The exhibition “La Jalousie” is presented from 26 November to 27 November at Lycra in Hamburg. It is a group exhibition by Niklas Arnold and Despοina Pagiota, in which the two artists will present paintings and photographic works.
La Jalousie
Niklas Arnold & Despoina Pagiota
Exhibition in Lycra 26 & 27 November 2022
Address: Lycra, Eiffestrasse 432, 20537 Hamburg
https://www.instagram.com/lycra_raum/
Duration: 26/11 – 27/11/2022
Opening hours: Saturday 19:00 – 23:00 & Sunday 15:00 – 18:00
Visual artist and SNF ARTWORKS Fellow 2021 Evangelia Vatsaki, organized & implemented “NOA project” in collaboration with the municipality of Rhodes. This was a travelogue project taking place between May and August 2022. In this context, Evangelia held a total of 44 painting workshops, 42 in the villages and 2 in the city of Rhodes. For 3 months Evangelia wandered on her bicycle from one village to the next, responding to each community and then holding a three-hour painting
workshop in nature, with participant residents of all ages.
For more information check the video here.
This video was shown as part of the final exhibition – a presentation of the project, at the Auberge de France à Rhodes, a space that presents art exhibitions and cultural activities in Rhodes.
Can a white, unrippable, resistant material become the starting point for an exhibition that
focuses on lived experience, identity, and oppositional forms of expression from the 1970s to
the present day?
The artistic director of ATOPOS cvc, Vassilis Zidianakis announces The Tyvek Project, an
exhibition that is part of its Research Programme, RRRIPP!! a series of projects that take as
their subject holdings from the collection.
The Tyvek Project was devised in collaboration with Mata Dimakopoulou (National and
Kapodistrian University of Athens), and Electra Stampoulou & Vassilis Vlastaras (Athens
School of Fine Arts) and started with two items from the ATOPOS collection: a Tyvek jacket
like the one that the American poet James Merrill ‘wore’ in “Self Portrait in Tyvek
Windbreaker,” an autobiographical poem informed by the poet’s anxiety for his own ailing
body, and his discontent vis-à-vis environmental degradation and globalised capitalism; and
a white Tyvek suit, hand-stamped by artists of the New York experimental and avant-garde
scene of the late 1970s.
Participating artists engage with the mass-produced hyper-resistant material and reflect on
urban decay, crisis and austerity, intimacy and queer experiences. This body of work was
produced in the context of workshops that conjoined research, theory, and art practice and
took place at the Athens School of Fine Arts in the fall of 2021 and 2022.
The exhibition and related events are curated and organised by Elena Koumarianou, Lydia
Panagou, and Caterina Stamou.
24 November – 21 December 2022
Opening Hours: Wednesday 16:00- 20:00, Thursday & Friday 12:00 – 18:00
Visit: Free entry, pre-booking at Artsvp
Organization: ATOPOS cvc
Participating Artists: Semeli Avramioti, Erifyli Angelopoulou, Eleftheria Amolochiti, Alexandra
Apsokardou, Ariadni Delimitrou, Eleni Dermitzaki, Orestis Dimitriou, Sophia Kapourani, Eleni
Karakou, Despoina Katsikosta, Katerina Korre, Elena Koumarianou, Alexandra Krokou,
Maria Labrinidi, Charis Mavroulias, Triantafylia Douroupi, Kyriaki Osogia, Ellie
Papadopoulou, Christina Rossi, Katerina Skordou, Elena Stigka, Alexis Tetsis, Maritina
Tselepi, Tatiana Choremi, Alma-Clara Juarez
Academic Organisers: Mata Dimakopoulou, Elektra Stampoulou, Vassilis Vlastaras
Curating and Public Programme: Elena Koumarianou, Lydia Panagou and Caterina Stamou
*Elektra Stampoulou and Caterina Stamou are SNF ARTWORKS Fellows
How many universes can pass before one’s eyes? How many memories can be actually shared? This performance is part of an ongoing research process based on the mapping of daily realities, existing political turbulence, discomfort, uneasiness, but also pleasure and intimacy, where the performer constructs her own fictions on stage through improvisation. She composes a spatial puzzle as fragmented and chaotic as her worlds/words, exploring strategies of transformation, constant change, resignation, abandonment, while proposing an encounter through touch, tenderness and harshness; she attempts to bring to the fore narratives beyond language, on the verge of enjoyment and annoyance, disappointment and pleasure, where ultimately, everything is tangled, creating a grip of experiences, a fragmented archive to find ourselves in.
episode 02: two is my favorite colour
Sophia Danae Vorvila
TOBE Antwerp 2022 expo
25 November 17:00 – 27 November 19:00 UTC+02
More info: https://www.tobeantwerp.com/performance-2022/
Myrto Vratsanou’s 360° video “The things in my room” is screened in the context on the Virtual Surreality project by bodytalk, as part of this year’s umPollen festival.
Μore info:
https://www.pumpenhaus.de/37304/
Myrto Vratsanou participates in the Art Cologne art fair, in the hall 11.3, booth A-026 of the Academy of Media Arts Cologne (KHM), among other selected recent graduates.
More info:
https://en.khm.de/termine/news.5439.khm-auf-der-art-cologne-2022/
https://www.artcologne.com/
Folk Fiction brings together nine artists from different geographies who share a fascination with demarcating and poetically deconstructing fundamental aspects of representation. Pulling away from traditional modes of meaning-making, they look at language as a system of oral resonances and historically imbued forms. By fictionalizing and abstracting, they create new meanings that allow multiple identities to be expressed.
The works on view draw on lores, oral traditions and anecdotal accounts transmitted across times. Considering how these forms of knowledge have been reused and co-opted to build institutional and colonial narratives, the artists explore a double consciousness–simultaneously rediscovering oral traditions and inheritances, and dissembling them in order to examine their implications in the present.
From mythical maps to invented rituals, Folk Fiction looks at the past as imaginatively open-ended. Several of the works on view evoke Saidiya Hartman’s method of “critical fabulation”, which combines fiction and critical historical research to transgress the official accounts of history. Folk Fiction sees how far fabulation can be pushed, and what capability it has for producing multifaceted representations of the past, present and future.
Performance on Opening Night
and speak (why?) with mute ash
The public program of performances and gatherings will start during the opening of the exhibition with “and speak (why?) with mute ash”, a performance by writer and artist Ashkan Sepahvand on Saturday, November 19th at 19:00 pm.
Folk Fiction
November 19th – December 22nd, 2022
Opening: Saturday, November 19th at 19:00 pm
At: One Minute Space, Athens
Artists: James Beckett, Jesse Chun, Alexis Fidetzis, Carolina Fusilier and Miko Revereza, Jenny Marketou, Ashkan Sepahvand, Anastasia Sosunova, and Maria Varela
Curated by Ariana Kalliga
Weekly Exhibition Schedule
Wednesday to Friday: 16:00 – 20:00 PM
Saturday: 12:00 – 16:00 PM
*Alexis Fidetzis, Maria Varela and Ariana Kalliga are SNF ARTWORKS Fellows
Night Stop, a short film written and directed by Khadar Ayderus Ahmed, will have its world premiere in the Short Film Competition of the Red Sea International Film Festival. The film tells about a teenage Black boy who is on his way home at night when his bicycle breaks down in the middle of a quiet highway where he meets a series of mysterious characters. The festival catalogue predicts the film will appeal to fans of the horror filmmaker Jordan Peele.
The film is produced by Danai Anagnostou (SNF ARTWORKS Fellow 2022) for Kenno Filmi.
More info: here
RED SEA FILM FESTIVAL FOUNDATION
The Red Sea Film Foundation is an independent, non-profit organization created to support the film industry in Saudi Arabia in the production and distribution of films, as well as education on cinema. The Foundation’s initiatives support the ambitious plans for the Kingdom in the entertainment industries, with its pillars of a vibrant society, an ambitious nation and a thriving economy.
Champions of film culture in Saudi Arabia and across the Arab world. Discover global cinema, support filmmakers, develop skills, and make ideas reality through year-round programs.
RED SEA INTERNATIONAL FILM FESTIVAL
Every year, ten days of film, new and old – encounter the makers, learn from the masters, be inspired by the best.
The Red Sea International Film Festival is for film lovers, filmmakers, and the global film industry. See the blockbusters of the future before they hit the big screen. Discover old favorites with lovingly curated retrospectives and restored classics.
Athens – L’Aquila. A conversation on the insight into two cities, through a peripatetic experience, a gaze directed at a sense of familiarity and our fainted childhood memory.
In the presentation of the photographic books PENDULUM and HEAR YOU ATHENS, together with Alexandros Mistriotis, we will share thoughts and confessions about our experience in two diverse cities, that offered us hospitality and shaped us.
Stefania Orfanidou
https://www.stefaniaorfanidou.com/Pendulum
Georges Salameh
https://georgessalameh.blogspot.com/p/book.html
Alexandros Mistriotis
https://thereceptionathens.eu/ See less
PRESENTATION “A TALE OF TWO CITIES”
Fahrenheit 451 Books&Coffee
102 Marinou Antipa Avenue, 16346
Ilioupoli, Athens
Stefania Orfanidou
https://www.stefaniaorfanidou.com/Pendulum
Georges Salameh
https://georgessalameh.blogspot.com/p/book.html
Alexandros Mistriotis
https://thereceptionathens.eu/
*Stefania Orfanidou is SNF ARTWORKS Fellow 2020
After successful performances in Greece, Cyprus, and UK, Sam Albatros’ very own performance of their best-selling debut novel is now coming to Berlin! Following the main performance, Sam Albatros will present a stand-up comedy number about being a sissy, greek family and more.
The performance will be in Greek with English subtitles and the stand-up in English.
Lettrétage
Veteranenstraße 21
10119 Berlin Mitte
Free entry
ABOUT THE BOOK
A best-seller, social media sensation, and already adapted for the stage multiple times, the novel is the first in Greece to be written in the voice of a gender non-conforming character who comes of age in the early 2000s, during a time of social and economic turbulence. As such, it touches on a range of timely issues of broad social importance that are sure to appeal to audiences of all ages. In Greece, the book has attracted mainstream media attention and has been shortlisted for prestigious awards.
Yiorgos of Kedros, a documentary by Yiannis and Giorgos Kolozis will screen on Greek national TV ERT2 on Friday November 18 at 23:30 and will have an online follow up on ERTFLIX platform for 15 days.
https://program.ert.gr/details.asp?pid=3836695&chid=49
A journey in time through the eyes of two generations of filmmakers, at the same remote island in Greece from the ’70s until now. Yiorgos Kolozis went to Donoussa for the first time in 1972, there was no electricity or tourists then. Staying alone at Kedros beach, he acquired the name “Yiorgos of Kedros”and visited many times recording the remains of old times. Yiorgos’ death in 2009 led Yiannis, his son, to continue his work, creating a story in which time is treated as a reconsideration of the present moment. A study in the concept of memory.
Yiorgos of Kedros (82′) on ΕRT 2
Friday 18/11 – 23:30
Trailer:
Facebook:
https://www.facebook.com/yiorgosofkedros/
Website:
https://yiorgosofkedros.com
Awards & Distinctions
Nominated for Best Documentary – Hellenic Film Academy, 2021
Best Documentary – Balkan New Film Festival, Sweden, 2020
Best Documentary – Docfest Chalkida, 2020
Best Documentary – Ierapetra Documentary Festival, 2020
Best Directing – Ierapetra Documentary Festival, 2020
Best Editing – Ierapetra Documentary Festival, 2020
Special Mention – Beyond Borders Documentary Festival, 2020
Special Mention – AegeanDocs Festival, 2020
Opening Film – Signos da Noite, Portugal 2020
2nd Best Documentary – West Side Mountains Doc Fest, 2021
Honorable Mention – London Greek Film Festival, 2021
Honorable Mention – Deep Focus Film Festival, 2021
Best Documentary – Amorgos Film Festival, 2022
Power in modernity is gradually but steadily shifting its dominance from repression to universal preventive control. Foucault was right! The game of politics is played on our bodies. Politics becomes biopolitics. The 48 artists featured in the exhibition Confinement curated by Dimitris Trikasat the Dromokaitio P.H.A., participate with works that are dialectic, collide and, in any case, respond to the space and the semantic axis of the exhibition, works from the entire spectrum of the visual and not only the vocabulary of contemporary art: sculptures and installations, videos,sound constructions, painting, photography and performative actions. In parallel with the visual part, 5 Seminars are organized with the participation of approximately seventy academics, researchers and writers who investigate the above issues through the scientific fields that we consider critical for the content and thematics of the project, such as those of psychoanalysis, philosophy, history, literature and political theory.
Participating Artists | Dimitris Antonitsis, Chloe Akrithakis, Dimitris Alithinos, Katerina Apostolidou, Ileana Arnautou, Kostis Velonis, Babis Venetopoulos, Antonis Volanakis, Poka Yo + LAB12, Vangelis Gokas, Thomas Diotis, Markos Evloghimenos, Mary Zygouri, Captain, Nikomachi Karakostanoglou, Haris Kontosfiris, Nikos Koliopoulos, Kalliopi Lemou, Maria Loizidou, Maria Louizou, Natalia Manda, Maro Michalakakou, Vassilis Bakalis, Mania Benisi, Vally Nomidou, Angelos Papadimitriou, Anna Papaeti, Ilias Papailiakis, Nina Papakonstantinou, Nikos Panagiotopoulos, Artemis Potamianou, Panos Prophetis, Pinelopi Petsini, Redoumis Dimitris, Marios Spiliopoulos, George Tserionis, Eleni Tzirtzilaki, Kostas Tsolis, Sokratis Fatouros, Alexis Fidetzis, Dimitris Chalatsis, Despina Charitonidis, Kostas Christopoulos, Dionysis Christofilogiannis.
Performances | Philippos Vassiliou, Stathis Grapsas/ Alexandros Voutsinas, Yannis Mitrou, Savvas Stroumpos/ Elli Ingliz/ Anna Marka-Bonichel, Philippos Tsitsopoulos.
SNF ARTWORKS Fellows | Ileana Arnautou, Maria Louizou, Natalia Manda, Panos Prophetis, Alexis Fidetzis, Philippos Vassiliou.
The exhibition Confinement is supported by NEON as part of its annual Grants Scheme.
CONFINEMENTS
11/11/2022 – 18/12/2022
Dromokaiteio P.H.A.
Editor | Dimitris Trikas
Organised by AMKE Rizes Politismou
OPENING: 11 November 2022, 4-9pm 7pm
OPENING HOURS: Thursday, Friday, Saturday, Sunday | 3-8pm
FREE ENTRANCE
SUN OR TOURISTS?
CHEAP DESTINATION OR GENTRIFICATION?
NEW HYPE OR ROMANTICIZATION OF POVERTY?
The series takes off with “Heat and Run: a greek summer tale”.
What is the essence of the Greek summer?
Every summer millions of tourists choose Greece as their top holiday destination, with the most days of sunshine per year and hours of sunshine per day and has been found to be the warmest European country even during winter.
From international capital and international cultural institutes to anarcho-tourists and the hyped art world, Greece is perceived as an uncultivated investment land or the place of counterculture.
So probably Greece has it all.
SUN, SEA, ISLANDS, CHEAP RENTS (for who?).
Meanwhile, 28.9% of the population is at risk of poverty or social exclusion, cops are everywhere,CLASS
ΕXPLOITATION/HOMOPHOBIA/TRANSPHOBIA/FATPHOBIA/ABLEISM/RACISM are totally embedded to the greek society, femicides every month, corruption, gentrification, rents higher and higher.
However, even under these circumstances, we all wait for the summer to forget everything and get that summer state of mind, because summer for some of us is this utopian space-time continuum outside the capitalist system. So what does summer symbolize in our collective imaginary unconscious? Heat and run will try to depict the two sides of the same coin.
HEAT AND RUN: a summer tale
AYE MARI X CANTINA ANΤΙΣΟΣΙΑΛA multi media group exhibition about the two sides of the same coin curated by Vassilia Kaga.
Opening: 15 Νοvember, 19.00 – 23.00
Exhibition duration: 15 November – 10 December
Opening hours: Tuesday – Sunday 18.00 – 22.00
Cantina ΑΝΤΙΣΟΣΙΑΛ
Leokoriou 8
10554 Αthens
Instagram: @cantinantisocial
Email: [email protected]
ARTISTS
alienprincesshasgreasyhair
Bois Futuri
Αnastasis Panagis Meletis / Panas
Froso Papadopoulou
Alki Papastathopoulos
Sofia Rozaki
Klaus Jurgen Schmidt
Alexandros Simopoulos
Αntigone Theodorou
Cantiniera
*Vassilia Kaga, Alexandros Simopoulous and Antigoni Theodorou are SNF ARTWORKS Fellows
“The Fallen Dervish” is one of the most famous short stories written by Alexandros Papadiamantis, due to the inclusion of all those elements that characterize the author’s idiosyncratic language. Papadiamantis’ language combines archaizing with spoken forms of Modern Greek, in ways that no other Greek short story writer could touch. In so doing, Papadiamantis’ texts are impossible to translate into another language. In “The Fallen Dervish,” the main body of the text is written in archaizing forms of Modern Greek, while simpler forms of Greek, as spoken in everyday life, are used throughout the dialogues, as well as at certain points within the narrative itself.
If one would like to approach the socio-historical context in which Papadiamantis wrote “The Fallen Dervish,” one should certainly take into account that this short story was published in January 1896, about three months before the first modern revival of the Olympic Games in Athens. Papadiamantis, while being attuned to the transitional period in which Greece was at that time, trying between heterogeneous forces to construct a cultural identity from the ruins of its Ancient past, the Ottoman influence and the gaze of the West upon it, places in his short story a wandering dervish. This homeless stranger appears as an enigmatic figure who plays the ney flute around the area of Thesion, at a time when the underground railway was being constructed, and salep was sold at the streets. What Papadiamantis tries to achieve through this atmospheric short story is to highlight the multicultural landscape of Athens at the end of the 19th century.
The way we approached “The Fallen Dervish” was mainly based on foregrounding the author’s language, in an attempt to bring it back to the present, while respecting the idioms, the atmosphere and the rhythm to which Papadiamantis introduces us. For this reason, we decided to strip the theatrical space to the bare minimum, using natural sound in the voice and musical instruments. Our goal is to invite the audience to exit the high speed that characterizes today’s daily life, to slow down and to experience unfamiliar kinds of rhythm, vibration and flow.
Alexandros Papadiamantis
“The Fallen Dervish”
Every Saturday at 9pm, from November 12th 2022 to January 21st 2023,
at KE.ME.THE.T (23, Koilis str., Ano Petralona, Athens).
RSVP: 6939669218.
Directed by: Despina Zacharopoulou – Giannis Karounis.
Light Design: Despina Zacharopoulou
Actor on stage: Giannis Karounis
Ney: Eleni Baili
Percussion: Evangelia Stavrou
General Admission: 10 euros
Admission for four people: 8 euros each
Unemployed, SEH members, ARTWORKS Fellows, disabled: 5 euros
Special prices for organized groups.
Production: Active Body Theater (Instagram: @activebodytheaterworkshop)
Review of Eleonora Siarava BLUE BEYOND dance performance at Springback
Magazine.
“Time, space, light, cycles – Eleonora Siarava’s Blue Beyond is both cosmic
and minimal” Springback Magazine, October 2022
“With its immersive elaboration of cyclicality and its distinct formalism,
Siarava’s work moulds an introverted emotional landscape that straddles
minimal futurism and abstract nostalgia” Ariadne Mikou, Springback Magazine,
October 2022
STORM (I Don’t Have a Pen)
Myrto Xanthopoulou’s graduation show at the Athens School of Fine Arts in 2009 was a wonderful surprise, a jolt out of our comfort zone. Not trying to impress with grand gestures and extravagant statements, this was no ordinary graduation project. The artist made it clear that she did not seek to show ‘artworks’ but to temporarily inhabit space with her language and thought, treating walls, floor and ceiling as a blank page. She occupied space with words, phrases, notes, drawings, photographs, projections and constructions in low-cost, everyday materials, such as plastic bags, beer bottles and paper tape. Unlike her fellow students, Xanthopoulou dipped her brush in dictionaries and spoken language, proposing an alternative form of artistic expression and communication, one characterised by the poetry of the small gesture. Her exhibition had no focal point, no specific pieces on which viewers could focus. Visitors were invited to become readers – accomplices in the fragmentary narrative in which they were immersed. Phrases such as ‘If they were real, walls would be on our side,’ ‘A moment of silence for the old-timer who wears sneakers,’ Get out of the sea (blue stains)’ and ‘Get out of the fridge’ reveal an artist with a peculiar sense of humour. Born in the same country with Aki Kaurismäki, Xanthopoulou casually combines irony and tenderness, weirdness and a low-key sensitivity.
Over the following decade, Xanthopoulou held four interrelated solo exhibitions: each one fed the other, in the same way that her works are deconstructed and reworked into new ones. While the scattered small gestures became increasingly distinct and self-standing, her work evolved organically, displaying a crystal clarity. With exhibitions The Battleship (2013), Sing (2015), Rendering the Sky (2018) and ΜΠΟΥΦΑΝ (2020) the artist forged her artistic identity and developed an idiom of her own. She expanded her mediums, using carbon paper, various kinds of paper (packaging, drawing, continuous stationery, aluminium foil, sandpaper, maquette paper), clay, cement, bamboo sticks, balsa, lamps, fruit peels, even sea urchin spines. In her works, language gives disposable objects a new lease of life. Multiplied and folded onto the paper, ordinary words and phrases (Rubble, In the afternoon, Cicadas, Pigeons on Alexandras Ave.) form landscapes deluged with solid, illegible language patterns. Often, when papercutting, her word landscapes become perforated, reminiscent of lacework – it goes without saying that all her works are handmade. The artist reminds us that words – say, battleship – have multiple meanings. Her constructions, too, function as text, and the same applies to materials, which tell stories of ‘decline, lightness, heaviness, love.’ The eerie urban landscape of Athens is a constant reference and an endless source of inspiration, as is the home environment, the places in which the artist lives and works. When in Five Hundred Days in the Desert (2020) she holds a lighter to a large transparent paper sheet, creating concentric circles (and burning her finger in the process), she seems to provide a measure of the relentless flow of time in what is a bold statement of love for the depth of surface.
For STORM (I don’t have a pen), her fifth solo exhibition, Xanthopoulou temporarily camps at Aggeliki Chatzimichali’s residence. Designed specifically for this venue, the exhibition features a series of sculptures and a video, on view in three adjacent rooms. A composition with blue pen on tracing paper commands the main room, hanging above the elaborate fireplace. Written in large letters on the paper surface, the phrase ‘The tap is dripping’ conveys a warning message that needs no interpretation. For Xanthopoulou, in fact, language is a code; by every phrase she writes, she means something else. Similarly, STORM has a multiplicity of meaning, according to the artist: ‘There is a certain verticality about the title. A storm can involve crying, an outbreak, a sequence of events, of emotions, of words – a natural phenomenon when, as long as it is unfolding, everything else seems to come to a halt. There is something dramatic about this word, but it’s also a bit larger than life, almost funny (bringing to mind the Andipas song of the same title). It conveys the drama while undermining it at the same time.’ The artist notes that she sees all her works as text: ‘I generally have a textual perception of things. There are always words and phrases in my head – narratives around which I construct my works and understand them. And I still read them as a text even when it is absent.’
Xanthopoulou’s untold hardship is the physical suffering she endures when making her ‘luggage constructions,’ where ‘sloppiness goes hand in hand with an arduous, exhausting manual process.’ This ‘exhaustive appropriation’ is characteristic of all the sculptures in this exhibition, which feature phrases such as ‘I’m tired,’ ‘I don’t care’ and ‘We are all a mess.’ Packaging paper dipped in glue and oil paint, plaster bases that speak to the binary opposition light/heavy, a miniature kiosk with a plastic canopy, word and phrase fragments, mock-ups in wood and paper, bamboo buttresses, paper with imprints of the artist’s hands, words written in nail polish, papercuts with spray paint, a construction in cigarette paper that looks as if a spacecraft has just landed in the dining room – together, all these pieces make up an exhibition in which materiality and language, physicality and care take the spotlight.
In early incarnations, many of the objects embedded in these sculptures appear in the videos made on a smartphone and uploaded as Instagram Stories. This is ‘a collection of small gestures, shots and words, all woven together like handiwork.’ She notes that these videos compose an ‘experiential dictionary,’ a ‘record of gestures’ that illuminate various aspects of her practice – physical, performative, sonic. ‘They open a window to the inner world of the studio, the home, the lulls when nothing is happening, and anything can happen.’ In the ten-minute video 100KarateBlows (2021-22), on view in this exhibition as part of a construction, language operates similarly to a medium for sculpture. The artist’s voice constantly reiterates phrases (‘It’s all frequencies’/ ‘Same story every day’) which illustrate the performative nature of her practice. The videos are intentionally crude, made without any post-production: ‘It’s almost like a type of arte povera. I work with what I have, what I can find at home, in the studio, on the balcony, on the sidewalk, in my local paper shop,’ says the artist.
Looking at Xanthopoulou’s pieces on view in the museum space makes you feel as if a mischievous child has camped there, a child with ‘a profound need to record experience, with an acute awareness of the finite.’ Although her work is not directly related to folk art, it is linked to it by several of its qualities (geometry, patterns, writing, physicality, painstaking handiwork). Judging by the result, Xanthopoulou’s STORM was necessary – indeed ‘inescapable.’ The artist describes it perfectly: ‘As long as [the storm] lasts, nothing else exists / What’s left after the storm: fragments, traces of words / Then life goes on / Words are like mantras, like prayers / They are capsized, cut into syllables, into sounds; they come out with difficulty, drop to the ground, smashing into a thousand pieces / Words are lost in the raging storm / but we have nothing else; that’s all we have.’
Christoforos Marinos
Art historian
OPANDA curator of exhibitions and events
Translated by Dimitris Saltabassis
STORM (I Don’t Have a Pen)
Myrto Xanthopoulou
October 26 – November 27, 2022
Centre for Popular Craft & Tradition
Theory in the Remix (2022) is an invitation to collectively explore the felicitous conditions for ‘sonic modes of study’. The same-titled seminars are structured as four (4) two-hour workshops at State of Concept Athens, on the 20th and 27th of October and the 3rd and 10th of November, as part of the Waste/d Pavilion 3.
We welcome participants interested in transdisciplinary theoretical approach, sound studies in artistic research and theory, popular culture, live experience, and the creation of hybrid artistic approaches based on research as well as the development of relevant methodologies, keen on participating in reading groups, curious about forms and communities of listening, theory otherwise, popular culture ανδ storytelling. Sound engineering skills are not a prerequisite.
Starting from the DJ LEctue methodology, participants are invited to re-examine the passive lecture format and readapt the ideas of the seminar and the remix as prompts to ruse otherwise the intellectual and practical ways of a study group. In short, they are called to consider what has been epistemologically, theoretically or artistically deemed as ‘invalid’, ‘a-formal’ or ‘uncategorized’ through means of expanded post-production. In the in between of a conference room and a concert hall – where knowledge moves between sound and its descriptions – participants will collectively explore the limits of sampling and mixing otherwise, in order to compose or perform a collective and uncommon remix.
Theory in the Remix (2022) draws on: practices and literature in the periphery of sound studies, sonic & theory fictions as well as the form of audio essay as essential forms of rusing sonic narratives, feminist practices related to listening and their relevant citational practices, but also critical approaches on consciousness-raising and its acoustic dimension. At the same time, it wishes to broaden contemporary yet heterogenous perspectives related to DJing, advocating it as a multimodal prompt for hybriduous art research that challenges issues of authorship and knowledge production in their implicit social space.
Every workshop will last 2 hours. All workshops are free.
Submit a short letter of interest (max. 200 words) related to the proposed theme by October 15th, 2022, at [email protected]
There will be a limited number of participants and we operate on a first come first served basis.
* Part of the seminars will be recorded.
The workshop and the work of Chara Stergiou is part of the 3rd episode of “Wasted Pavilion”. Results of the workshop will be shared in a live lecture-performance.
The programme ‘Waste/d Pavilion’ is part of the chapter “Coalition of the Care-full”, an endeavour of the “European Pavilion”. Launched by the Amsterdam-based European Cultural Foundation and developed in partnership with the Camargo Foundation, the Kultura Nova Foundation, and Fondazione CRT, The European Pavilion is an initiative that supports and promotes artistic projects which imagine desirable and sustainable futures for Europe and which bring Europe closer to its communities and their realities. In the course of 2021, seven arts and cultural organisations have joined this exciting new initiative: ARNA (Sweden), Brunnenpassage (Austria), INIVA (London), OGR Torino (Italy), State of Concept (Greece), Studio Rizoma (Italy) and L’Internationale (Ljublana, Belgium, Netherlands, Spain and Poland).
Theory in the Remix
20, 27 October & 3, 10 November, 16:30-18:30
State of Concept Athens
Open Call
*Chara Stergiou is SNF ARTWORKS Fellow (2020) in visual arts
Greece has submitted the feature film Magnetic Fields by Giorgos Gousis as its official entry into the 95th Academy Awards to be held in Los Angeles on March 12 in the hope of winning the Oscar for best international feature, following a vote by the Hellenic Film Academy.
Submitted films must have been released theatrically in their respective countries between January 1, 2022 and November 30, 2022. The deadline for submissions to the Academy is October 3, 2022.
A shortlist of 15 finalists is set to be announced on December 21 with the final five nominees announced on January 24, 2022. The 95th Academy Awards will take place on March 12, 2023 at the Dolby Theatre in Los Angeles.
*Giorgos Gousis is a moving image SNF ARTWORKS Fellow 2020
For the 5th iteration of THF Raw series in autumn 2022, artist Chrysanthi Koumianaki and curator Danai Giannoglou, continue an ongoing dialogue regarding the exploration and articulation of the language and codes of the city of Athens. RSVP is a project that focuses on the immediate surroundings of the B & M Theocharakis Foundation for the Fine Arts and Music, while Chrysanthi Koumianaki approaches the public space through its own vocabulary and creates allegories which bridge the urban fabric with the human body.
Across the Foundation, on Vasilissis Sofias Avenue, a ritual takes place, multiple times per day. The elite military unit of Evzones, colloquially known as Tsolias, are nowadays members of the Presidential Guard and execute daily missions of symbolic value, such as guarding the Tomb of the Unknown Soldier and the Presidential Mansion. As with most symbolic gestures, the posture, movement, equipment and uniform are specific and precise. Koumianaki “distils” these symbols that relate to the Athenian everyday life, the Greek touristic product, the national identity as well as the idea of the monument and transforms them into protocols of movement that shape a visual translation of the urban web.
With a sculptural installation and a set of rules, that will be embodied by the staff of the Foundation, the artist creates a guided experience inside and outside the building, which becomes a reminder of a constantly urgent reality where one always needs to be on guard. Sculptural elements on the terrace and the façade of the building join performative actions throughout the duration of the exhibition. The visitor is invited to navigate the space as a theater set, continuously moving between the stage and what hides behind it. Who is the guard and what are they guarding?
The artist is inventing and investigating alphabets that lead to alternative communication methods between the audience and the artwork, the building of the Foundation and its’ view. She employs geometry and periodicity as her analytical tools, in order to form systems that can be used for an idiosyncratic comprehension of our lived environment, while always remaining open-ended, as the city herself.
Artist: Chrysanthi Koumianaki
Curator: Danai Giannoglou
Artistic Director: Marina Miliou-Theocharakis
Exhibition Production Assistant: Nefeli Siafaka
Communication: Eva Karagiannakis
Technical Support: Fanis Kafantaris, Spiros Chatzigeorgiou, Kaur Deljit, Ram Kaler, Sandi Riaset
Duration: September 29–November 25, 2022
Opening hours: Tuesday, Wednesday, Friday: 10:00 – 17:00
Thursday: 17:00 – 21:00
Performance hours: Tuesday, Wednesday, Friday: 14:53, 16:53
Thursday: 16:53, 18:53
*Opening Performance hours:18:53, 19:53, 20:53
The Hourglobe of Greenpeace Greece is a visual arts project of Collectif MASI, which will be presented for the first time at the Mediterranean Park of Stavros Niarchos Park as part of the SNFCC Green Weekend.
In a treasure hunt, participants are called upon to discover where the organic balls are hidden and then place them inside the oversized hourglass in order to increase the lifespan of our planet. The red ball symbolizes the Earth’s temperature, the blue one the sea, the yellow one the wildlife, the green one the flora, and the brown one the soil.
Greenpeace volunteers will be handing out a card featuring an idea for individual or collective action that can positively affect our planet to all participants in this immersive treasure hunt.
The Hourglobe of Greenpeace Greece is a visual arts project of Collectif MASI (architect Madlen Anipsitaki and sociologist Simon Riedler).
Madlen Anipsitaki is SNF ARTWORKS Fellow (2020)
Design – Implementation: Collectif MASI for Greenpeace Greece
Saturday 24/09 & Sunday 25/09
17.00-19.00
MEDITERRANEAN GARDEN
For all ages
Children under 6 years old must be accompanied
Admission on a first-come, first-serve basis
More info here