Category: Fellows news

On Thursday, January 26th, from 18:00 to 21:00, Ileana Tounta Contemporary Art Center presents Alkistis Mavrokefalou’s first solo show, curated by Galini Lazani.

About his work An end – A beginning, Nikos Alexiou said: “This design, these lines, stand on the threshold. They are death and birth at the same time. They are both the end and the beginning”. This phrase could very well describe the entire artistic work of Alkistis Mavrokefalou. Because, even though at a first glance you may think that her work is all about nature or sensitivity or even romanticism, it entails some of the most profound existential questions that tantalize the human species. Life and death, pain and love, our place in the world and the connection between all its components, the continuity of existence.

In the exhibition tithoni* the artist presents a new series of micro-sculptures, continuing to gather most of her materials from nature. Exoskeletons of cicadas and shellfish, flower petals, fruit cores and nut shells co-exist with dry colour pigments, threads, lace and resin, in order to create environments and characters which define and claim the space around them. She builds up her installations in the space or confines them in transparent plexiglass boxes, complementing them with laborious drawings on millimetre paper, which often depict patterns of the human anatomy. For, within this natural environment, Mavrokefalou places herself and every human being, both as an observer and a participant, acknowledging the ironic contrast between fragility and resilience in the cycle of life.

Galini Lazani

January 2023

*the title of the exhibition paraphrases the name of the mythological hero Tithonus. The gods granted him eternal life, but not eternal youth. To liberate him from eternal old age after all, they transformed him into a cicada.

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ALKISTIS MAVROKEFALOU
tithoni
Ileana Tounta Contemporary Art Center
26.01.2023 – 24.03.2023

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Bagaki’s work in painting, sculpture, drawing, text, sound and videos revolves around a persistent development of auto-fiction. Through the reconstruction of personal experiences or the creation of imagined events, Bagaki explores issues surrounding erotic relationships, sexuality, gender representations, and the precarity that many of the younger generation experience in Greece. Central to her artistic practice is nomadic wandering and flight as an existential condition in the quest for a sense of belonging.

The exhibition at EMΣT, the artist’s first major museum presentation, features a series of paintings with compositions of human figures standing alone or interacting in natural landscapes. The starting point for these works is desire: Bagaki’s dreamy paintings are produced, as she emphasizes, by and for desire. Intimations of physical attraction and erotic observation shape the artist’s relationship with the depicted bodies and their environment. The exhibition Something like a poem, a nude, and flowers in a vase unfolds as a kind of dreamlike wandering and observation on desire, sexuality, and erotic quest.

Eleni Bagaki was born in Chania, Crete; she lives and works in Athens.

Περισσότερες πληροφορίες εδώ

ELENI BAGAKI. SOMETHING LIKE A POEM, A NUDE AND FLOWERS IN A VASE28.01-07.05.2023
National Museum of Contemporary Art (ΕΜΣΤ)
Project Room 1- 3ος όροφος

*Eleni Bagaki is SNF ARTWORS Fellow (2020)

OKAY initiative space
presents

OKAY initiative space invites you to “DANDELION SEEKERS”. A collaborative curation by Zoe Metra & Captain Stavros, bridging two European capitals, Athens and Paris, with the intention of starting a dialogue between the artistic communities of the two cities, tonight 02/02, at 19:00, 7 Kefalliniaia Street, Kypseli.

A peculiar nostalgia for an ominous future seems to constitute the new, hyperlocal identity of origin of our generation. The multi-narrative setting that is composed in the OKAY highlights the artists’ interest in exploring new ontological classifications; capturing the unmetabolized anxieties of our collective unconscious and depicting the murkiness of the humanitarian crisis we are currently experiencing.

Curation: Zoe Metra & Captain Stavros

with

Vasilis Galanis
Katerina Dania
Konstantinos Mouchtaridis
Myrto Patramani
Phoebe Koutselos

Celia Boulesteix
Constance Tabourga
Augustin Katz
Clara Cimelli
Matthias Odis
Zoe Metra

*Vasilis Galanis is SNF ARTWORKS Fellow 2022

Visual ID: Alexandra Karaolanov

DANDELION
SEEKERS
a group show curated by
Zoe Metra & Captain Stavros
Athens / Paris

02/02-19/02/2023
Opening 02.02.2023 7 PM – 10 PM
Opening Hours THURSDAY-SUNDAY 5 PM – 9 PM

Bestiaries were medieval encyclopaedias of mythical and real animals, containing illustrations, allegories and moral lessons. These manuscripts were enriched with a large number of imaginative entries whose images and symbolism have had a lasting influence on our collective imagination in relation to animals. Inspired by these bestiaries, the exhibition explores and brings together a series of contemporary artistic practices that refer to animals in terms of mythologies, histories and their relationship to humans, with the ultimate goal to record topical readings around their symbolic status in contemporary art.

Humans have never lived independently of animals, both at times when they feared them and today, where they tend to annihilate them. As a result, the animal themes in art remain inexhaustible. This intertwining of human and animal is fatal: very often the human condition can resemble an animal hybrid. There have always been times when we our hearts felt like lions’ hearts, our feet like goats’, and our teeth a little sharper. But who is the “beast” today in a nature relentlessly persecuted and menacingly shrinking because of human activity? What are the allegories and lessons we ought to identify in our cultural production that is taking place within an environmental collapse?

Works of the exhibition refer to languages, postures and imitations that refer to our connection to the animal world, to old and modern mythologies, psychoanalytic interpretations and symbolisms, to new animal hybrids of our contemporary world, waiting to be transcribed. The exhibition presents an anthology of approaches, a new classification that expands and activates our admiration for a mysterious and fascinating world, of which we are a part.

Participating artists:
Maria Antelman, Calliope Bekou, Guy van Bossche, Katerina Christidi, Ιsabelle Cordemans, Bryony Dunne, Nicole Economides, Alexis Fidetzis, Thanos Foudas, Dimitris Fragakis, Vangelis Gokas, Renate Graf, Anestis Ioannou, Andreas Kalli, Kapurani Bros, Panagiotis Kefalas, Kosmas Kosmopoulos, Stephanie Lagarde, Varvara Liakounakou, Caroline May, O.lala, Stavros Papagiannis, Ilias Papailiakis, Fotini Poulia, Evi Roumani, Nina Saunders, Pieter van der Schaaf, George Stamatakis, Kostas Tsolis, Sarah Vanagt, Brian Whiteley, Katerina Zacharopoulou

*Nicole Economides, Alexis Fidetzis and Anestis Ioannou are SNF ARTWORKS Fellows

BESTIARY: ARTEFACTS, ALLEGORIES, REPRESENTATIONS
09 FEBRUARY – 25 MARCH 2023

Crux Gallery
Sekeri 4, Athens 106 74, Greece

BESTIARY: ARTEFACTS, ALLEGORIES, REPRESENTATIONS

“And all of the sudden I was taking my friend to the hospital. My friend smiled at me, put her fist in the air and entered through the glass door. My friend is a very strong person. My friend is a fighter. My friend is Beate and this is dedicated to her.”

In the frame of a circle of friendship, nineteen femininities come together to address the notion of receiving and providing care in order to survive in environments that challenge their very existence. Going beyond the fixed notion of the family and the recent commodification of wellness via life coaching and individualist self-care app trends, they focus on affectivity, solidarity, relationality and interdependence over charity, self-indulgence, self-preservation and resilience. They push back against disadvantages by bringing forward vulnerability and codependence, as ways to go through the world with one another, in a spirit of radical kinship and hope.

With works by Eva Anerrapsi, Maria F Dolores, Anastasia Douka, Dora Economou, Selma Köran, Irini Miga, Rallou Panagiotou, Nina Papaconstantinou, Natasha Papadopoulou, Nana Sachini, Georgia Sagri, Beate Scheder, Sofia Touboura, Marina Velisioti, Kyveli Zoi and 1992 (Ioanna Mitza & Pegy Zali); codependent curatorial by Xenia Kalpaktsoglou and Olympia Tzortzi

*Eva Anerrapsi,  Anastasia Douka,  Irini Miga, Marina Velisioti, Kyveli Zoi and Pegy Zali are SNF ARTWORKS Fellows in visual arts

we tell ourselves stories in order to live
17 February – 11 March 2023
Opening day: 17 February, 7 pm – 10 pm

European Short Pitch, initiated by NISI MASA – European Network of Young Cinema, is an annual program aimed at discovering and supporting young European talents in the development of their short films, and fostering coproduction and collaboration between industry professionals from all over Europe.

European Short Pitch combines mentoring on short film development with a pitching and networking event, our Coproduction Forum.

This year, 3 Fellows join with their short movies

SAJBIJA 
Director: Carmen Baltzar
Producer: Danai Anagnostou
https://www.europeanshortpitch.org/sajbija

THE UNRELIEVED WEIGHT OF AN INERT MASS
Director: Eirini Vianelli
Producer: Danai Spathara
https://www.europeanshortpitch.org/the-unrelieved-weight-of-an-inert-mass

HONEYMOON
Director: Alkis Papastathopoulos
Producer: Maria Hatzakou
https://www.europeanshortpitch.org/honeymoon

*Danai Anagnostou, Eirini Vianelli and Alkis Papastathopoulos είναι SNF ARTWORKS Fellows

Palimpest Landcapes
Film Program and Q&A
Thu, 02 Mar 2023
Institute of Contemporary Art (ICA), London

‘Sprouts of a dragon’s teeth’, the latest short film by Danae Io, will be screening at the Institute of Contemporary Art (ICA), London on March 2nd, along with Jean-Marie Straub’s ‘à propos de venise’ and Marianna Christofides’ ‘Days in between’.

Like palimpsest pages on which new writing has been superimposed on the traces of old, this programme of short films looks at landscapes as sites where multiple histories have been inscribed and overwritten on the physical terrain. In their varying filmic languages, the selected works explore landscapes not just as backdrops to narratives but as devices partaking in historical processes.

The selection of films ties in with Danae Io’s research during her residency at Delfina Foundation into ways of depicting landscapes through film as spaces where different histories co-exist over time, blending social and physical spheres. The programme operates by bringing her work in relation to filmmakers that explore the connection between people and land as well as the ways dominant narratives are formed in adjacent locations to her research.

The screening will be followed by a Q&A with Delfina Foundation artist in residence Danae Io and Viviana Checchia, Residency Curator at Delfina Foundation.

Find more information about Palimpest Landcapes Film Program and Q&A here.

Considering an inner urge to collaborate with every artist and estate without any obstacles on the way, Callirrhoë is happy to introduce a new curatorial series under the (sub)title ‘one work show series’, which will be presented in a section of the main exhibition space. All participants will have a 10m2 exhibition space, a 25 days long presentation time frame and they are going to showcase either one work or an in situ installation. The purpose of these short exhibitions is to work closely with selected artists that, besides their importance to the program of Callirrhoë, play a significant role in the contemporary art scene either in Greece or internationally.

Nikolas Ventourakis and his work “The sound is never instantaneous to the flash” will be the first presentation of the series. He explores within the medium of photography the ambiguity of the image and the relation (in-)between generations. With [discontinued] instant film Ventourakis seeks to capture conclusive portraits of individuals grouped together. How does the collective narrative shape the personal narrative and the other way around?

one work show series
The sound is never instantaneous to the flash
Nikolas Ventourakis

15 March – 08 April 2023
Opening day: 15 March 2023, 7 pm – 10 pm

Callirrhoë
Kallirrois 122
Athina 117 41
Greece

Eleni Bagaki, Jean-Damien Charmoille, Florent Frizet, Konstantinos Giotis, Iasonas Kampanis, Katerina Komianiou, Karolina Krasouli, Lapin-Canard, Charlotte Nieuwenhuys, Louis-Philippe Scoufaras, Erica Scourti, Dimitris Tampakis, Iris Touliatou, Paky Vlassopoulou

Curated by Eric Stephany

Lapin-Canard was founded in Paris Belleville on the 1st of May 2015 and does artists’ posters. It offers visual artists it enjoys carte blanche on a single A0 format (840 x 1188 mm). The posters are pigmented inkjet prints on 189g/m2 matt paper. They are released in affordable editions of 10 alongside 1 exhibition print and 1 artist’s proof. The prints are made on demand by Atelier Martin Garanger in Paris. Lapin-Canard is non-lucrative and remits 60% of profits to the artist. Releases are always celebrated with music, libations and dances, in Paris or elsewhere.

*Eleni Bagaki, Konstantinos Giotis, Iasonas Kampanis, Katerina Komianou, Karolina Krasouli, , Iris Touliatou, Paky Vlassopoulou are SNF ARTWORKS Fellows

Opening
Friday 17th of March / 7pm – 10pm

One Minute Space (OMS)
Marathonos 71, Athens 10435
T: +30 6949085521
[email protected]

Eleonora Siarava was selected to participate in the international interdisciplinary project TANZ:DIGITAL – Process, Dynamics, Discourse for the artistic research and experimentation with applied tools of Digital Technologies in Dance in a team of choreographers, dance artists and media artists.

Berlin, Kunstquartier Bethanien, February 2023

The program TANZ:DIGITAL – Process, Dynamics, Discourse is a cooperation of the Dachverband Tanz Deutschland and ITI International Theatre Institute Germany/Media Library for Dance and Theatre.

Funded by the Federal Government Commissioner for Culture and the Media in the programme NEUSTART KULTUR, tanz:digital aid program of the Dachverband Tanz Deutschland.

In parallel, the program organized a group exhibition – video installation where extracts of the following pieces of Eleonora Siarava were presented:

BLUE BEYOND (2022)

BLUE BEYOND, drawing from the chi-fi book of the beginning of the 20th century “Last and First Men: A Story of the Near and Far Future” by Olaf Stapledon, explores corporealities, cartographies and images of the Future and seeks to invent how the vision or the fantasy of the Future is depicted, reflected, embodied. Through an interplay with realities, dramaturgies, fictions, topologies, imaginary spaces of the future, memories of the live present and embodied traces of the past, BLUE BEYOND turns the stage into an active hybrid space with movements, objects, sounds, words and creates a live moving capsule of imprints and visions forming a Memoir for¦of the Future, a cyclic schema to represent time.

The piece questions how the body can map the future, with what material and movement landscapes. With what mythologies do we invest it, what archives it carries? In reverse, the performance, as a living space with memories, predictions, scenarios seeks to detect atmospheres and impressions of tomorrow floating in the sea of now, tune in to resonances, movements, waves of what is not yet here, has not arrived but it is already inscribed within us and within the dance to be made. What if the present through the moving body already encapsulates echoes of Future in a dance just before it ‘comes into being’.

Trailer:

The piece, was supported by the Ministry of Culture of Greece and presented in Theseum Theatre in Athens and the National Theatre of Northern Greece.

The Body and the Other~ (2020)
Premiere ΤANZHAUS NRW, Temps d’ Images Festival (Düsseldorf)

The Body and the Other~ is a dance performance / choreographic installation about the multiple body as a physical, digital and hybrid in-between corporeality placed in a mixed reality topology. There, temporal linearity is shattered and digital algorithms create random past, present and future blendings and overlappings. Through an experimental scenography involving video, projection mapping and motion tracking and the use of surfaces, objects and materials that follow their own technology and potential of movement, the aim is to unfold a performance as an unpredictable and unprescribed living entity with autonomous choreographic dramaturgy. By revealing what escapes or slips away from technology, The Body and the Other~ invites the elusive real in a piece based on an interplay between tactility and emptiness, appearing and disappearing imagery, absence and presence, with the moving body as a mediator and reminder of the deep human essence.

The project was co-funded by the program »Transfer International« of NRW KULTURsekretariat, the Ministry of Culture and Science of the State of North Rhine-Westphalia (Germany) and
i-Portunus (Creative Europe), with the support of Tanzhaus NRW in the framework of TEMPS D’IMAGES Festival and is an interdisciplinary collaboration between Eleonora Siarava | Per_Dance Choreographic Research Platform and Mixed Reality and Visualization Institut | Department of Media, Düsseldorf University

Trailer:

Eleonora Siarava is choreographer and artistic director of Per_Dance Choreographic Research Platform working between Greece and Germany. She studied ‘Dance Μaking and Performance’ (MA-Distinction, Coventry University) and ‘Choreography and Performance’ (Justus Liebig University Giessen, Germany). She has presented her work in Greece and internationally. For her piece The Body and the Other~ premiered at Tanzhaus NRW, Temps d’ Images Festival (2020), was supported by the program »Transfer International« of NRW KULTURsekretariat of Germany, Ministry of Culture and Science of NRW, artistic mobility grant I-Portunus/Creative Europe and collaborated with Mixed Reality and Visualization Institut (Düsseldorf University) for the use of digital technology. She worked as a performer for Marina Abramović’s project ‘A different way of hearing’ at Alte Oper Frankfurt and was resident choreographer at SE.S.TA Centre for Choreographing Development/Interdisciplinary Incubator 2019 (Prague) and Duncan Dance Research Center (Athens). She participated in ‘Moving Digits’/Creative Europe project for Dance and Digital Technologies (2018-2020) and was fellow of START program by Robert Bosch Stiftung & Goethe Institut. As an artist she is interested in abstraction in dance and her intention is to create enigmatic multilayered performances through the experimentation with aesthetic forms, imaginary and real spaces, overlapping temporalities, multisensory perception, hybridity, atmospheres. Her site & time specific choreographic installation “Step-in” was presented at Thessaloniki Concert Hall. Since 2020 is supported by the Ministry of Culture of Greece. During that period she created the pieces Who knows where the time goes-potential destination #1 and BLUE BEYOND (National Theatre of Northern Greece) and developed the choreographic research UnderScore, Choreographic Objects and more.

*Eleonora Siarava has been awarded the Stavros Niarchos Foundation (SNF) Artist Fellowship by ARTWORKS in 2022 in the field of Choreography.

www.per-dance.com

The “Office of Hydrocommons” is an interdisciplinary and interartistic program that focuses on climate and social change in relation to water and the body. Informed by the properties of water’s liquidity, the endeavor unfolds in different manifestations: an exhibition, an international artist residency, a series of weekly public events, and the Research Office. “Hydroresearchers” from different fields, such as the arts, marine biology, agronomy, urbanism, sports, and activism, are invited to participate in the program. The Office of Hydrocommons is actualized following an invitation by the ATOPOS cvc artistic director Vassilis Zidianakis to the independent curator Eleni Riga in the context of #ΟccupyAtopos.

Exhibition “Wet Heart”
From the positionality of the Mediterranean South, the artists participating in the exhibition “Wet Heart” investigate problems such as water scarcity, the deterioration of the natural environment due to industrial, touristic, and military activities, and the pollution of waters due to plastics and microplastics; at the same time, they reflect on their impact onto vulnerable human and non-human lives.

Departing from the “wet heart,” the well in the center of the ATOPOS cvc premises, five Greek visual artists – the duo Ileana Arnaoutou and Ismene King, Eleni Mylonas, Maria Nikiforaki, Despina Charitonidi – respond to crucial questions about water: Which waters are we talking from? Which waters are we talking about? On which waters are we standing? What are “our” waters?

Ileana Arnaoutou, Ismene King
Artwork: A Conservation of Water-Writings

The creation of the site-specific sculpture “A Conservation of Water-Writings” by Ileana Arnaoutou and Ismene King is fueled by encounters around the well, and based on an alternative experiential relationship with the well itself, drawing on expanded practices of care. The artists approach the well by “performing a gesture of caress” – a hand touch that carries messages of care – and try to retrieve its history, the places where water once traversed or stood, the places where the moisture eroded the stone, the hollow from the pulley in which bryophytes grew. The practice of caressing is linked to haptonomy, the “science of sensitivity” developed by Dutch healer Frans Veldman in the 1960s. In prenatal medicine, a series of targeted gestures of touching the abdomen allows for the creation and tightening of the emotional bond between parents (be they biological or foster) and their children. Similarly to a parent communicating with a baby in the womb, the artists communicate with water. It is “a way of facilitating life beyond biological pregnancy” (“gestationality” Neimanis 2017), “a form of broadly inclusive kinship” (The Care Collective 2020).

Credit
A Conservation of Water-Writings, 2023
Installation, iron, resin, aluminum, rubber, stoneware clay, dimensions variable

Ileana Arnaoutou and Ismene King’s work is realized with the support of ATOPOS cvc and the G. & A. Mamidakis Foundation as part of the Research Residency Program 2022.

Resume
The collaborative duo was formed in 2019, between Ismene King and Ileana Arnaoutou. Ismene King (b.1993) is a sculptress and ceramist, graduate from the MFA Sculpture of the Slade School of Fine Ar. Ileana Arnaoutou (b.1994) is a painter and sculptress, graduate from the BA Fine Art of the Slade and the MA History of Art of University College London. They are currently based in Athens. They have been awarded the G&A Mamidakis Foundation Art Prize 2022 for their work ‘Tender shell geophilia’, and they have both received the ARTWORKS Stavros Niarchos Foundation (SNF) Artist Fellowship.

For photo materials visit the project’s press kit, which will constantly be updated during the course of the project.

Visiting Hours
Thursday–Saturday
17:00–21:00

Free admission with pre-booking

Contact
For more information, please contact ATOPOS cvc at [email protected]
or visit the websites:
atopos.gr/occupyatopos-eleniriga-the-office-of-hydrocommons
facebook.com/atoposcvc
instagram.com/atoposcvc

Facebook Εvent
https://fb.me/e/Xm43D7vj

There is a house built by desire itself. It is a house that envelops a fabled story, as those you would find on the walls of a dreamy Renaissance villa furnished with enchanting frescoes and mellow tapestries, a dwelling vivified by lavish banquets and elegant inhabitants, enclosed by gardens sprouting balsamic aromas. Please step forward and smile: today you are invited to enter Sofia Stevi’s “When We Start to Understand the World”, an exhibition that pivots around a monumental trilogy of fabric paintings, casting its guests in an intimate adventure of introspection and discovery.

The journey is exuberant and pensive: expect a relentless palette of reds and greens, pinks and yellows, blues and oranges, all convened in an incessant and tumultuous festival moving fast and steady in the shape of bulging clouds, hazy vapours, watery streams, and mineral edges. The sincere colours springing from Stevi’s inventive brush embrace and cuddle the viewer’s eyes with joyfulness and charisma, as the accomplishment of a skilful director.

Sofia Stevi (born in Athens 1982), a graduate of Central Saint Martin’s School of Art & Design in London, lives and works in Athens.Her paintings are interpretations of materiality through fluid narratives.Time and space are conflating, in a universe where dream is a basic construct of the everyday experience, bodies are in flux and chance acquires a permanent substance.

Selected exhibitions include: The Sky above the roof, group show at Tabula Rasa, Beijing; Song without an ending, solo show at Le Quai Monte Carlo; The Wave, public mural in Athens, produced by Onassis Foundation (2022); Touch, 16:9 billboard, Kingsgate Project Space, London (2022), Meeting House, duo show with Rachel Howard at Galeria Pelaires, Palma (2021), the somnambulists, solo show at Alma Zevi Gallery, Venice (2021), we don’t have to learn something new, solo show at Pippy Houldsworth, London (2019), turning forty winks into a new decade, solo show at the BALTIC museum, Gateshead, UK, (2018), lizzie & laura, solo show at The Breeder gallery, Αthens (2017), The Equilibrists– Benaki Museum, Athens, co-organised with the New Museum in New York and DESTE Foundation,curated by Massimiliano Gioni, Gary Carrion-Murayari and Helga Christoffersen (2016).She has been awarded the Stavros Niarchos Foundation Artist Fellowship by ARTWORKS (2022).

SOFIA STEVI
WHEN WE START TO UNDERSTAND THE WORLD
March 23, 2023–April 29, 2023
The Breeder, Athens

Sofia Stevi_When We Start to Understand the World

The Breeder is pleased to present “Not Allowed for Algorithmic Audiences”, Kyriaki Goni’s first exhibition at the gallery.

Kyriaki Goni’s practice is rooted in digital interventions, spatial installations and moving image and interrogates alternative networks of care and community, as well as human and other-than-human relations through new technologies.

Taking over The Breeder Feeder, “Not Allowed for Algorithmic Audiences” is a video installation also incorporating tangible objects like drawings on paper and a rare earth elements collection. In the video a fictional virtual assistant under the wake word name ‘Voice’ exhibits an odd behaviour. They borrow an avatar and appear in front of their users. The virtual assistant goes into seven monologues for seven consecutive days during a hot August, before their patent expires and they get kicked out from the Athenian apartment to an e-waste dump.

While active, Voice has managed to scan the entire contents of the Internet and gather all sorts of information, information that they long to share. The virtual assistant uses their seven brief monologues as an opportunity to introduce themselves. They talk about their skills, their ancestors, the rare earth elements they are made of, as well as voice and its significance. They reveal information regarding the listening infrastructures as well as the social dysfunctions and stereotypes, on which their programming and operation are based. Listening infrastructures, surveillance and the climate crisis are also part of the narration. Just before they reach the end of their monologues, in a final effort to reconcile humans and machines, they share tips with humans on how they can manage not to be heard by algorithms online.

The feminist philosopher Rosi Braidotti describes voice as “a unique audio footprint of a human’s soul”. Speaking is an integral part of everyone’s individual identity, it carries the past and present. What are these voice assistants to us? How are they trained to detect our physical and emotional states in order to predict our desires, fears, sickness and needs, harvesting at the same time our behavioural surplus? How do voice user interfaces and listening infrastructures reflect the past in the gender and race bias that they carry in them?

The virtual assistant’s avatar is modelled on the face of the Greek actress Sofia Kokkali, who also lends them her voice.

This artwork was developed within the framework of the Ars Electronica ArtScience Residency enabled by Art Collection Telekom in partnership with the Johannes Kepler University. The installation is part of the Art Collection Telekom.

Kyriaki Goni is a media artist based in Athens. Recent solo shows were presented at Blenheim Walk Gallery, Leeds (2023); Drugo More, Rijeka (2023); SixtyEight Art Institute, Copenhagen; KVOST Art Collection Telekom, Berlin; Onassis Cultural Centre, Athens; Drugo More, Rijeka; Aksioma, Ljubljana. Group exhibitions include 2nd Warsaw Biennale, 8th Gherdeina Biennale, Ars Electronica, Modern Love, 24th Thessaloniki Photobiennale, 13th Shanghai Biennale, Transmediale2020, 5th Istanbul Design Biennial, Trondheim International biennale, NVG Triennial Melbourne. Her work is part of several collections (Yerassimos Yiannopoulos, Art Telekom, Polyeco Contemporary Art Initiative etc).

She has been commissioned by organisations including the Shanghai Biennale, the Gherdeina Biennale, the Warsaw Biennale, the Onassis Foundation, PCAI, Ars Electronica, Art Collection Telekom. Her work received prizes and fellowships from Allianz Kulturstiftung and Bertelmanns Stiftung and Telekom, the Metropolitan Organisation of Museums of Visual Arts of Thessaloniki, Greece, the Stavros Niarchos Foundation. She has participated in art residencies of Ars Electronica and Delfina Foundation, among others.

She often lectures, writes and gives talks. She holds a BA in Visual Arts and an MA in Digital Arts (Athens School of Fine Arts). Prior to that she obtained graduate and postgraduate degrees on Social and Cultural Anthropology at Panteion University, Athens and Leiden University, Netherlands.

special thanks to @backtothefuture_furniture

KYRIAKI GONI
NOT ALLOWED FOR ALGORITHMIC AUDIENCES
March 23, 2023–April 29, 2023
The Breeder Feeder

Contemporary sculptor Augustus Veinoglou presents “Crossbreeds”, an exhibition that invites viewers to reflect on relics/remnants that will be revealed in the future as defined through processes of transformation and hybridization.

The exhibition features a series of new sculptures and drawings that simulate the process of fossilization through the use of porcelain, paper mâché, and different plastic parts from the
automobile industry and other machinery. His sculptures appear as relics or dug-up findings, using disparate materials and forms to create crossbreeds between skeletal structures, architectural furnishings, and mechanical objects. The objects present a haunting yet alluring vision of a dystopian or dreamlike future, where objects from different time periods and technologies have merged to create a material hybrid universe.

The drawings in “Crossbreeds” explore the transformation of natural forms through the incorporation of minerals, microplastics and uncanny architectures. They create an ecosystem of this future, providing a structural impression of what our natural environment could become. The drawings are floating worlds, isolated in paper, drawing attention to elements of plasticity and perplexity. Through “Crossbreeds”, Veinoglou presents a world where the boundaries between the natural and the artificial, the past and the future, and the animate and the inanimate blur and ultimately dissolve. The exhibition challenges viewers’ preconceived notions of what is natural and artificial and forces us to confront the possibility of a future where its monuments will also include
curious hybrid findings composed of parts from our present time.

*Augustus Veinoglou is a visual arts SNF ARTWORKS Fellow (2018)

CROSSBREEDS
Augustus Veinoglou
30 March – 6 May 2023

Address: Andrea Metaxa 25, Exarcheia, Athens
Info: [email protected] & www.potentialproject.gr
Opening: Thursday 30 March, 19:00-22:00
Opening hours: Wednesday-Friday 18:00-21:00 & Saturday
12:00-17:00

Natalia Papadopoulou’s solo exhibition entitled “Entrails” is a combined work of visual and sound fragments, emerging through fluid and liquid bodies of the mind. She herself creates a situation that deals with multi-layered and delicate veils of displacements of an existential vortex, in which she aspires to absorb the viewer into the subtle and gentle rawness of the self. Kaleidoscopically, with larger and smaller fractions, she pulls out pieces and throws them fiercely on the rocks, where they dissolve and wash out like a light wave at our feet, as a unique experience.

Faidra Vasileiadou
museologist – curator

*Natalia Papadopoulou is a visual arts SNF ARTWORKS Fellow (2020)

ENTRAILS
A solo show by Natalia Papadopoulou
OPENING: 27/04 | 19:00 – 22:00
DURATION: 28/04 – 27/05
VISITING HOURS: 28-29/04 19:00 – 22:00, ΤUE 17:00 – 21:00, Sat 13:00 – 17:00 and by appointment

One Minute Space
Marathonos 71, Athens 10435

www.one-minute-space.org
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“nοthing good lasts”
Adam Christensen, Sophio Medoidze, Louisa Ntourou, Paola Revenioti, Driant Zeneli
Curated by Panos Fourtoulakis

Wednesday April 26, 20.00
Vatsaxi 6, terrace
Athens

Sophio Medoidze, Xitana ხითანა, 5’53”, 2019
Sophio Medoidze, Jackals and Drones (Chronicles of A Summer), 16′, 2018
Driant Zeneli, The firefly keeps falling and the snake keeps growing, 11’46”, 2022
Louiza Ntourou, Chronicle, 4’09”, 2022
Paola Revenioti, TikTok diaries, 5′, 2023
Adam Christensen, The Last Fucking Rave, 12’03”, 2012
Adam Christensen, Death by Mystery II, 15’21”, 2020

Thankful to Ηaus N

*Panos Fourtoulakis is SNF ARTWORKS Fellow (2021) in curating.

Katerina Kotsala’s artistic practice revolves around the troubled relationship between nature and human, the manifestation of universal issues such as birth and death in the natural environment, and the coexistence between human and non-human living beings. The exhibition ‘Moving a Mountain’ features her works from the last three years, a largescale painting, sculptural installations and mosaics.

In Kotsala’s universe, tropical forests, exotic birds, strange creatures meet, clash, adapt, and regenerate in otherwise complex relationships. Her works function as fragmentary narratives across species, suggesting imaginative, almost dystopian futures. Humans and non-humans are bound together, they contaminate each other, they necessarily adapt in need of survival, they move forward despite the challenges.

Katerina Kotsala joins the current discourse around critical climate change, focusing on the urgency of a deeper understanding of the interconnectedness between nature and humans, and through her works a series of questions arise. How can we as humans experience and visualise the nonhuman? What alternative, non-human stories are to be told amid climate catastrophes? How does adaptability, resilience and survival reveal itself in a context of a climate emergency across species?

The conceptual framework is deeply inspired by the anthropologist Anna Tsing’s important contribution in contemporary ecological thought, particularly concerning the notion of “contaminated diversity”, which gives prominence to humble non-human, ecological narratives, and highlights the necessity of entanglement and adaptation in precarious conditions.

Kotsala’s painting practice overflows with deceptively idyllic landscapes, at times overwhelmingly euphoric, which despite the intense and mesmerizing colours, reveal an uneasy, almost ominous atmosphere. In her work ‘Moving A Mountain’ the brushstrokes consisting of a variety of contrasting textures, structures, patterns and bold colour combinations, conjure up a simultaneously paradisal, other-worldly and menacing landscape. Appropriating exoticized representations of nature, Kotsala disrupts the promise of harmony we experience in nature, while commenting on how the natural landscape today is more consumed, rather than experienced.

In her sculptural works, she brings together mostly natural materials, which she manipulates through the arduous, meditative and tactile process of mosaics. The creatures that arise after such an improbable collision of materials and techniques seem to have escaped from imaginary non-anthropocentric narratives, as in the work ‘CREATURES | How Can A Blind Bird Fly’. In her sculptural work, she often works with found objects, particularly from the natural environment, with which she experiments with concealing and revealing them. Interestingly, she employs natural materials, usually pistachio shells, glass and stone which are intrinsically difficult to be manipulated and to adapt.

The exhibition develops as a reflection around human and nature relationship, and at the same time as an intimate contemplation on motherhood; an ever-evolving mixture of tenderness and ferocity, nourishment and threat.

Dimitra Tsiaouskoglou Athens, 2023

Katerina Kotsala | “Moving a Mountain”
ΑΚ38, Αrmatolon & Klefton 38, 11471, Athens
Opening: Thursday May 4 , 19.00-22.00
Duration: 04/05/23 – 03/06/23
Thursday, & Friday: 18.00-21.00, Saturday: 12.00-15.00