Author: gourgourini

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.

The Contemporary Dance Group of Persa Stamatopoulou, in collaboration with the musician Coti K., present Traces at the Benaki Museum.
This new production negotiates the mapping of the human imprint in space and time through a sound installation, drawing material from historical events of the world history. A collage of sound stimuli triggers the creation of bridges between the past and the present assembling a narrative of a world that seems to be progressing through its repetition. Audio documents refer to moments that have defined our adulthood, or have been recorded in us as narratives redefining our relationship with memory. Traces that are lost in the oblivion of History come back as short, standalone stories and give feedback to the acoustic installation along with a kinetic action, thus complementing each other.
Through minimalistic and abstract aesthetics, two bodies scattered in space are in a continuous flow, searching and developing a dialogue with each other that allows them to interact and move along together, accompany their listening. The people present and absent, the audience and the protagonists, are setting the stage of their own story within History focusing on the echo that is left behind. In this particular condition, the audience is called upon to activate first the sense of hearing, in an era when image as a medium occupies our perception of the world, the audience can bring back memories and compose their own personal images and thoughts.

The Contemporary Dance Group of Persa Stamatopoulou and the performance Traces are supported by NEON Organization and Flux Laboratory Athens.

PRODUCTION CREW
Concept/Choreography: Persa Stamatopoulou
Music/Sound installation: Coti K.
Assistant choreographer: Polena Kolia
Photography: Foteini Farmasoni
Dancers: Daphne Stathatou, Nikos Kalivas
MORE INFORMATION
Tickets: 10€ | Tickets are available at the Benaki Museum box office
Maximum number of spectators: 25 people
Please note all visitors are required to wear protective masks and maintain social distancing while on site.

A unique onboard experience of romance, blue waters, music and sunset on the maiden voyage of “The Love Boat“. Our mission is to provide our passengers with high quality services for their ultimate relaxation. Exclusively for this September’s inaugural trip, our venture will be the fantastic unknown and its exotic, unexplored destinations. A three-night cruise that will make you explore and rejuvenate… Your senses will be stimulated through the wandering in the multiple levels of the hyper-modern ship and its advanced facilities. Take delight in the unique amenities of the specially designed pool area, the beauty & spa club, the ballroom, the shopping center. Enjoy unique tastes of international cuisines and delicious cocktails and leave it to our qualified staff for a journey of style, luxury and pure comfort. Departure from Pier 151 of Iera Odos Street in the center of Athens. Musical departure accompanied by the City of Athens’ Philarmonic Orchestra.
Our crew wishes you in advance a pleasant stay!
You are kindly requested to comply with all mandatory prevention measures, to mask-wearing and the maintaining of necessary distances.

Participating artists: Marilena Aligizaki | Margarita Bofiliou | Campus Novel | Errands | Florent Frizet | Greece Is For Lovers | Lakis & Aris Ionas / The Callas | Yorgia Karidi | Εric Stephany | Naira Stergiou | Valinia Svoronou | Iris Touliatou | Kostis Velonis | Eriphyli Veneri

Concept – curation : Naira Stergiou, Erifili Veneri

Opening: Friday September 18, 2020 @ 20.00 μ.μ.

Duration: September 19 & 20, 2020, 20.00 – 23.00 μ.μ.

151, Iera Odos (close to Eleonas metro station)

It has been argued that the best time to read poetry or philosophy is between 1-5 in the morning. That is also more than often the most creative time of the day for most artists, writers and creatives.

The show Nyctophilia II focuses on this psychological condition and functions as a prelude to all the lovers of the night and of all things dark.

Katerina Komianou (Fellow 2019) is a post-romantic night dweller. Her works focus on ideas around eros (love) and symbolically make use of materials such as magnets, palm-trees and alocasia plants which she materially transforms by capturing them in resin and liquid glass. Her series Blue Letters are a series of love letters she writes using a sharp tool on rubber and then erases creating a series of cryptic black panels.

Efi Haliori presents work from her 2018 series Into The Dark. In an effort to surpass her fear of the dark the artist began an 18-month photographic journey through woods and parks of Attica. The result is a series where we see her experimenting with light and darkness in a group of images that are dominated by flashes of light on trees, branches and rocks as they aggressively pop up in front of the viewer. The Into The Dark series manages to transcend all the tension and the emotional load of her adventure into images that cover up her feelings and are characterised by formalistic integrity, tranquility and a dramatic chiaroscuro.

Marianna Ignataki is using synthetic prosthetic hair and wigs worn in the Chinese opera which she then sews together and onto fabrics to create her sculptural installations. Her oeuvre is referencing Chinese philosophy, myths and tradition, bearded ladies, hairmen, the circus, the opera and all the weird creatures of the night. Her works deal with issues of gender, identity and otherness through beauty and the grotesque.

Alexis Vasilikos’ Black Matter(s) series is a blend between straight photography and highly manipulated/digital collages. Together they represent two juxtaposing realities. Abstract images that use photography as a raw material, compositions made of scratches, dust, optical noise and light and less processed, dark, enigmatic, photographic works which stand between traditional analogue photography and abstract painting.

Lefteris Tapas presents a dark, weightless, see-through curtain -both a window and a barrier- that is delicately made by cutting-out paper by hand in a slow, repetitive and mediative process. His elaborate cuts with frill that look like foliage present the other side of darkness, full of negatives and shadows. Weaved webs, thin, black, frozen thrills. A darkness dream-like and elliptical, a shadow theatre, a constructed landscape of a real or spiritual/imagined world.

Anestis Anestis is a new media artist who has created an algorithm that creates abstract compositions made of a multitude of images returned by Google and Flickr when searching the word “night”. Using custom made software, each image returned by the search engine is stacked on top of the other and the total set of the query results is condensed into a single image. A historic reference to Pointillism -a painting method developed by neo-impressionists analogous to the four-color CMYK printing process- Anestis’ work highlights the consistency of human perception in the analog and digital domains and references Claude Monet’s impressionist method of painting many times the same scene in order to capture the light and the essence of the passing of time.

Alexandros Laios’ work often engages with the observation of time and the moment in which sunlight fades and the day turns into evening. The only white work on the exhibition an horizon made of marble that spells the phrase “This land is your land this land is not your land flat land flat land” is a welcome and a goodbye to that last episode of sunlight, its last before it is gone. At the same time the work alludes to the world of darkness and of dreams, a world that it is not ‘ours’ nor it can be owned by anyone.

Participating artists: Anestis Anestis, Efi Haliori, Marianna Ignataki, Katerina Komianou, Alexandros Laios, Lefteris Tapas, Alexis Vasilikos

Duration: 10.09.20 – 10.10.20

Nothing but a dull soft-drink.

It’s the dry season. A buffalo sleeps through the heat of the day in one of the last waterholes. Dragons lurk around the margins. The buffalo seems to view them as just an irritation, not a danger. A serious mistake. The dragon is wary, a jab or a kick could injure it fatally. its bites are just flesh wounds but other dragons are alert now. Like sharks they are excited by blood. The buffalo leaves with just a limp. The dragons appear to have failed. Yet they show a peculiar interest to the buffalo and follow it wherever it goes. As the days pass the buffalo’s wounds don’t heal. It starts to weaken. The dragon’s hunting method begins to come clear. A brand- new discovery reveals that the dragon has venom, like a snake. The bite will eventually prove fatal but it’s going to take several weeks. The dragons, however, can afford to wait for the meal of this size. But the process is a long, drawn out one. Three weeks later and the buffalo is very weak. The same night it will be dead. Ten big dragons strip the buffalo to the bone in just four hours.

Stories that excite, usually concern frightful accidents, mysterious criminals, severe passions, exotic places or strange and rare creatures. From early childhood books to cable TV documentaries, everyone has lost himself in such stories; and has surely chosen some to recount when in mood for talk or when simply awkward. We have all been present in occasions where the distance between the discussants, maybe gathered around the table of a common friend, is left behind for a moment, thanks to a bigger distance that they all might share with a serial killer or a flying squirrel, whose story rekindled the conversation that was somehow flabby after the necessary introductions. In the face of all their interest, these stories are often finished, though, and left behind by the coming of the sweet dish.

When asked how he can raise his children among these dangerous animals, a local fisherman, glibly responds that he is more afraid of them drowning in the waves while playing on the sandy beach.

Curated by: Eugenia Vereli, Kostas Efstathiou

Participating Artists: Eugenia Vereli, Zoi Gaitanidou, Phaidonas Gialis, Dimitris Gketsis, Hypercomf, Anastasia Douka, Petros Efstathiadis, Eleni Zervou, Filippos Telesto, Evi Kalogiropoulou, Irini Miga, Theo Michael, Margarita Bofiliou, Ilias Papailiakis, Valinia Svoronou, Thodoris Stamatogiannis, Nikos Tranos

Can anyone think of the future of connectivity beyond surveillance, minimizing the consequences of technological infrastructures on the natural environment? Is it possible for the bond between human and non-human worlds on this planet to be substituted? Can plants, as organisms on which life itself is depended, contribute to the creation and adoption of new practices for the mediated reality? Kyriaki Goni’s new multimedia installation investigates this set of questions by recounting a fictitious narrative that contains elements of truth.

This up-and-coming artist’s new multimedia installation, originally programmed to be presented in March 2020, is being installed in the Onassis Stegi Exhibition Hall and can be visited virtually from September 9 to 20 on onassis.org. And with “Data Garden”, Onassis Stegi is also taking part in the most important digital media festival in the world – Ars Electronica 2020 “In Kepler’s Gardens”, to be held online from September 9 to 13, 2020.

The starting point of this work is the recent scientific research on the data storage capacity of the living organisms’ genetic material, as well as on the challenges and moral dilemmas concurrently posed. The artist invites the audience to envision a network of plants on the Acropolis rock, in which digital information is circulated and stored. The network is protected by a community of users who in this way maintain the self-disposal of their data. As the storage space transitions from the “cloud” to the earth, and as control passes from the companies to the users, the life circle of data follows that of a plant, fostering a relation of interdependence and care. In a peculiar garden, users become the plants’ gardeners, whereas plants in their turn become gardeners of the stored information.
The story unfolds through drawings, prints, videos, sound pieces, and interviews with scientists from the respective fields, and reveals the connections between digital memory and the climate crisis, exploring possible recourses and strategies of resistance. “Data Garden” reminds us of the indissoluble and foundational relation between culture and nature, permitting the audience to reflect on the limits of human intervention and activity in the environment.

In her text “From Cloud to Earth”, curator and writer Daphne Dragona notes: “In her piece “Data Garden,” Kyriaki Goni purposefully interweaves fictitious elements and facts. The use of a hypothetical scenario and the appropriation of elements drawn from a scientific discipline that is currently under development, invite the audience to reflect upon the possible changes triggered by the leverage of DNA as a storage space. For example, the creation of these new, transgenic organisms is by no means detached from questions of ethics. A new condition under which plants become at the same time perceivable as infrastructures holds the danger of a new kind of instrumentalization of nature. The appearance of a new category of “living” infrastructures can possibly become an apple of discord in what concerns the control and ownership over them. However, the story of the piece does not aim at naming possible issues or scaremongering. On the contrary, emphasis seems to be given to the reminder of the indissoluble relation between culture and nature, and to the activation of a dialogue on the character and the boundaries of human intervention and activity. Correlating the architectures of technical networks with networks of nature, next to correlating the intelligence and strategies of a community of users with those of a population of tiny plants, the artwork opens up a discussion on heterarchies, multilingualisms, and symbiopolitics. Revealing the connections between digital memory and climate crisis, “Data Garden” refers to changes that are feasible before the further engineering of nature, while learning from it”.

Credits
Concept, Design & Realization: Kyriaki Goni
Production management: Prodromos Tsiavos, Ηeracles Papatheodorou
Production coordination: Ioanna Margariti
Line production: Irilena Tsami
Produced by: Onassis Stegi

Camera: Alex Dimitriadis
Sound recording voice over: Nikos Konstantinou
Introductory text: Daphne Dragona
AR Programming: George Kairis (enneas.gr)
3D modeling production: Antonis Kalagkatsis
Music: Vassula Delli & Roula Tsernou
Music Performed by: Female vocal ensemble “Pleiades”
Recording & Multi-channel Sound Installatiobn: Aris Delitheos
Lighting consultant: Danilof light + visual perception
Translation & Subtitling: Yourtranslator
Recording Studio: Tone Studio Athens
Digital Fabric Printing Studio: Textum Digital
Printing at Archival Paper: Filmora Photolab
Wall-mounted Frames: Nikos Sdralis

Included in the installation are discussions between
Mél Hogan: Director for the Environmental Media Lab (@EnvMediaLab) and Associate Professor, Communication, Media and Film (CMF), University of Calgary (Canada)
Karin Fister: M.D. University Medical Centre Maribor, Slovenia
Lambros Tsounis: Environmentalist – Oceanographer, MSc Ph.D. Candidate, Department of Environmental Engineering School of Engineering, University of Patras
Edward Perello: Biosecurity consultant, Investor in agricultural biotechnology, London, UK

Watch the virtual tour of Data Garden and a discussion with Kyriaki Goni.on September 9th, at 18:00 on the Onassis YouTube Channel: https://youtu.be/1T8UaQnOVtI ‘

Find out more about the exhibition on: https://www.onassis.org/whats-on/data-garden

IN COLLABORATION

The Syros International Film Festival (SIFF) is happy to announce the Alternate Paths workshop on September 4th, with visual artist and Fellow Dimitra Kondylatou.

The “Alternate Paths” workshops invite participants to follow hikes with local and international artists and filmmakers in unexplored areas of Syros. The aim of “Alternate Paths” is for participants to approach the past and present of the island in a more complex, experiential way. Workshop sessions will include organized walks to destinations that are not usually those of the mainstream trend of tourism, during which participants will record their experiences in digital media.

This year, during the 8th Syros International Film Festival edition, a one-day workshop will be held in collaboration with the Greek visual artist Dimitra Kondylatou, who has chosen to focus on the site of Lazareta.

The current Covid-19 pandemic and its resultant precautionary measures, their direct link to travel and their impact on movement and tourism, find a historical precedent in the “lazaretto” structure type, the first organized quarantine facilities for travelers and goods. The historic lazaretto of Syros and its general neighborhood, now known as “Lazareta” on the island, will be the central site from which to consider historical, geopolitical, theoretical and experiential approaches of space, travel and health management, across different times.

More specifically, the artist will organize a walking session, and, together with the workshop participants, will document the walk and compile a small archive of digital images, which will be the basis for her next moving-image project. The final piece will be presented at SIFF in July 2021.

The workshop will take place once on Friday, September 4th over three hours (17:00 – 20:00) and is offered to the public free of charge. Participants will not exceed the number of ten (10) people.

With ‘Just Before We Introduce Ourselves. We Are’, Eftychia Stefanou (Dance Fellow 2019), in collaboration with Tzitzifriki[a], conveys their failure to be defined as they are constantly becoming something else. Perhaps the futility of this acknowledgement lies in the realisation that they are constantly becoming what they already are.

K-Gold Temporary Gallery presents “Sleeping with a tiger”, its seventh summer show in Lesvos, curated by Nicolas Vamvouklis. The exhibition’s title refers to the homonymous painting by Maria Lassnig who explored body awareness though her sensitive observations of nature.

Collective nouns for groups of animals (swarm of bees, colony of ants, parliament of owls etc.) first appeared in The Book of Saint Albans (1486) by Juliana Berners. These poetic names – based on animals’ behaviour, appearance, and location – reflect a certain societal disposition from humans towards them.

The exhibition focuses on the relationship between human and animal societies by looking at the dynamics of coexistence, dominance, and exclusion. Starting from the notions of reason and instinct, the participating artists explore possible interspecies connections through history, politics, ethics, and tradition.

The context of Lesvos highlights these parallels on social, natural, and cultural level. Besides a focal point of the humanitarian crisis, the island is considered one of the major birdwatching destinations in the Mediterranean due to the seasonal passage of migratory species like flamingos.

Humans and animals are depicted on the limits of borders, areas, and situations. What does the nomadic character of both have in common? What can we learn from the animal societies and the ways in which they develop and coexist?

The narratives in “Sleeping with a tiger” examine how places of turmoil can become hotbeds for revisiting our worldview and how art can be a powerful tool for developing a symbiotic future.

PARTICIPATING ARTISTS
Mike Bourscheid, Alex Cecchetti, Oliviero Fiorenzi, Ody Icons, Konstantinos Kotsis (Fellows 2019), Ana Mendieta, Yoshua Okón, Maria Papadimitriou, Józef Robakowski, Virginia Russolo, Sasha Streshna (Fellows 2019), Antigoni Tsagkaropoulou, Pinar Yolaçan, Iro Vasalou, Cosima von Bonin

PARALLEL PROGRAM
The show is accompanied by a series of parallel events, coordinated by Katerina Zagli and Ioanna Vallina: educational activities, performances, discussions, excursions, screenings, and guided tours. K-Gold Temporary Gallery also partners with Hermitage Sykaminea for the “Isolation and Forms of Community” program, curated by Andreas Sell. All the events are open and free to everyone.

A Greek/English catalog, edited by Christos Mouchas, will be published with contributions by Jean-Luc Nancy, Peter Cross, Phillip Warnell, Florence Fitzgerald-Allsopp, and Nik Pantazopoulos.

INFO
Opening: Friday 7 August 2020, 20:00
Daily, 11:00-14:00 and 19:00-23:00

Agia Paraskevi, 81102 Lesvos, Greece
+30 6942202222
kgoldtemporarygallery.tumblr.com
[email protected]
@kgoldtemporarygallery

Under the auspices of the General Secretariat for Vocational Education, Training and Lifelong Learning of the Hellenic Ministry of Education and Religious Affairs

Co-organised with the North-Aegean Region

With the support of the Hellenic Ministry of Culture and Sports, the Municipality of Western Lesvos, the Onassis STEGI, the Chatzigakis Foundation, and the Ouzo Plomari Isidoros Arvanitis

Media sponsors: ERT North Aegean, CultureNow

The exhibition series Ammophila aspires to become a new event in the South of Greece, and prepare the ground for new networks and discussions between the local community, audiences and artists. Taking place on the picturesque island of Elafonisos, just off the coast of the Peloponnese, the first exhibition in the series signals a beginning, but also refers to the myth of a deer giving birth on the island, thus giving it its name (elafi is the Greek word for deer). Ammophila on the other hand is a kind of plant that grows in the local sand dunes, which stabilises the sand with its roots and prepares the soil for other kinds of plants to grow. The exhibition presents an impressive roster of no less than thirty one visual artists and texts by ten writers. If you happen to be in the Peloponnese, Kythera or anywhere near, this might be worth the detour.

Participating Artsits: Manolis Babousis, Dionisis Christofilogiannis, Stella N. Christou, Panagiotis Daramaras, Christina Dimakogianni, Eva Giannakopoulou, Christos Giannopoulos, Zoi Gaitanidou, Andreas Ragnar Kasapis, Panagiotis Kefalas, Stavroula Kostakou, Sofia Kouloukouri, Renata Metheniti, Persephone Nikolakopoulou, Ilias Papailiakis, Anna Papathanassiou, Evi Roumani, Vasiliki Sifostratoudaki, Kostis Stafylakis, Alexandros Tzannis, Nikolas Vamvouklis, Kostis Velonis, Poka-Yio, Xenia Vitos, [Kostis Damoulakis, Domna Degaita, Paulo Doda, Pegy Zali, Vasilis Zacharakopoulos, Panagiotis Lianos, Ilias Mokas]

Participating writers: Anna Chatzinasiou, Stephanos Giannoulis, Takis Koubis, Sofia Kouloukouri, Christina Papoulia, Kostis Stafylakis, Theophilos Tramboulis, Nicolas Vamvouklis, Maria Xypolopoulou, Kostis Zouliatis

Info
Ammophila Vol.1 Birth
Curated by Evi Roumani
22-25 August 2020

Elafonisos School
Elafonisos, Greece
Hours 19:00-21:00
Free entry, only with face mask

Four ARTWORKS Fellows, Georgis Grigorakis, Anastasia Kratidi, Neritan Zinxhiria and Jacqueline Lentzou winners at 26th Sarajevo International Film Festival.

Vangelis Mourikis won the Heart of Sarajevo for best actor award for his performance in “Digger”, the first feature film of Georgis Grigorakis in the Competition Programme for Feature Film.  DIGGER is a contemporary Western about a native farmer who lives and works alone in a farmhouse in the heart of a mountainous forest in northern Greece. The sudden arrival of his young son, after a twenty-year estrangement, will make the two enemies under one roof and confront each other head-on, with nature as their only observer.

“In her Steps”, a short film by Anastasia Kratidi won a Special Jury mention in the Competition Programme for Short Film. The film is about Lena who, while attending a reintegration programme, she finds a job that gives her access to the rural jail for minors, where her son is serving his sentence. Born in Volos, Greece, in 1983 Kratidis lives and works in Athens. She studied in various artistic fields: ceramics, drawing, sculpture, and art history. She obtained her Master’s degree in Cinema and Audiovisual from the University of Paris VIII, with a specialization in Film Direction.

For «The Gospel According To Kimon», a film about redemption directed by Neritan Zinxhiria, producer Vasilis Chrysanthopoulos won Eave + AwardIn the Cinelink Co-Production Market Awards 2020. Vasilis Chrysanthopoulos is the co-founder and head producer of the Greek production company PLAYS2PLACE. His credits include the award-winning festival hit MISS VIOLENCE (Silver Lion for Best Director and Coppa Volpi for Best Actor in Venice IFF 2013). Vasilis is a member of EAVE, EDN and Cannes Producers Network. He is an alumnus of the training initiatives EAVE Producers, EAVE Marketing, EAVE Best, MFI Script 2 Film, and MIDPOINT TV Launch workshops and has participated in more than 30 co-production and pitching forums. He was awarded the Midpoint C21 Award during Cinelink 2017.

Jacqueline Lentzou’s first feature “Moon 66 Questions” won Cinelink Iridium Award in Cinelink Work In Progress Awards. The award consists of in-kind post-production services worth 20,000 €. Multi-awarded writer and film director Jacqueline Lentzou was born in Athens, in 1989. Her work revolves around unconventional family constructs, coming-of-age, intimacy, and the dream. Her cinematic language involves finding poetry in seemingly mundane premises. She is a London Film School graduate (Distinction, 2013), a Sarajevo (2014), and Berlinale (2015) Talents alumna. Her semi-feature’s “Fox” has won over 20 awards worldwide, including Best Short from PanHellenic Critics’ Association, Best European Short at Film Du Femme Creteil, and the upmost prestigious Award in the Memory of Ingmar Bergman. Her latest short, “Hector Malot: The Last Day of the Year” (2018), premiered in Cannes’ Semaine de la Critique and won the prestigious Leica Cine Discovery Award.

Sarajevo Film Festival: 14-21 August