Category: Fellows news

In “Sunseekers or Dimming the Sun or” Vasilis Papageorgiou reflects on the vicious cycle between labour, leisure, and exhaustion (both human and planetary). By associating the depletion of planetary resources with burnout, Papageorgiou investigates the relationship between capitalist systems of pleasure, their role in the cyclical depletion of planetary resources, and the loop these create in relation the need for rest and regeneration.

The concept of the exhibition is somewhat influenced by George Papam’s text Hospitality Fatigue: Symptoms and Potions (in: Island after Tourism – Escaping the Monocultures of Leisure, Kyklada Press, 2023), in which the author is exploring different models of inhabiting and relating to landscape. Following, Papargeorgiou links the exhaustion of planetary resources to burnout, poetically employing the beach as a central metaphor to portray it as the ultimate fantasy where the dichotomies of nature and human indulgence merge. He reflects on leisure and pleasure as both a cause and a symptom of this exhaustion, hinting that structures of leisure, such as private beaches, contribute to further resource depletion, trapping humanity in a vicious cycle that ultimately stifles imagination.

The exhibition operates with several motifs embedded in the exhibition as sculptures or in the form of video installation. The metal sunbeds with various significant elements such as copper-plated beach towels, or a flower that emerges from beneath a sunbed, as a symbol of resilience against the structures of human-created leisure. Quotidian situations in which people utilize water against heatwaves in different parts of Europe are captured by the artist by his phone camera. One video depicts an elderly lady in the village Lin in Albania throwing a bucket of water on the street. Another shows affluent children playing in a fountain at Place des Vosges in Paris. These contrasting uses of water in different European contexts underscore the disparity in resource utilization in the cycle of leisure and exhaustion.

Vasilis Papageorgiou (*1991, Athens, Greece) is an artist based in Athens. His work has been showcased in notable exhibitions, including the 7th Athens Biennale – Eclipse (2021), Benaki Museum (2019), Stavros Niarchos Cultural Foundation (2019), and MAXXI – the National Museum of 21st Century Arts (2019). He also participated in the 6th Moscow International Biennale for Young Arts (2018), among others. Additionally, Papageorgiou is a co-founder of Enterprise Projects, an initiative and project space in Athens, established in 2015, that focuses on artist and curator collaborations.

*Vasilis Papageorgiou is SNF ARTWORKS Visual Arts Fellow 2018

State of Concept proudly presents a group exhibition with newly commissioned works exploring the relationships between attention, algorithms, and social justice. Founded in a collaboration between Kunsthall Trondheim, Art Hub Copenhagen, Tropical Papers and Swiss Institute New York, with The Friends of Attention, D. Graham Burnett (Princeton University), Justin Smith-Ruiu (Université de Paris) as associated partners.

The two-year collaborative project Attention After Technology explores how algorithms affect us and how we could imagine them otherwise, through newly commissioned works by six international artists. The artists consider how our attention is commodified and monetized, examine how algorithms reinforce bias while also probing their emancipatory potential, and analyze attention as a political space to foster sustained critical thinking and to support collective action.

The exhibition title, Attention After Technology, is a reference to Ruha Benjamin’s celebrated book Race After Technology (2019). In her publication, Benjamin decodes the discriminatory designs embedded in algorithms that prop up racial, socioeconomic, and other systemic hierarchies. Attention is a much discussed topic with regard to technology. It is closely connected to epistemic justice, or the creation and recognition of diverse forms of knowledge, experiences, and perspectives. Our capacity as knowing subjects, and being recognized as such, is an essential component of agency agency and our ability for choice. It is crucial for social justice.

While distraction and fragmentation may seem like antonyms of attention, the exhibition resists such simple dichotomies. Far from luddites opposing technology, the exhibiting artists both use and hack, celebrate and critique, discard and invent new tools. The exhibition explores attention as a practice, as an embodied technology, and as an evolving aesthetic, social, and political sphere. In bringing attention into debates around algorithmic justice, the works in Attention After Technology pull back the curtain on the neutrality of technology, while using it to draft new ways of relating.

In the lead-up to the exhibition, which considers the intersections above, the artists participated in regular online meetings to workshop their artworks with the exhibition curators, the associated partner collective The Friends of Attention (an informal network of creative collaborators), and advisors from diverse disciplines including computer science and artificial intelligence, visual arts, and queer and transtechnology studies.

This exhibition is the last of three expressions of the expansive project, spanning over two years (2022–2024). The exhibition has travelled from Kunsthall Trondheim, Norway (13 October 2023–28 January 2024) to State of Concept Athens (24 February 2024–27 April 2024). Online versions of the artworks have been available on Tropical Papers’ web platform from November 2023. The associated symposium “The Digital Divide – Attention, Algorithms and Social Justice”, coordinated by Art Hub Copenhagen in partnership with IDA – the Danish Society of Engineers and TOASTER, took place on 4 May 2023, while Art Hub also hosted two artist residencies, with biarritzzz and CUSS Group. The overall project also includes curatorial and strategic contributions by Swiss Institute New York, USA.

The last activity of the parallel program, is an online discussion between iLiana Fokianaki (Founder
and Director of State of Concept) on the 29th of February at 18:30 CET. Zoom Link HERE

The exhibition is collectively curated by Kunsthall Trondheim’s team: Katrine Elise Agpalza Pedersen, curator and project lead “Attention After Technology” with Stefanie Hessler; Liz Dom, project manager “Attention After Technology”; Kaja Grefslie Waagen, producer and communications manager; and Art Hub Copenhagen: Lars Bang Larsen, head of art & research; Rose Tygat, project coordinator; and Tropical Papers: María Inés Rodríguez; and State of Concept Athens: iLiana Fokianaki, founder and director; Konstantina Melachrinou, production manager and press officer; and Swiss Institute New York: Stefanie Hessler, director, curatorial concept and project lead “Attention After Technology” with Katrine Elise Agpalza Pedersen.

In collaboration between Kunsthall Trondheim, Art Hub Copenhagen, Tropical Papers and Swiss Institute New York, The Friends of Attention, D. Graham Burnett (Princeton University), Justin Smith-Ruiu (Université de Paris).

ATTENTION AFTER TECHNOLOGY
Group Show

24 FEBRUARY—27 APRIL 2024

WITH
biarritzzz (Brazil), Vivian Caccuri (Brazil), Shu Lea Cheang (USA/Taiwan), Kyriaki Goni* (Greece), CUSS Group (South Africa), Femke Herregraven (Netherlands)

CURATORS
Kunsthall Trondheim, Art Hub Copenhagen, Tropical Papers, State of Concept Athens, Swiss Institute New York

*Kyriaki Goni is SNF ARTWORKS Visual Arts Fellow (2018)

In 2023 One Minute Space (OMS)  will focus on the temporal turn in art which approaches questions of global contemporaneity and chronopolitics.

OMS is very pleased to begin the year with the solo exhibition “A day after a day after a day after a day”, by Paky Vlassopoulou, curated by Florent Frizet.

Paky Vlassopoulou presents a new body of work taking as a starting point her research on Leros island, located in the east of the Aegean Sea and only an hour off the coast of Turkey, and its histories of multi-layered confinement.

Leros has a long history of incarceration rooted in its exemplary landscape defined by water and unique architectural heritage.

In the area of Lepida, military barracks built during the Italian occupation (1912-1943), have been reused ever since as indoctrination institutions in post-Greek Civil War era (1948-1964), prison cells for political dissidents during the military junta (1967-1974), mental healthcare facilities (1958-today), and refugee camps, known as hotspots (2016-today).

Last year, right above the existing infrastructures, on top of the hill, a new controlled refugee camp, with barbed wire fencing, surveillance cameras, x-ray scanners and magnetic doors and gates, was built.

Thinking of the common living conditions of all these very different cases of unwanted bodies, Vlassopoulou is drawn to the plate as an object widely recognized as a symbol of sustenance and as a domestic object linked to material culture. She creates multiple porcelain plates to carry words, lines, scratches. Each plate acts like a journal entry documenting numbers of confinement. In the exhibition space, the plates build up a storyline through drawings, notes and quotations.

A day after a day after a day after a day serves as a cognitive and sensorial experience on placement and displacement.

A day after a day after a day after a day
Solo Exhibition by Paky Vlassopoulou
Curated by Florent Frizet
14.01.2023-11.02.2022
Opening: Saturday 14 January 2023, 18:00-22:00
Opening hours: Wednesday-Saturday 17:00-20:00

Xenia Koghilaki: Bang Bang Bodies
TANZTAGE BERLIN 2023
Sophiensaele

Bang Bang Bodies embarks on a choreographic journey into the collective imaginary. What brings bodies together? Where can the experience of togetherness be situated? The work uses headbanging – common in the metal and punk scenes, rituals, and protests – as an endless chain of reciprocity of space and time, sweat and breath, but also historical, cultural and political particles between bodies. On stage, two performers explore the effect of exhaustion, repetition and persistence, bringing out both personal and cultural memories and ideas of how we perceive our bodies in relation to others and the world. They engage in an exchange that is never static but always turbulent.

CONCEPT, CHOREOGRAPHY, PERFORMANCE Xenia Koghilaki
CO-CREATION, PERFORMANCE Luisa Fernanda Alfonso
SOUND DESIGN Ernesto Cárcamo Cavazos
LIGHT DESIGN Vito Walter
OUTSIDE EYE André Uerba, Dorota Michalak
MENTORING Kat Válastur
TUTORS Sandra Noeth, Janez Janša

JANUARY 05 | 20.00 H
JANUARY 06 | 20.00 H

https://tanztage-berlin.sophiensaele.com/en/produktionen/2023/bang-bang-bodies/

CRAMA is pleased to present the group exhibition post-truth, fiction, object with works by Noi Fuhrer, Vangelis Gokas, Michael Müller, and Tom Palin.

A questioning gaze, an introverted, self-referencing or self-examining act, one of groping or outlining matters but, simultaneously, outlining the very same act of this. An outlining-physical yet conceptual as well-in duality and as an act of a mirroring between the object and the hand that depicts it. With the occasion of this exhibition, we aspire to take painting as a case study. Painting as an operation through which one may touch the matter of one’s relation to the world and to themselves in both manners of depicting and perceiving, regardless actually whether any actual depiction takes place. Painting as fieldwork regarding individual perception and interpretation, in relation to objects and objectivity, regarding one’s relation to the world. Painting as an act in the dark, an operation in blindfold, yet with a disarming simplicity and honesty. Moreover, painting with the awkwardness that may come along with it; the feeling of uneasiness when standing in front of a painting, of not being sure how to act in relation to it. Are we meant to ‘read’ the painted image, to decipher its deeper meanings? Is there a given path, a possible structural analysis starting perhaps from the ‘thingly’ character of the work and moving to its ‘symbolic’ sides or semiotic connotations?

Noi Fuhrer, Vangelis Gokas, Michael Müller, Tom Palin
curated by Giorgos Kontis
post-truth, fiction, object

Opening December 10th 2022, 4 – 8pm, the exhibition will continue until December 17th 2022 only by appointment: +49 152 04 983 376, [email protected] CRAMA Triftstraße 66, 13353 BERLIN

*Giorgos Kontis is a visual arts SNF ARTWORKS Fellows (2021)

Two Thirds Project Space presents the new exhibition entitled “Broken Heart Syndrome”, with artworks of Ileana Arnaoutou, Sevastiana Konstaki, Mariandrie, Natalia Papadopoulou, Eleanna Balesi, Elektra Stampoulou and Evi Zampeli, curated by Faidra Vasileiadou

Broken heart syndrome is a now-recognized cardiomyopathy that mimics a heart attack: it manifests itself with intense chest pressure, shortness of breath and sudden weakness, symptoms that match a heart attack. The syndrome was discovered as a separate pathological entity in the early 1990s by Japanese doctors and became known as “takotsubo cardiomyopathy” due to the similarity of the shape of the affected heart to the Japanese octopus fishing tool. Usually, this condition is triggered by intense mental stress, such as the death of a loved one, a breakup, anger, or the feeling of betrayal.

Can our hearts literally break? Disassemble into its component parts or even more? If this breaking process happens, does it really break us beyond repair? And even if we manage to restore it, what happens to the rupture we know is always there? The exhibition Broken Heart Syndrome recounts the ways that a heart can shatter and fall apart, while at the same time elucidates the processes that occur after a major crack; an attempt to reassemble the discontinuities and fragments. The participating artists present works that flirt with pain and mourning, through the kaleidoscopic prism of emerging to the surface.
Faidra Vasileiadou
museologist – art curator

Opening: 25/11 | 19:00 – 22:00
Duration of exhibition: 26/11 – 10/12
Opening hours: Tues, Wed, Fri | 17:00 – 21:00, Sat | 11:00 – 14:00
Location: Two Thirds Project Space, Themistokleous 42, Exarcheia, 5th floor, #2

*Ileana Arnaoutou, Sevastiana Konstaki and Natalia Papadopoulou are SNF ARTWORKS Fellows

Memory as a form of wandering: The multimedia exhibition titled terri(s)tories attempts to narrate the recent history of dance in Athens, the past 15 years (2005-2020), through some examples of artistic spaces, ultimately highlighting nomadism as the dominant element of the dance community.

The advent of the economic crisis in 2008, the December 2008 uprising, the Indignant movement (Aganaktismenoi) in public squares Indignant, the occupation of Embros Theater, the demolition of cultural sites or their commercial exploitation and transformation ―by ironic coincidence― into places of consumption, were only some of the successive and necessary “awakenings” of a society that was about to refute the general climate after the successful organization of the Olympic Games in Athens in 2004. At the same time, new spaces emerged despite the aforementioned cracks. These were cultural spaces that renewed that (presumably) necessary turn to a promising future.

A key issue in this research was the “redesign” of the map of the center of Athens, in the context of a review of recent, artistic and non-artistic events; a matter that also led to the investigation of the relationship between urban space and memory. A garage in the heart of Metaxourgeio, a shop in Koukaki and a basement in Vathi square are beingjuxtaposed with landmarks of Dance, such as the Piraeus 260 space of the Athens Festival or the Onassis Stegi, revealing not only the particularities of the era and its cultural manifestations, but mainly the intensity and extent of the artistic practices and contrasts.

From the historically constituted memory to the scattered traces of memory; to the materiality of the spaces that hosted dance actions/performances, the multiple physical and emotional registrations that potentially create a collective experience through which the dance community is formed and rises. In this unique exhibition co-organised by htmylh and the Onassis Foundation Scholars Association, the “exhibits” take the form of maps and oral testimonies, conversing with snapshots of current events, with publications and posters, in a multilayered and open archive of the history of spaces in Athens and, by extension, the history of contemporary Greek dance.

The aim is to imagine the spatial depictions of community as an act of empowerment, against the spirit of our era, that of urban renewal and gentrification which erase our traces.

Co-Organisers: htmylh and the Onassis Foundation Scholars Association

Hosted by: Flux Laboratory Athens

The team:

Anastasios Koukoutas, Dance Theorist / Dramaturgist
Dimitris Mytilinaios, dancer / choreographer / Onassis Foundation scholar
Marina Skoutela, Architect

The exhibition is implemented with the support of Flux Laboratory Athens.

The research on terri(s)stories was funded by the Ministry of Culture and Sports in 2021.

Special thanks to the interviewees:
Katia Arfara, Christiana Galanopoulou, Maria Gorgia, Antigoni Gyra, Penelope Iliaskou, Stathis Livathinos, Kiki Baka, Mariela Nestora, Vassilis Noulas, Margo Perdiki, Costas Tzimoulis, Frosso Trousa, Steriani Tsintziloni

as well as: Athina Delyannis, Hara Syrou, Yannis Nikolaidis, Christina Souyoultzi, Sealed Earth, Rebecca Stamou, EPILOGOS magazine

*Dimitris Mytilinaios is a dance SNF ARTWORKS Fellow
**Anastasio Koukouta was a member for our dance selection committee for the 2nd SNF Artist Fellowship Program

This “Current Between Us” is a group exhibition held at the first steam-electric power station in Greece. Opening to the public, the power station welcomes visitors to previously inaccessible areas of the industrial complex, a unique site of the Greek industrial cultural heritage.

The exhibition brings to light rich material from the historical archives of the PPC, in dialogue with site-specific works by an international group of artists, including painting, sculpture, installation, video, sound and performance. This Current Between Us examines the factory as a centre for the production of both power and materials, and moreover views it as a social model, a system for the organisation of space and human – and nonhuman – life, an architectural management of existing relationships and a generator of new ones. The electricity factory is at the same time a desire factory, as the generation of desire supercharges power production. The artists respond to the past and present of the building by following the sensorial resonances of the facility and fragments of personal stories, immersing themselves in interactions of the act of remembrance and its physical sediment. The constant presence and flow of electrical charge is connecting and disrupting. In the present moment, electric current induces words and views – charges, tensions, attractions and repulsions.

“This Current Between Us” focuses on infrastructure and organisation, processes of production and consumption,emergence and transformation conveyed through metaphor and beyond rhetorical effect. A driving force in modern history, steam is condensed and harnessed, enabling a world of machines. Its strong association with modernist discourse can, in the light of climate change, be interpreted through its constitutive instability and elusive form. Steam affords new possibilities for speed, growth, urban expansion, inspiring a futuristic nostalgia – a longing for a future that never came to be. In this exhibition, steam produces a fluid undercurrent, channelling new and exciting connections. This atmosphere of vapour saturates artistic practice, driving a critical investigation of the relationship between creative production and the industrial architecture, commenting on the use of industrial sites as sites for cultural production and underlining the contradictions of the generalised tendency to aestheticise these sites. The participating artists explore condensation and diffusion processes, network systems, substrates of energy, transport, communication and information, resource flows, digital management and traffic. They seek hidden, invisible and subversive textures in the networks of our everyday environment – technology, the interactions between virtual and actual space, the physical encounters between humans and other entities – to create new infrastructure for wandering. The exhibited works intend to reflect on the industrial past and draw parallels with the present economic environment. The electric grid inevitably powers societal and cultural links.

Participating artists: Nikos Alexiou, Micol Assaël, Eleni Bagaki, Eleni Christodoulou, Kostas Christopoulos, Anastasia Douka, Panayotis Evangelidis, Hypercomf, Konstantinos Giotis, Eleni Kalara & Valia Papachristou & Evaggeli Fili, Dimitris Kamarotos, Mikhail Karikis, Ali Kazma, Athina Koumparouli, Anna Lascari, Virginia Mastrogiannaki, Marina Miliou-Theocharaki & Marianne Tuckman, Petros Moris, Bill Morrison, Olga Migliaressi-Phoca, Paola Palavidi, Natasha Papadopoulou, Dimitris Papaioannou, Kostas Sahpazis, Louis-Philippe Scoufaras, Maria Sideri, Miriam Simun & Daria Kaufman, Iris Touliatou, Alexandros Tzannis, Theodore Tzannetakis, Jeph Vanger, Zafos Xagoraris, Marina Xenofontos

Participants from the Athens School of Fine Arts Lab: Alexandra Apsokardou, Despina Vaxevanidi, Anna Mastromichali, Katerina Messini, Olga Souvermezoglou

Curated by Panos Giannikopoulos & Georgia Liapi

Concept, research, coordination: Eleni Kalara

The exhibition “This Current Between Us” takes place within the framework of the project “The Other Body”, in collaboration with Blow-Up, Athens School of Fine Arts (ASFA) and the PPC, with the support of the Hellenic Republic Ministry of Culture & Sports . Powered by PPC.

This Current Between Us
PPC Historic Electric Steam Power Station of Neo Faliro
Solomou 1 & Dimitriou Falireos, 185 47 Piraeus, Greece

Thursday–Sunday: 4pm–8pm
Exhibition duration: Friday, December 16, 2022 – Sunday, March 12, 2023

*Extension until April 9, 2023

*Eleni Bagaki, Anastasia Douka, Konstantinos Giotis, Athina Koumparouli, Virginia Mastrogiannaki, Petros Moris, Paola Palavidi & Ioannis Kolliopoulos (Hypercomf), Maria Sideri, Iris Touliatou, Alexandros Tzannis and Jephn Vanger are SNF ARTWORKS Fellows

Modern Love (or Love in the Age of Cold Intimacies) is the next major group exhibition at ΕΜΣΤ. Curated by artistic director Katerina Gregos, it launches the museum’s winter-spring exhibition cycle, which focuses on digital technology and its influence on intimate human relationships.

The subtitle of the exhibition is a reference to Eva Illouz’s book, Cold Intimacies: The Making of Emotional Capitalism, which argues that these relationships have become increasingly defined by economic and political models of bargaining, exchange, and equity. Modern Love (or Love in the Age of Cold Intimacies) explores the state of love and human bonds in the age of the Internet, social media, and high capitalism, probing how the digital sphere, the impact of technology giants, and neo-liberal practices have transformed love, social relations, and the way we interact with one another.

The accessibility of the Internet to an ever-greater number of people has had liberating effects, encouraging and empowering more open and diverse lifestyles, contributing to the dissolution of interpersonal orthodox conventions and social constrictions, and crumbling taboos and biases around gender and sexuality.

Modern Love (or Love in the Age of Cold Intimacies) looks at how the Internet has facilitated the expression of non-heteronormative sexual identities, especially in societies where queerness or non-binary sexuality are considered taboo, or even forbidden. It also explores the human pathologies associated with the commodification of emotion and the effects of digital dependency on relationships, as well as the issues that arise when the boundaries between the public and private, as well the virtual and the real, become more and more fluid. The Covid-19 pandemic and physical distancing have added yet another challenge to achieving fulfilling, intimate and meaningful human interaction.

At the same time, we also live in a time that philosopher Byung-Chul Han has labelled “emotional capitalism”, where human emotions have been co-opted by market forces. Thus, apart from offering an open and potentially endless sense of possibility, the dating supermarkets of Tinder and Grindr, “speed dating”, and the ease of Internet exchange have also hollowed out relationships and led to selfish or narcissistic forms of behaviour and the creation and curation of misleading images of the self, making it ever more difficult to establish what is real, meaningful, or true.

Modern Love (or Love in the Age of Cold Intimacies) is as much about individuals as it is about the systems of control that bind us together. Equally, it is about new societal patterns, investigating the challenges and possibilities that the Internet and social media present. It recognises love as a potent emotional force and intense psychological bond between people that gives meaning to our lives in ways that no other interaction, object, or experience can.

At a time of increasing alienation, individualism, and loneliness – symptoms of our world’s increasingly urbanised lifestyles – how can we reclaim meaningful intimate relationships? How can love be rescued from the claws of capitalism and the corporate technosphere? How can one resist the instrumentalisation of love, its superficialisation and banalisation by commerce and social media? Modern Love (or Love in the Age of Cold Intimacies) looks into the pathologies and problems afflicting love and matters of the heart and attempts to imagine a way out of our current alienation, emotional sterility, and loneliness.

The product of ongoing research, the exhibition – which features 24 artists from 14 countries – comes to Greece after presentations at the Museum für Neue Kunst (Germany), Tallinna Kunstihoone (Estonia), IMPAKT [Centre for Media Culture] and Centraal Museum (Netherlands). For the exhibition at EMΣT Athens, Modern Love (or Love in the Age of Cold Intimacies) has been expanded to additionally include Greek as well as international artists, most of whom are presenting their work for the first time in Greece.

Modern Love (or Love in the Age of Cold Intimacies) is accompanied by a bilingual (English-Greek) publication designed by Rafaela Drazic and edited by Katerina Gregos and Theophilos Tramboulis.

A public programme with performances, talks, and screenings will kick off in the new year in collaboration with IMPAKT Media Organisation in the Netherlands.

The opening of this major international group exhibition will be followed in January 2023 by the launch of a series of solo exhibitions that focus on the impact on social relations and contemporary life of digital technology, the Internet, social media, and the economies they produce.

Curated by Katerina Gregos

ARTISTS
Gabriel Abrantes (1984, US/PT)
Andreas Angelidakis (1968, GR)
Melanie Bonajo (1978, NI)
Candice Breitz (1978, ZA)
Laura Cemin (1992, IT)
Benjamin Crotty (1979, US)
Kyriaki Goni (GR, 1982)
David Haines (1969, UK)
Juliet Jacques (1981, UK)
Sanam Khatibi (1979, IR/BE)
Mahmoud Khaled (1982, EG)
Duran Lantink (1988, Nl)
Ariane Loze (1988, BE)
Maria Mavropoulou (1989, GR)
Lauren Lee Mccarthy (US)
Kyle Mcdonald (US)
Marge Monko (1976, EE)
Eva Papamargariti (1987, GR)
Peter Puklus (1980, RO/HU)
Yorgos Prinos (1977, GR)
Marijke De Roover (1990, BE)
Margaret Salmon (1975, US/UK)
Hannah Toticki (1984, DK)
István Zsíros (1985, HU)

*Kyriaki Goni, Maria Mavropoulou and Eva Papamargariti are SNF ARTWORKS Fellows

More info here

The art exhibition by Elina Niarchou and Jérémy Lacombe, entitled “Domesticated mythologies” opens on Thursday, December 8, 2022, at or.artspace.

The two artists draw on material from their everyday life in the place they live, the island of Tinos, and interpret it through visual means. As the two of them navigate the island, the past, the present and the future become blurred and spatial and temporal discontinuities are created. In their work, various fragments are woven together and form a new visual mythology. The mysterious world of Elina Niarchou is captured through painting, as well as through sewing, and receives within it the Jérémy Lacombe’s marble sculptures that look like fossils of mutant creatures of an era that has passed or is to come. The new landscape resulting from the collaboration between Niarchou and Lacombe takes on a dreamlike dimension, revealing another aspect of the familiar environment.

Elina Niarchou is a visual artist who lives and works in Tinos. She is a graduate of the Athens School of Fine Arts and of the Marble Sculpture Art School of Panormos in Tinos. Niarchou has participated in artistic programs in Greece and abroad (Into the ocean, Bourglinster, Luxembourg 2017/ Roder, Rodez, France, 2019 / Contemporary art practices engaging with the unexplored folk culture of Xiromero in Aetolia- Akarnania, Hellenic Ministry of Culture and Sports, 2020). Since 2018, she has been organizing art workshops for children and adults in Tinos, in collaboration with Jérémy Lacombe (Museum of Marble Crafts, PIOP). In 2022, she was awarded the Stavros Niarchos Foundation Artist Fellowship by ARTWORKS.

Jérémy Lacombe is an artist who lives and works in Tinos. He is a graduate of the Fine Art School of Bordeaux and holds a master’s degree in visual arts pedagogy for adolescents from ESA-ERG of Brussels. His artistic work has been presented in exhibitions in Greece and abroad (Ces lieux qui nous gouvernent, Gallerie du Haut Pavé, Paris, France 2018/ Murs en suspens et autres météores, Rodez, France, 2019/ Marmania, Antiparos 2022/ Zig Zag Festival, Ysternia, Tinos, 2022). Since 2018, he has been co-organizing, together with Elina Niarchou, art workshops in Tinos.

Visual communication: Jérémy Lacombe

Duration of the exhibition: 8 to 24 December 2022
Opening, Thursday 8 December, 18:00-22:00
Thursday 15 and 22 December, 18:00-22:00
Friday 9, 16 and 23 December, 18:00-22:00}Saturday 10 and 17 December, 12:00-22:00
Sunday 11 and 18 December, 12:00-22:00
Last day, Saturday 24 December, 12:00-16:00.

or.artspace,
89
Dimitrakopoulou street
Koukaki

https://fb.me/e/2YnrxJc9G
https://orartspace.com/?p=411

or.artspace was founded in Athens, in 2021, by Dr. Elpida Rikou, a visual artist and anthropologist. It is a personal working space, which remains open to collaborations. At or.artspace, at 89
Dimitrakopoulou street in Koukaki, works of art are created, exhibited and sold, while workshops are also organized for small groups, on various subject matters. The project’s aim is to explore alternatives (see or -disjunction) for self-subsisting art making in Greece.

https://orartspace.com/
https://www.facebook.com/Orartspace-108204383961592/
https://www.instagram.com/orartspace/ , [email protected]

Drawing, as a primary visual language, remains a powerful means to translate, document, and analyze our society. The need to understand the world through visual lenses seems more urgent than ever: images transcend the barriers of language and enhance communications in an increasingly fluid society, in a world that changes rapidly and where nothing remains the same.

Considering this rapid change to be inevitable, we came up with the theme Here And Now, which conceals multiple meanings. First, it creates urgency. It causes the act of pausing, to understand the moment before it fleets. Secondly, it represents the literal action of the Lisbon Drawing Club: a community indulging in the present, drawing together. This togetherness allows experiencing a unique moment of creation, reflection, and representation.

Through quiet contemplation, the viewers will be able to see the body’s different sensations and forms, as well as the images evocatively suggested by these works. While they may look small in scale, they open up a wide space to rethink the actual notion of the body and the human condition.
By collecting drawings from the Here and Now, this exhibition also grasps the mutation of time. Moments are ever-evolving, time continuously transforms the (now-past) present into a new (more-current) present. Each of the selected drawings testifies to the liveliness of both the drawer and those being drawn; for life means movement, action, and transformation. Therefore, this exhibition acts as an archive of moments in time, an archive of people and connections. Here and Now might seem difficult or uncertain, but it can also be a great time to live — unquestionably, a time worth grasping.

Text: Alexia Alexandropoulou, Ines Neves

The exhibition Grasping Time will be on between the 25th and 27th of November at Fabrica Braço de Prata, open from 17h-21h. The exhibition’s vernissage will take place on November 25th, between 19h00-22h00. On November 27th from 11h-16h there will be the 5h drawing session Big Draw, held between Lisbon Drawing Club and Drink&Draw Tallinn, followed by a finissage from 16h-22h.

Participating artists:
Adrien Genevard , Alina Shpakova , Ana Beatriz Ávila, Barbara Ryckewaert, Chris Markland, Flora Gasnier, Inês Garcia, João Guapo,
João Miguel Feijão, Lígia Fernandes, Madalena Bettencourt, Margherita Batoréu Annibale, Marianne Maina, Nicola Lonzi, Nicole Sánchez,
Pedro Cabral, Rita Almeida, Rita Ivo, Susanne Malorny, Tati (entalle), Tomás Reis, Utku Yavasca ,Valerio Giovannini, Vasilisa Omelchenko, Vera Joao

Curated by: mais uno +1 — Alexia Alexandropoulou (GR), Alina Shpakova (RU), Dorottya Ács (HU), Inês Nêves (PT)

Poster design: Ines Neves

*Alexia Alexandropoulou is a curatorial SNF ARTWORKS Fellow (2022)

K-Gold Temporary Gallery presents the exhibition ICARUS in Agia Paraskevi Lesvos, curated by Nicolas Vamvouklis. With the participation of the artists: Absalon, Bas Jan Ader, Yannis Voulgaris, Daniel Everett, Felix Gonzalez-Torres, Katerina Komianou, Giorgos Kontis, Mark Wallinger, and Angelos Frentzos.

ICARUS is developed as an exhibition in a flight condition. The artists-as-passengers present their work in an environment of extended levitation, exploring how human ingenuity relates to physical and mental journeys. What can we learn from the cross-cultural wanderings in the (artistic) universe? Who are our fellow travellers in this transformation process? How can these voyages act as a healing force and contribute to social change?

Nine acclaimed Greek and international artists share personal stories about expectation, love, loss, and fall while referencing current affairs. Through the quests of each era, the mythical Icarus manages to express the primordial desire for transcendence. In this direction, the exhibited artworks (photographs, videos, sculptures, and installations) testify to the relationship between society, culture, and technology across expanded geographies.

In this context, a parallel exhibition on the second floor of K-Gold Temporary Gallery presents selected works from its collection linked to important moments of its course as a nomadic platform. The display includes a photograph by Christian Michael Filardo and a sculpture by Virginia Russolo that address themes of mapping and spirituality.

The educational program of the ICARUS exhibition is developed in collaboration with the experiential art space Lefko Harti in Mytilini. It features creative workshops and screenings for children and adults curated by Mari Moustaizi and Michael Meimaroglou. More information will be announced on social media.

Finally, a catalog (Greek/English) is published with contributions from Alain de Botton and Every Ocean Hughes, documenting all the actions and synergies carried out by the Gallery in 2022.

ΙCARUS
10/12/2022 — 05/03/2023
Opening: Saturday 10 December, 19:00
Opening hours: Saturday-Sunday, 15:00-20:00
Free entrance

For the opening of the exhibition, there will be a free round-trip bus from Mytilini to K-Gold Temporary Gallery. Departure from the KTEL bus station (Saturday 10 December at 18:00). Reservations: +30 6942202222.

Address: Agia Paraskevi, 81102 Lesvos, Greece
Telephone: +30 6942202222
Website: kgoldtemporarygallery.tumblr.com
Email: [email protected]
Social Media: @kgoldtemporarygallery

*Katerina Komianou, Giorgos Kontis are SNF ARTWORKS Fellows.

K-GOLD TEMPORARY GALLERY
K-Gold Temporary Gallery was founded in 2014 in Lesvos to bring contemporary art and culture closer to everyone. It has presented the work of established artists such as Joan Jonas, Erwin Wurm, Lucy+Jorge Orta, Lynda Benglis, Jonathas de Andrade, Ana Mendieta, Cosima von Bonin, and John Baldessari. The Gallery currently collaborates with the Hellenic Ministry of Education & Religious Affairs and is part of the Miramar network. It distinguished as an innovative European cultural initiative by Nantes Métropole.

Supported by the Hellenic Ministry of Culture & Sports.