmopoulos, Markella Ksilogiannopoulou, Anna Samara, Lia Smaragda, Savvas Tsimouris, Vassilis Vlastaras, Poka-Yio

Μovement Αdvisor: Maria Gorgia | Hosted at Maria Gorgia’s Amalgama space

Alexis Fidetzis is a visual arts SNF ARTWORKS Fellow 2018.

The performance SJ is a narration of a true story. In 1905 in Orleans, France, the convicted Henri Languille lost his life in the guillotine. Shortly after his execution Doctor Beaurieux, who was present, shouted the name of the executed. The eyes of the severed head responded by opening vigorously. The doctor’s call was repeated two more times. The third time Henri’s gaze faded forever. The incident was recorded in a 6-page text by Dr Beaurieux as a medical experiment in the archives “les Archives d’Anthropologie Criminelle”. The whole event lasted 30 seconds. In 1996, Douglas Gordon exposed Henri Languille’s last moments in the piece 30 seconds text by recording Henri’s execution in a new, shorter version, which takes 30 seconds to read. In 2020 the piece SJ extends the duration of 30 seconds text through a vocal performance. A deconstructive reading of this new text unfolds a new narration, pronouncing each letter for 30 seconds. It takes about 8 hours to read the whole text in Turkish.

The performance SJ is presented at the Sakıp Sabancı Müzesi in Istanbul, curated by the Marina Abramovic Institute from 30/10 to 15/11 daily, 12:00-18:00, except Mondays, as part of the exhibition Akış/Flux. Its scheduled duration was 6 consecutive weeks. Part of the performance was presented in the spring of 2020 when it was stopped in a hurry due to covid 19. The continuation and completion of the exhibition will start tomorrow, Friday 30/10/2020

Due to emergency health measures, my physical presence becomes impossible, since all travels between Greece and Turkey are suspended indefinitely. In this context “SJ” will be presented in the form of video and audio installation throughout the above duration

30″ for Henri’s head
30″ Gordon’s text
30″ for every letter

Malvina Panagiotid and Vasilis Papageorgiou, both visual arts Fellows 2018, participate in the group show “On Heavy Rotation” at Callirrhoë space.

The exhibition’s point of departure is a motion, that is constantly accelerated this year: the rotation on one’s own axis. Conditioned by the pandemic and the accompanying limitations, spinning around became a collective experience. Between a steadily repeated mental rotation and a physical reeling off of recurring processes, a dynamic arises, that resembles the experience of a hall of mirrors. Introspection and self-awareness generate a turning point, that affects the individual and – like the dance of a derwish – results in fluctuating between vertigo and contemplative trance. The exhibition follows these rotational movements on the basis of several works and tries to establish intersections between their thematic radii.

With works by
Keren Cytter, Panayiotis Loukas, Matthias Noggler, Malvina Panagiotidi, Vasilis Papageorgiou, Lia Perjovschi, Evelyn Plaschg, Socratis Socratous, Nadim Vardag, Gernot Wieland

Curated by
Severin Dünser & Olympia Tzortzi

Kallirrois 122
Athina 117 41
Greece

Thursday & Saturday 4–8 pm
and upon request

Soft opening
Monday, 2 November, 5–10 pm

2 November – 12 December 2020

The exhibition is kindly supported by

Urban Antibodies examines the identity of cities and mutations. During the current climate our relationship to the urban environment transforms drastically as we witness the disruption of daily life and envisaging the future seems increasingly abstract. The exhibition intends to reimagine cities as living organisms, looking at sites of toxicity and vulnerability, recovery and care, metaphorically and literally.

In any landscape, especially in Europe, a wanderer will always stumble upon human traces of intervention. Even simple topographical features are results of ideological decisions, whereas parts of land that remain untouched do so because they exist as natural barriers or obstructions. [1] Every landscape is political and in a constant state of flux. We witness cities disappear and the urban wanderer becomes an “outlaw”, the commonplace mutates constantly. There seems to be an urgency to redesign the flow of daily life, invent something new and rethink the relationship to the cities we live in and notions of hegemony aesthetically, ethically and emotionally. The show derives from artists’ ideas on urbanism, examinations on labour, speculations on design and technology, poetic contemplations on the urban sphere.
The exhibition was shaped collaboratively as an ongoing process that evolved organically with the participants during 2020.

[1] Martin Warnke, Political Landscape: The Art History of Nature

Artists:
Lea Collet, Konstantinos Giotis (Fellow 2020), Natalia Janula, Richard Müller, Eva Papamargariti (Fellow 2019), Konstantinos Pettas (Fellow 2020), Efthimios Sakkas, Marios Stamatis, Valinia Svoronou (Fellow 2019).

Organised by weekend.Athens and Natalia Janula

Opening: Friday 30 October, 18:00-22:00.
Duration: 31 October-8 November, 16:00-21:00

15, Dimitras Str., 17778 Athens

Monroe Springs, the new solo show of Yorgos Maraziotis (Fellow 2020), swings between site and situation specificity; the interdisciplinary artist intervenes in the gallery space in order to create a sleek and salacious topos, full of eerie and disorienting elements. Drawing inspiration from violent historical events and topographical patterns of Los Angeles, Maraziotis uses the very city as an allegory to question how constructed truth becomes collective belief, and how the pragmatic blurs with the fictitious. His references include infamous Hollywood murders, the 1992 deadly riots, the communities of Sunset Blvd. and in general the self-contained status of the sprawling metropolis. The exhibition’s narrative is based on literature, music, media power-structures and collective imagination, considering that the artist has never physically visited Los Angeles. In this way, he builds an intimate and alluring installation that resembles both a playground and a torture chamber. By exhibiting for the first time together paintings and sculptures, Maraziotis shifts his role to a conductor of diverse mediums and techniques. The paintings are composed within a certain color palette while the sculptures bring together copper, aluminium, wax, glass, neon lights, and plants. The works mystically combine familiar and domestic characteristics with sharp and discomforting forms. Their strategic alignment in space creates tension which drives visitors to shift their viewing agency from optical to somatic. Monroe Springs highlights the coexistence of antithetical notions in the practice of Yorgos Maraziotis such as safety and danger, concealment and disclosure, fragility and rawness. This research engages with the inter- section of promise and play as a precarious territory standing between excitement and inertia.

Duration:
03.09.20 – 10.10.20

Base-Alpha Gallery
Kattenberg 12
B-2140 Antwerp – Borgerhout

Opening hours:
Thursday – Saturday
2 – 6 PM
Sundays by appointment

Macho Sounds / Gender Noise explores how contemporary perceptions of gender are influenced by sounds designed and embedded in today’s technologies. Looking especially into the role of the automobile industry, the project takes as a starting point the artificially produced sounds of the conventional or electric cars of the present, and of the self-driving cars of the future. It discusses how vehicles –that would otherwise be silent– involve fake engine sounds to manifest their acceleration and power, and have artificial voices set by default as female to please and assist the driver.

The car, from the past until now, has been understood as a machine with a female body, offered to be ridden, possessed and controlled. This has produced a gendered iconography where women are objectified, but it has also given birth to a rich genealogy of powerful feminist resistance in relation to it. The project addresses the impact of patriarchal machines on the social construction of gender, and raises questions through feminist and queer perspectives: What will the voice and the engine of tomorrow’s car sound like, and who will be addressed? How can the stereotypes and prejudices reproduced through technologies be opposed? What does the car –as a powerful machine– stand for, in times of economic, societal and climate crisis? Which vehicles can drive us to messy and noisy places and worlds beyond binaries, hierarchies and categorizations?

The project is an an audiovisual installation combining video, sound and kinetic elements inspired by literature on cars, queer and feminist approaches on technology, as well as field work conducted in the city of Stuttgart. Motor mouths, artificial voices, human and machine written texts come together to expose and discuss the gendering of technologies on a symbolic and material level.

Macho Sounds/ Gender Noise was developed within the framework of the Hannsmann-Poethen literary scholarship of the state capital Stuttgart, that Sofia Dona and Daphne Dragona were awarded in 2020.
It is presented as part of DIE IRRITIERTE STADT festival in cooperation with the Staatsgalerie Stuttgart and at the GEDOK-Galerie Stuttgart.

Sofia Dona is an visual arts SNF ARTWORKS Fellow 2020.

Credits

3-channel video installation
Camera: Sofia Dona
(29 min, color, full HD, stereo)
Performers: Anna Pangalou, Stavros and Ilias Grillis
Editing: Red Light Studio, Sofia Dona
Excerpts from the video [CAR ASMR] by Motline

Animated text
Text: Daphne Dragona
(12:23 min, color, full HD)
RNN generated text: Lukas Rehm
Animation: Matthias Fritsch

Kinetic Sculpture
Design: Sofia Dona
(Object from rubber, metal, plastic
overall dimensions: 43cm x 100cm 170cm)
Production: Lazaridis Studio

With our warmest thanks to Sofia Bempeza, Alexandros Bempezas, Jakob Berger, Evi Kalogiropoulou, Christine Fischer, Liz Flyntz, S-K-A-M e.V. (Joseph Michaels, Nikola Lutz, Arlette Probst), Matteo Pasquinelli, Thalia Raftopoulou, Eva-Maria Rembor, Christiane von Seebach, Renzo Vitale, Claudia Wronski, Lagios Recycle Cars, Tountas Garage.

42 days of quarantine

460 digitally uploaded works of art (res.momus.gr)

23 co-curators

89 selected artists

35 days of creative collaboration.

A version of MOMus online open call that took place last March, titled “MOMus Resilience Project” is presented at the exhibition “Together, So Far So Close.” This collective curatorial project with artworks that was created during the suffocating lockdown atmosphere, stands as a collective initiative aiming at the projection of all those things that hold us together, despite the imposed social distance.

The curatorial team set as a starting point and methodology of the process the concept “together”, because the pandemic concerns all of us. All of us had to cope with self-isolation for disease prevention. All of us felt -and we still feel- that this precious “together” is threatened, as physical contact, social proximity, and human coexistence have turned into possible risks for our survival.

Experiences, feelings, thoughts, worries and hopes are transformed into artwork, within which every one of us can recognize something deeply personal and completely ours. The inner world, the house as a space of self-isolation and introspection, the dystopian desolation of the urban landscape, the temporary environmental regeneration, the political aspect of health restrictions, and finally, the indomitable instinct of survival and coexistence are the main topics that characterize the artwork of this exhibition.

Together, amateurs and professionals, artists and art lovers, we freely and collectively communicate this initiative to the public, because we believe that art offers an escape, expresses and comforts each and every one of us. So, we stand together, fragile but still powerful, despite the imposed social distance, we express our strong willingness for meaningful communication.

The curatorial team text.

Supervisor-Coordination: Thouli Misirloglou, Deputy Director of MOMus-Experimental Center for the Arts

Curatorial Team: Eleftheria Almasidou, Christina Arampatzi, Maria Charmani, Despina Fatesidou, Antoneta Garitsi, Dimitris Gatidis, Louloudia Gredi, Eleftheria Kalpenidou, Nana Kantsa, Valentini Margaritopoulou, Smaragda Nitsopoulou, Olina Oikonomidou, Marina Papadatou, Aggeliki Patakiouti, Fay Pipina, Antonis Rapanis, Meni Seiridou, Tania Siopi, Maria Soufla, Nopi Sotiriadou, Sophia Tolika, Maria Tsaousidou, Lara Vrettou

Participating Creators: Efi Amanatidou, Haris Anastasiadis, Katerina Anastasiou, Zoe Antypa, Soula Apostolaki, Aimilia Balaska, Chris Barjoka, Tasos Biris, Anna Botou, Evangelia Natalia Boutasi, Ioanna Charalampous, Elena Chatzianastasiou, Katerina Chatzidimitriou, Drosoula Maria Chatzistamou, Maria Dellaporta, Katerina Eleftheriadou, Ioanna Florou, Myrto Fousteri, Sofia Georgiadou, Georgia Georgiou, Maira Gerouki Zisi, Eleonora Geortsiaki, Elena Giannadaki, Sotiris Gkonis, Thanasis Gnesoulis, Antigone Iliadi, Paul Handley, Danai Ioannidou, Anastasios Ioannou, Lea Kavvadia, Despina Kavallari, Ioanna Kazaki, Diran Kalaydjian, Eleftheria Kalpenidou, Anneta Kapon, Spyridon Kaprinis, Stelios Karatheodorou, Ifigenia Karatzia, Maria Karkanaki, Kalli Kastori, Andreas Katsikoudis, Evi Kafiri, Nikos Kachrimanis, Konstantinos Koutsioukis, Sylvia Kouveli, Nikos Kostopoulos, Loopo Studio, Kyriaki Lykouresi, Ilectra Maipa, Georgia Mantalia, Eleni Marantou, Konstantinos Markogiannis, Panagiotis Mavromatis, Evelina Mountzia, Stratos Ntontsis, Dimitra Papageorgiou, Florentia Papamitrou, Stefania Patrikiou, Elena Pavlidou, Sofia Pechlivanidou, Aggeliki Politi, Zografia Popoli, Bernard Pourrière, Asimina Psyrra, Antonis Rapanis, Sofia Rozaki, Mariana Rossiadou, Katerina Svoronou, Sofi Senoglou, Alexandros Simopoulos, Hara Sklika, Giorgos Stergiopoulos, Alda Stefa, Sofia Symiakaki, Erietta Syroglou, Louiza Sotiriou, Sofia Tolika, Filippos Tsemperis, Ioanna Tsigara, Maria Tsiroukidou, Aleka Tsironi, Sofia Vaggeli, Loukia Vasilaki, Konstantia Vlahidou, Richard Whitlock, Doreida Xhogu, Andreas Zacharatos.

Duration: October 20, 2020 – November 4, 2020

Alexandros Simopoulos is an ARTWORKS Fellow in visual arts at 2018 and Ilectra Maipa at 2020.

SPYROS KOUVARAS / SYNTHESIS 748 DANCE COMPANY

SISS / PHUSS: while you carry time our bodies hold history

Concept, Choreography: Spyros Kouvaras

Dancers: Alexandra Rogovska, Margarita Trikka, Aggelos Papadopoulos, Spyros Kouvaras

Performer: Aggelos Skourtis

Choreography assistant: Stella Dimitrakopoulou (SNF ARTWORKS Fellow 2019, dance/choreography)

ROES THEATER

26-27 October και 2-3 November, 21:30

The exhibition Statues that don’t move, don’t speak, don’t laugh presents seven new works in public space in the area of Amerikis Square and Kato Patissia.

The exhibition title refers to the popular children’s game, common in many countries under different names: ‘Statues’, ‘Red Light, Green Light’, ‘Grandmother’s footsteps’, ‘Statues that don’t move, don’t speak, don’t laugh’ in Greek: the children who play have to remain still, like statues, when the ‘Curator’ (or ‘It’, ‘Granny’ etc.) turns around and looks at them.

The exhibition focuses on the element of play, explores the relationship between objects, bodies and spaces, their motion and stillness, while it approaches movement and contemplation as both active and reflective processes. It is based on a random encounter with the artworks, on an impromptu that engages not only the gaze but the whole body, like the children-statues ‘freeze’ on the posture that the look of the ‘Curator’ catches them.

Anastasia Douka (ARTWORKS Fellow 2019) dresses the benches of Kalliga Square. Dora Economou forms a space by the big tree at the backside of the basketball field on the corner of Samara and Kambouroglou streets. The living statue/mime by Chrysanthi Koumianaki (ARTWORKS Fellow 2018) speaks the language of the walls around the basketball field at Samara and Kambouroglou streets. Rallou Panagiotou leaves personal notes for public services at Pavlou Bakoyianni Square. Aliki Panagiotopoulou’s work is a burial, scattering, burst and dispersal of wildflower seeds on soil, sidewalks, sewers that surround and connect the three spaces. Kostas Roussakis hands out a feuille volante to the passersby in Kalliga Square. Kostas Tzimoulis interposes sculptural drawings in the fence of the basketball field on the corner of Samara and Kambouroglou streets.

The three exhibition spaces are independent but compose an itinerary parallel to Patission Avenue. Every space has its own character and all together look like secret gardens in a neglected part of Athens. They are oases and holes in the urban grid, they balance between openness, inaccessibility and abandonment unfolding the potential and problems of public space.

Statues that don’t move, don’t speak, don’t laugh is supported by NEON Organization.

INFORMATION

STATUES THAT DON’T MOVE, DON’T SPEAK, DON’T LAUGH

01/10/2020 – 31/10/2020

Pavlou Bakoyianni square, Kalliga/Karamanlaki square, Basketball court on Samara and Kampouroglou St. | Athens

Participating artists:
Anastasia Douka, Dora Economou, Chrysanthi Koumianaki, Aliki Panagiotopoulou, Rallou Panagiotou, Kostas Roussakis, Kostas Tzimoulis

Curated by Galini Notti

BEST FEATURE FICTION FILM ORPHEUS AWARD

Special Jury Award for Director: Rinio Dragasaki, Cosmic Candy

BEST SHORT FILM ORPHEUS AWARD

Special Jury Award: Electric Swan, Dir. Konstantina Kotzamani

Honorable Mention: The Distance between us and the sky , Dir. Vasilis Kekatos

HONORABLE DISTINCTION IN ANIMATION FILM

Honorable Distinction in Animation Film: Heatwave, Dir. Fokion Xenos

You read the trees, the mountains in the original

You ask: “What do I have to say in this language?”

The wounded animal deep inside you doesn’t answer.

It stays silent.

Katerina Aghelaki-Rooke, Lipiu Revisited

Bien, P. and Constantine and P. and Keeley, E. and Van Dyck, K. (2004) A Century of Greek Poetry 1900-2000. Cosmos Publishing: New Jersey

Greek poet, translator and intellectual, Katerina Anghelaki-Rooke (1939-2020) in her poems Lipiu and Lipiu Revisited (1993) refers to a heterotopy, founded in the realm of poetry: the topos of Lipiu, a space that can be perceived as the birthplace of her personal vocabulary. It is equally, where the weeds of frustration, rage and deep sorrow grow, the failure of the unspoken words, a territory where she keeps all she has ever lost. The poet speaks up bringing forward the existential agony of bodies in precarity: how, where and through what channels do we become audible and visible? The embodied articulation of a public voice and the overall physical effort to create a sound that can be heard become an everlasting struggle. Subjects lacking recognition by dominant discourse in the full spectrum of their existence are now forced to invent an original code that will communicate their multiplicity: a thoroughly new language, capable of translating into letters and syllables every single atom of their living experience. In Lipiu project, female artists and collectives are invited to compose the letters and the sounds of a personal yet common language in which female experience will emerge as a collective and poetic voice in public space. From the interior of A-Dash space to the unexpected and exposed points along the street of Asklipiou, artworks coexist with and incorporate archive material of feminist publications from the 70’s in an attempt to trace female emotional experience from within and towards the public and vice versa.

During the show, a public program will be held on the A-Dash official website (http://a-dash.space).

The exhibition is realised under the auspices and with the support of the Greek Ministry of Culture and Stavros Niarchos Foundation (SNF).

Participating artists: Zoe Chatziyannaki, Anthie Daoutaki, Eva Isleifs and Rakel McMahon, Irini Karayanopoulou, Maria Loizidou (Desmos Gallery collection), Malvina Panagiotidi, Nina Papakonstantinou, Nana Sachini, This is not a feminist project

Curator: Christina Petkopoulou

Anthie Daoutaki is SNF ARTWORKS Fellow 2019 in visual arts, Malvina Panagiotidi is a visual arts Fellow 2018 and Mare Spanoudaki, member of the team This is not a feminist project, is a curatorial Fellow 2019.

Christina Petkopoulou, curator of the project, is 2019 Fellow in curating.

Efthimios Moschopoulos (Dance Fellow 2020) performs the  “All Criteria This Position Any Moment” curated by Pierre Bal-Blanc, with Victor Burgin and Cally Spooner in reference with Yiannis Tsarouchis.

Score (extract)

Victor Burgin’s three conceptual works “This position…”. 1969 – “Any moment…” 1970 – “All criteria…” 1970, each consisting of instructions printed on double page A4 format, must be presented in isolation from each other in a large room or connected rooms that can accommodate an audience. The presentation of the pieces returns to its original mode (transmitted by the French art agent Ghislain Mollet-Viéville following his conversation with the English artist), i.e. instructions ‘cut up’ and placed around the wall in order to ‘occupy’a room. The signed and numbered originals under glass will be shown in another adjacent room.

The activation of each piece is carried out by a nude or semi-nude model with reference to “The Forgotten Guard” dated 1957 by Yannis Tsarouchis. A painting which will be brought to the attention of the audience through documents in the antechamber of the exhibition. The dancer recruited according to the criteria of the Greek artist’s painting will have undergone prior training by the curator and the choreographer to incorporate the principle of the instructions in each of Victor Burgin’s works.

Victor Burgin’s three statements appeal to the somatic and symbolic memory of the reader. Cally Spooner substitutes these mnemonic traces with three of her own choreographic material: “DRAG DRAG SOLO”, 2016; “Still Life, 2018”;“DEAD TIME (Maggie’s solo)”, 2019. The performer led by Cally Spooner will thus draw from this reservoir of gestures and attitudes when Victor Burgin’s instructions command him to refer to a past or future time.

The continuum of the three pieces performed will be presented before the eyes of the public, who will also have access to the performative statements and will be able to act freely within the framework of social distancing policy related to the Covid-19 pandemic. The performer’s embodiment of the pieces, which varies according to his own reading as well as to the choreographer’s and curator’s instructions, is only an indication of the possible form of reception of the conceptual work addressed to the audience; it in no way claims to limit its use.

The title phrase “All Criteria This Position Any Moment”, 2020 that articulates the three respective works by Burgin and Spooner according to a new syntax inspired by Tsarouchis, attests to the intention to link them in the present time, space and body of both the performer and the visitor. (PBB)

Information:

All Criteria This Position Any Moment

Curated by Pierre Bal-Blanc

with Victor Burgin and Cally Spooner in reference with Yannis Tsarouchis

Friday 18th and Saturday 19th September 2020.

At 5pm, 6pm and 7pm each day (reservation required: [email protected])

Performed by Efthimios Moschopoulos

Duration 45 minutes (wearing mask and social distancing is requested)

———————–

All Criteria This Position Any Moment, 2020

A solo written by Pierre Bal-Blanc

From performative statements of Victor Burgin 1969-70

And in reference with the painting « The Forgotten Guard », 1957 by Yannis Tsarouchis

Choreographed by Cally Spooner

Performed by Efthimios Moschopoulos

Despoina Flessa (Fellow 2018) takes part in the exhibition “Frontviews” along with Thorsten A. Kasper and Stelios Karamanolis

An archaeological field has opened up on the ground. Bone fragments form the skeleton of an unknown creature. On the other hand, the elements remind us of stylized floral forms as they can be found in several variations in heraldic figures since the Middle Ages. They could also be natural casts that have made it from a past time to the present.
In fact, the supposed findings are modelled on a Paleolithic fossil found in the Peloponnese, a Greek peninsula in the south of the mainland. The artist Despina Flessa (*1986, Athens) did not take the segments of her sculpture Liquid Bones (2019) from the original, but reconstructed them from unfired clay and covered them with several layers of graphite. The result is this pure, smooth surface, which resembles a metal casting.
Graphite is the central component of Flessa’s artistic approach, which usually oscillates between drawing, collage and sculpture. In Fold (2020) the mineral also determines the perception of the work. Like a very thin and at the same time massive steel plate, which is bent towards the middle at the upper two corners and rolled up at the lower side, Fold hangs, defying its apparent weight, almost floating on the wall. The fact that it is a work of paper remains completely hidden from the viewers. The metallic, dark-silver surface, which is the result of a multiple coating of graphite, obscures the paper ground and thus visually transforms the used material into another. This is exactly what Despina Flessa is interested in: she apparently tests and transcends material boundaries by working entirely with the properties of the same.
Besides the materiality of the materials, figurative elements can also become actors. In The Field (2017), Flessa shows how the depicted in the pictorial space is transferred to the outside through the shape of the material, thus creating a holistic illusion. At first glance, the vertically three-part work appears to be birch bark. At second glance, the upper third even reveals the shape of numerous trees, which seem to merge into one another as if bathed in clouds of fog. Below the forest that is depicted, there follow arbitrarily arranged, hatched surfaces that, taken as a whole, produce the same structure as is found on birch trees. The three stripes each finish in monochrome dark grey ends, which curl up at the corners as if the bark had detached from the tree at this point, thus completing the illusion and the interplay of motif and technique (monotype and graphite on paper).
The oeuvre of the artist is diverse. Repeatedly, Despina Flessa combines monochrome surfaces, figurations, graphic gestures and the material which operates with the space, thus creating a new understanding of material entities which the viewer can experience individually.

Text by Isabel Steglich

Information

frontviews at HAUNT
Kluckstraße 23
10785 Berlin

Opening Thu 1 and Fri 2 Oct 2 – 9 pm
1 – 31 Oct 2020

regular opening hours
Wed – Sat 2 – 7 pm and by appointment

George Moraitis (Fellow 2018) and Alexandros Tzannis (Fellow 2019) take part in group exhibition “Imagine you wake up and there is no Internet” at Romantso.

What will happen if one day you wake up and there is no Internet?
The exhibition “Imagine you wake up and there is no Internet” explores the effects of ubiquitous connectivity and technology in everyday life. Starting from our obsession with digital technologies, the exhibition seeks to enhance the debate about the coexistence of human and machine in the 21st century. 13 artists and 5 art collectives showcase scenarios from the present time and the near future, strategies of disconnection and disorientation, evacuation and escape plans from the city, studies on the information society, snapshots from digital life and the infrastructures that allows us to be connected to the network, and new readings for the political period we are going through. Any sense of certainty for the present and the future seems to have been destabilised.

31 years after the creation of the world wide web, concepts such as space, time, value and labor have acquired new meaning. And these concepts will continue to take on new meaning as the technology that we use the most, changes at great speed leaving us -often- in the position of the observer with little space for manoeuvring. The levels of control and surveillance in the networks we navigate, whether resulting from political decisions or market trends, are often obscure. At the same time, everyday life and personal data have acquired a particular economic value within networks and our obsession with constant connectivity, can only accelerate a technological future where human behaviour becomes predictable or can be predicted to meet political or/and economic trends.
The works in the exhibition highlight moments and fragments of our digital life surfacing issues related to the human-machine relationship and its impact on the public sphere. The exhibition aims at contributing to the discussion on the constantly accelerating dynamics of the Network, our position within it, and finally, the boundaries between a human-driven versus a machine-driven technological world.
The exhibition presents new commissions and works from: Marina Gioti, Vaggelis Deligiorgis, Antonis Kalagkatsis, George Moraitis, Manos Saklas, Alexandros Tzannis, Jono Boyle and the new version of the work “Tracing Information Society – A Timeline” by Technopolitics group.

Exhibition Duration: 22 October – 15 November 2020
Opening Hours:
Thursday 22 & Friday 23/10: 17.00 – 22.00
Tuesday – Sunday: 14.00 – 19.00
Saturday 14 & Sunday 15/11: 17.00 – 22.00
Closed on Mondays.

Participant Artists:
!Mediengruppe Bitnik & Low Jack (DE/FR), Aram Bartholl (DE), Jono Boyle (UK), Heath Bunting & Kayle Brandon (UK), Vaggelis Deligiorgis (GR), Exonemo (JP), Marina Gioti (GR), Antonis Kalagkatsis (GR), George Moraitis (GR), No Más / No More (GR), Manos Saklas (GR), Molly Soda (U.S.), Superflux (UK), Technopolitics (AT), Alexandros Tzannis (GR), Filipe Vilas-Boas (PT)

Curated by Katerina Gkoutziouli & Voltnoi Brege
________

The exhibition is realised with the support of NEON Organization for Culture and Development and Bios-Romantso.

Theodoris Prodromidis (Fellows 2019), Stefania Strouza (Fellow 2018) and Nikolas Ventourakis (Fellow 2020) participate in the 3rd Industrial Art Biennial ‘Ride into the Sun’ in Istria, Croatia.

Industrial Art Biennale

The Industrial Art Biennale (IAB) is an international exhibition of contemporary art, envisaged as an experimental laboratory grounded in the industrial topography of Istria and Rijeka. It reflects on the phenomena that shaped the social and cultural landscape of the region and will take place in the following locations: Labin, Opatija, Pula, Raša, Rijeka and Vodnjan.

With over fifty works by Croatian and foreign artists, part of which created especially for the occasion, the Industrial Art Biennale examines the relationship of art and society, with a strong focus on the specificities of the above said locations. In this sense, the 3rd Industrial Art Biennial will touch upon the issues of art and cultural production, cinematography as a social and ideological tool and the relations of power, politics, aesthetics and the power(lesness) of images… It directs attention to the decayed industrial infrastructure, observing the effects of deindustrialization and counting on the perspectives of solidarity and feminism. It examines the topics of labour, the effects of tourist development and the waning industrial production. Finally, it investigates the current state of tensions and downfalls, in terms of social unrest, loss of perspective, issues of ecology, radical climate changes, exploitation of natural resources, but it in the same way examines the horizon of possibilities of social imagination and their utopian potential.

3rd Industrial Art Biennial – Ride Into The Sun

The title “Ride into the Sun” was taken from the legendary Velvet Underground’s song and loosely translated into Croatian as “Straight into the Sun”. It incorporates our immanent desire for another better world and life. It is a ride which can end in a pleasant dream of a sunlit Arcady – a peaceful and prosperous society leading an idyllic life – or in the nightmare of a world destroyed by numerous human and natural disasters. This Biennial supports the idea of “the underworld” not in its ideological sense, as an alternative to “the heavens”, but in the actual, physical form, which is already available as a possible habitat and to which, paradoxically, we humans devote much less attention than to the unknown universe.

We are witnessing a kind of a “withdrawal from history”, the abandonment of the progressive and utopian historical legacy of modernism, solidarity and development. At this moment of great social regression defines both the European and wider international context, the Industrial Art Biennale opens up a perspective to reflect upon new horizons that can overcome social fragmentation and feelings of hopelessness.

Participating artists:

Matthew Barney, Filip Borelli, Ben Cain, Jasmina Cibic, Teresa Cos, Christopher Cozier, Boris Cvjetanović, Dušica Dražić, Wim Janssen, Igor Eškinja, John Ford, Jeanno Gaussi, Nikolaus Geyrhalter, Helidon Gjergji, Krešo Golik, Tina Gverović, Scott Hocking, William E. Jones, Jelena Jureša, Mary Reid Kelley & Patrick Kelley, Guido Kucsko, Kuehn Malvezzi – Office KGDVS – Guido Jan Bral, Robert Kuśmirowski, Ana Kuzmanić, Lina Lapelytė – Vaiva Grainytė – Rugilė Barzdžiukaitė, Claudia Larcher, Paul Albert Leitner, Elvis Lenić, Silvio Lorusso, Marko Lulić, Basim Magdy, Ursula Mayer, Metal Guru – Sandro Đukić, Hana Miletić, Antun Motika, Bojan Mucko, Alban Muja, Gülşah Mursaloğlu, Damir Očko, Marina Orlić, Prabhakar Pachpute, Rupali Patil, Marek Piwowski, Agnieszka Polska, Theo Prodromidis, Tanja Prušnik, Godfrey Reggio, Rimini Protokoll, Maruša Sagadin, Dragana Sapanjoš, Toni Schmale, Stefania Strouza, Jacques Tati, Bert Theis – Barbara Barberis – RiMaflow, Nikolas Ventourakis, Munem Wasif, Erwin Wurm, Dino Zrnec.

Curators:

Branka Bencic, Gerald Matt, Christian Oxenius

Duration: 10/10-21/11/2020

More: https://www.koraxcontemporary.com/ride-into-the-sun?fbclid=IwAR1VzwAdEgOJIm9fs9lY2af6Wum6aBrqhy-eQys-c9AhZgYcppMv7WTy0T8

Join 3 137 & HSC art collectives to raise a critical discourse around nationalism marking the 200th anniversary of the Greek revolution.

3 137 invites the Berlin-based artistic collective Honey-Suckle Company (HSC) to reimagine, comment, and renegotiate the national identity discourse about the 200th anniversary of the revolution war for Greek Independence. On this occasion, HSC will transform the 3 137 exhibition space into an avant garde high fashion couture window and catwalk inspired by Greek folk costumes of the 1821 era. The surreal mannequins come to life and the clothing is dressed with futuristic sounds. We want you to join us in realizing this multimedia performative event and installation that will take form and enter the Athenian public space, during spring 2021.

HSC will explore topics including the symbolic loading and unloading of clothing and uniforms and the body as the last border. Following the collective’s participation at Berlin’s ffwd “I love fashion” and their spatial installation “Jil Sander and emotional economic observations”, HSC envision an installation in the windows of the 3 137 space, visible to both the audience and casual passerby. The display will range from fabrics to mannequins, from couture fragments to fictitious projects and from fragrance to sound. The attire of the fashion show, consists of recession age clothing and couture fragments.

Join the campaign:

https://www.kickstarter.com/projects/3137athens/greece-2021-an-anti-fashion-show-by-honey-suckle-company

3 137:
3 137, an artist-run space based in Exarchia, Athens was founded in 2012 by visual artists Chrysanthi Koumianaki, Kosmas Nikolaou, and Paky Vlassopoulou (all SNF ARTWORKS Fellows 2018) .

3 137’s program develops through research with the purpose to capture and promote the artistic scene of Greece, to highlight selective affinities with other countries and to advance the discourse on identity and history. The initiative aims to create a meeting point for exchange and discussion and to facilitate an artistic and non-artistic community that suggests another way of doing and experiencing art. The emphasis of 3 137 is on collaboration, hospitality and hybrid forms of being together, through exhibitions, talks, radio programs, screenings, performances and educational workshops.

Honey-Suckle Company:
Honey-Suckle Company, founded in 1994 in Berlin, is an artistic movement currently consisting of Petr Step Kisur, Nina Rhode and Eleni Poulou. The group is influenced by and experiments with photography, music, fashion, film and sculpture. The collective balances between being an underground left-field cult and a commercial artistic project. The group is inspired and bound together by their shared belief in alternative medicine homeopathy. They have exhibited widely including at the Museum of Modern Art, New York and the Berlin Biennial. Recently a 25-year retrospective of Honey-Suckle Company’s practice entitled “Omnibus” took place at ICA London.

Konstantinos Doupenidis (Fellow 2020) takes part in the group exhibition «Ruins of an Extreme Present» at Romantso.

What does it mean to exist in an epoch dominated by humans?
‘Ruins of an extreme present’ is a group-exhibition featuring 7 artists/designers and 6 studios whose works interpret, question and react to established political, social, ethical and ecological phenomena.
Using contextual and speculative design as a cultural power, the exhibition imagines dystopian futures and visualizes this strange, liquid present which carries its past and future traumas.
The experience of these great transformations alone causes diverse emotional responses. Further psychological burden is added due to the fact that these global problems become depoliticized and charged on the individuals, leaving them helpless. This gives rise to feelings such as loneliness, loss, grief, doubt, nostalgia, violence, anger, pain and anxiety, the impact of which becomes even more severe in an environment of change and uncertainty.
If we cannot imagine a possible future, how can we invest in it?
We need to use design as a tool for distancing ourselves from our human present and look at its ruins from the future. Once we have achieved that, we need to come back and reinvent the Anthropocene by imagining the new Anthropos. A new de-centred being with a radically different consciousness of coexistence that will take part in a profound re-distribution of power and knowledge.
This new Being does not implicate a resolution by means of yet another kind of Utopia. The hope rather rests on an attempt to create better futures or at least, if we don’t succeed, a more charming ending.

‘Ruins of an Εxtreme Present’
Opening October 15th, 2020 from 18.00-22.00
Opening hours 16-18.10.2020 from 10.00-20.00

Curated by: Un.Processed Realities [instagram.com/un.processedrealities/]
Supported by: KAWRS

Participating Artists: Taxiarchis Balaskas, Baratto & Mouravas, Konstantinos Doumpenidis, ENYO Studio, G. Vic & Jola, Hypercomf, Hyperscapes Research Office (HRO) + FluxGeist, Kakia Konstantinaki, Kostas Lambridis, Maria Paneta, Niccolo Sanavio, Studio Precarity, Un.Processed Realities

Exhibition website: https://unprocessedrealities.com/RuinsOfAnExtremePresent…

3 137 opens the artistic season with the exhibition less than 300 dpi, 15 seconds cinema that will be entirely presented on Instagram. The participating artists were invited to create a series of Instagram stories, as their own Cinétracts specifically created for contemporary media. Our aim is to create a modular narrative consisting of animated images-works that come together to make a documentary, a collective film that evolves into episodes.

Works by:
ATH Kids, Daphné Hérétakis (Fellow 2018), Santra Odette Kipriotaki, Penelope Koliopoulou, Ahmet Ogut, Joshua Olsthoorn, Eva Stefani, VASKOS Vasilis Noulas + Kostas Tzimoulis

The works of the exhibition will be presented in rotation in the Stories of our Instagram account.
The exhibition is supported by NEON Organization for Culture and Development.

The artist-run space 3 137 is run by our Fellows 2018 Paky Vlassopoulou, Chryssanthi Koumianaki and Kosmas Nikolaou.