Video dance & video performance screening
Video Art Miden collaborates with Kinitiras
Video Art Miden collaborates with Kinitiras in a special video dance & video performance screening event curated by Margarita Stavraki. The presentation, including 4 programs from this year’s edition of Video Art Miden, will take place in Athens, 3 of November 2018, 20.00 pm at Kinitiras. Additionally, all programs will be screened in a special ongoing presentation at the entrance hall of Kinitiras until June 2019.
For fifteen years, Video Art Miden is constantly engaged by collecting and promoting videodance & video performance works internationally, supporting the diversity of expressive media that artists and groups with different artistic, cultural, aesthetic origins and experiences, they use. Video Art Miden, despite its wide-ranging character in video art, has been recorded on the international cultural scene as one of the most independent and stable videodance & video performance platforms in the world.
Screening Event 3 November 2018 / Non Stop Screenings from November 2018 to June 2019
Studio Screening 3 /11 /18
Move like me _ Video Dance & Video Performance selection
Curated by Margarita Stavraki Duration: 43 min
A video selection where human bodies narrate as they move, are in love, compete, fight and vibrate.
- Christina Mertzani / free fall company, Aliki Chiotaki & Dimitris Barnias, 60 pulses, Greece 2016, 3.32
- Blas Payri, Ce monde inconnu de sensations, Spain & France 2018, 3.25
- Francesca Leoni & Davide Mastrangelo, Nowhere History, Italy 2017, 3.40
- Patricia Bentancur, Untitled, (Play), Uruguay 2014, 1.35
- Francesca Leoni , Ego-Crazia, Italy 2017, 8.25
- Еlena Artemenko, Soft Power, Russia 2016, 10.00
- Marta Arjona & Ariadna Llussà, ZOÍ I ζωή, Spain 2017, 3.40
- APOTROPIA, Φ, Italy 2017, 4.44
- Yiorgos Drosos, District one, Greece 2014-2015, 1.50
vDance: poses, movements and short narratives_ Video Dance selection
Curated by Margarita Stavraki Duration: 70 min
A video selection where poses and movements turn to dance and poetry. The dance is sometimes physical and other times a result of the processing of moving image. The surrounding space is sometimes real, defined and it stimulates the dance, and other times it is digital and neutral, in order to make us concentrate absolutely on the motion of the bodies. Dance, movement and pose are a primordial need of man, which is involved in the digital age.
- Izabella Retkowska, Inertness, Poland 2016, 1.10
- Marta Arjona & Mei Casabona, X-TREM, Spain 2016, 5.24
- Aliki Chiotaki, Cipher, Greece 2017, 1.18
- Daphna Mero, Selfiesism – Dance Duet, Israel & USA 2017, 5.03
- Fran Orallo, the chaos theory, UK 2018, 3.40
- Gaetano Maria Mastrocinque, Argille, Italy 2016, 5.47
- Johannes Christopher Gérard, Night, Street, Lantern, Pharmacy, Russia 2017, 4.51
- Dancevacuum dance company-Vicky Vassilopoulou, Handmade, Greece 2018, 8.11
- Same As Sister/Briana Brown-Tipley & Hilary Brown and Aitor Mendilibar, Odd Jewels: Beauty Under Mask, USA 2018, 8.26
- Cecilia Seaward, Recollect, USA 2016, 2.40
- Stefano Croci & Luca Veggetti, SCENARIO, Italy 2017, 22.00
Entrance hall Screening 3 /11 /18
Fragments of a story_ Video Dance & Video Performance selection
Curated by Margarita Stavraki Duration: 49 min
The program explores the autonomy of narrative elements and their reconnection in a video art selection. In these videos the object, the gesture and the space become art works on their own. Sometimes they deny their narrative role, sometimes they just insinuate it, and at others they serve it poetically.
- Mircea Bobînă, Dust, Moldova 2017, 1.00
- Eleonora Roaro, 00:00:01:00, UK 2016, 2.00
- Hanna Schaich, 400000 times, Germany 2017, 4.36
- Irini Folerou, Revealing, UK 2016, 1.19
- Anna Macdonald, After Mrs Mills, UK 2016, 2.37
- Hamza Kirbas, I, YOU, S/HE, WE, Turkey 2017, 00.47
- John C. Kelley, Drum Solo, USA 2018, 4.54
- Cat Del Buono, Pass the Buck, USA 2018, 1.33
- Mauricio Sanhueza, The House, Peru 2018, 8.15
- François Roux, The Western Bug, Canada 2014, 1.22
- Collin Bradford, End Light, USA 2016, 11.07
- François Roux & Mathieu Bouillod, Phantom’s Ontology, Belgium 2014, 3.45
- Marcia Beatriz Granero, Minada, Brazil 2015, 2.15
Act… with or without expression_ Video Performance selection
Curated by Margarita Stavraki Duration: 47 min
A selection of video performances based on body identity, with references to ritual, philosophy & poetry, human disorientation, and the history of family relationships.
- Gabriel Andreu, My Father’s Tears, UK 2016, 3.52
- Eduardo Herrera, Liberación, Argentina 2016, 2.30
- Michele Manzini, In the House of Mantegna, Italy 2017, 6.36
- Nuno Veiga, Boa Morte, Portugal 2018, 4.05
- Alexander Isaenko, Memorial, Ukraine, 2016, 12.24
- Elisabetta Di Sopra, The Care, Italy 2018, 2.34
- Miloushka Bokma, Thuis, Home, Heimat, Netherlands 2018, 7.57
- Aleksandra Mlynarczyk-Gemza, KOAN: What did your face looked like before your parents were born?, Poland 2014, 1.18
- Gray Swartzel, Self-Portrait with Mother (Offering), USA 2018, 3.24
Miden is an independent organization for the exploration and promotion of video art. Founded by an independent group of Greek artists in 2005, it has been one of the earliest specialized video-art festivals in Greece and builded an international festival identity, presenting an annual video art festival for a decade. Since 2015, Miden continues its work changing its form to a more flexible and broadened event programming, setting as basic aims to stimulate the creation of original video art, to help spread it and develop relevant research.
Through collaborations and exchanges with major international festivals and organizations, it has been recognized as one of the most successful and interesting video art platforms internationally and as an important cultural exchange point for Greek and international video art. It also provides an alternative meeting point for emerging and established artists and a communication hub between artists, organizations, festivals and art spaces around the world.
Miden screening programs have traveled in many cities of Greece and all over the world, and they are hosted by significant festivals, museums and institutions globally.
(*Miden means “zero” in Greek)
Art direction: Gioula Papadopoulou – Margarita Stavraki
Video Art Miden- Info: www.festivalmiden.gr
Opening: 3/11/2018 at 20:00
Duration: 3/11/2018 – until June 2019*
*all programs will be screened in a special ongoing presentation at the entrance hall of Kinitiras until June 2019.
Adress: Erechtheiou 22, Acropolis
Tel.: +30 210 9248328
Media Sponsor: KROMA Magazine
« Ideal Lines »
by Ioannis Lassithiotakis
In his new exhibition Ioannis Lassithiotakis presents mainly large-scale works, austere in their rendering and focused on the conceptual and aesthetic importance of monochrome surfaces on which a primordial, archetypal element of human expression is often inscribed: the line.
The works on show come in two series. In one the paint is spread on the surface in an abstract manner to produce pious monochromatic rites; the other series seems to be defined by drawing, with the outline sometimes surrounding the entire canvas or elsewhere with large shapes of black and white coexisting in a harmonious yet enigmatic relationship with one another.
This new body of work reflects the quests of Ioannis Lassithiotakis on issues pertaining to human relations, death, absence but also Art itself, presented in a mature way in terms of both content and aesthetic. His compositions, thoroughly researched and conceptually apt, increasingly attract international interest from galleries and the press.
As Dr. Haris Hatziioannou points out in his text for the accompanying catalogue:
In the abstract language used by Lassithiotakis the fundamental visual elements (point, line, plane, color) have a power to speak on their own. This language of course comes from a tradition that originates from Suprematism, Constructivism and Bauhaus and passes, closer to our age, through Minimalism and Conceptual Art. Knowledge of this tradition and of the contemporary languages of art helps, but this does not mean that the intake of the works depends exclusively on such knowledge. Non-expert viewers that are both eager and sensitive enough will certainly be able to ‘listen to’ and understand this language, discerning its main characteristics.
Opening: 23/11/2018 at 20:00
Duration: 23/11/2018 – 26/01/2019
Thursday: 12:00 – 20:00
Friday: 12:00 – 20:00
Saturday: 12:00 – 17:00
Address: 55A Mesologgiou str, 18545, Piraeus
Tel.: +30 21 0463 1933
Media Sponsor: KROMA Magazine
«Back to basics: Space»
The exhibition Back to Basics: Space, as part of the Back to Basics series that explores key issues and elements of art making, looks into the aims as well as the approaches of artists of the concept of space.
Space constitutes a standard point of reference in artistic creation, whether the latter is confined within the boundaries of the canvas, is a three-dimensional sculpture-installation which incorporates and transforms its surroundings or unfolds in the intangible space of a performance which interacts with the viewer.
At the same time, in an age when the ‘a-topian’ culture of globalisation raises questions about identity, character and history, the positioning of artistic creation in space and time may signify a play with memory, a political comment or a query about the waning boundaries between public and private.
Architectural elements, which pervade the language of art with increasing frequency, delineate the creative work using common features which are familiar to the viewer. The constantly changing social conditions and the cultural osmoses that affect the cityscape are standard components in the discourse between space-place and collective memory.
In the exhibition‘’Back to Basics: Space’’, the exhibition venue provides an opportunity for a dialogue through which to define and explore the notion of space from different visual approaches of the ten visual artists, both morphologically and conceptually.
Architectural space, space as defined in relation to the body, geo-cultural identity, the urban space and the presentation/description of a utopian or dystopian space are the thematic areas to be explored in this exhibition.
Manolis Baboussis, Dionisis Christofilogiannis, George Harvalias, Michel Lamoller, Iavor Lubomirov, Rena Papaspyrou, Yiannis Theodoropoulos, Lina Theodorou, Ino Varvariti, Kostis Velonis
Curator: Artemis Potamianou
Duration: 23/11/2018 – 19/01/2018
Exhibition opening hours:
Address: 55 Mesologgiou str, Piraeus 18545
Tel.: +30 210 4619700
Media Sponsor: KROMA Magazine
The group show The Ruralists will open at a.antonopoulou.art on Tuesday December 4th, 2018. The exhibition presents 13 artists who live and work outside the major urban centers. The title The Ruralists does not imply a movement nor trend, and certainly not a coherent artistic movement, as in the case of the group Brotherhood of Ruralists, founded in 1975 around the pop artist Peter Blake, which suggested the restoration of a bucolic English landscape as central subject theme in paintings.
The artists of this show barely deal with landscape paintings, although the theme of open landscape runs the exhibition as a fact; however it is not present in every artwork. Away from the urban life and the suffocating dimension of the city, the horizon of the work and the artist are expanding in order to incorporate naturally the everyday practices, imagination, craftsmanship, inventiveness.
Paintings and sculptures, photographs and installations are created by a plethora of materials and techniques that are related to the environment. All the projects generally avoid the drama without lacking the drama. Time arises as the key question and as a primary value in this group exhibition of artists in Athens, aiming to resemble a sunny rural courtyard during a December day.
The group show is co-curated by Angeliki Antonopoulou and Alexios Papazacharias.
Petros Efstathiadis, Manolis Zacharioudakis, Katerina Kana, Ioannis Kolliopoulos, Zissis Kotionis, Margarita Myrogianni, Apostolos Ntelakos, Paola Palavidi, Alexios Papazacharias, Leda Papaconstantinou, Thanassis Totsikas, George Tsakiris, Alexandros Psychoulis.
Opening: 04/12/2018 at 19:00
Duration: 04/12/2018 – 19/01/2019
Exhibition Opening hours:
Wednesday, Thursday & Friday: 14:00 – 20:00
Saturday: 12:00 – 16:00
Monday, Tuesday & Sunday: Closed
Admission: Free Event
Address: 20 Aristofanous street, Psyrri, 105 54
Tel: 210 3214994
Media Sponsor: KROMA magazine
With ‘islands’, it is as with dreams: everything imaginable can be dreamed,
but even the most unexpected dream is a rebus that conceals a desire or, its reverse, a fear.
‘Islands’, like dreams, are made of desires and fears, even if the thread of their discourse is secret,
their rules are absurd, their perspectives deceitful, and everything conceals something else.*
Lefteris Tapas’ Archipelagos is an ambiguous and deeply political visual poem that explores the identity of his country Cyprus,** an odd specimen of land, people and cultures, with a rich history and an alluring colonial past, caught between the East and the West, surrounded by sea, brutally divided and separated into two. Is culture something we own or something we share? Can art create a virtual space, more real than real space? Can it help us contemplate on various alternative narratives? Does it have the power to heal? To transform? What defines our identity as people? What is our relationship to trauma? And how can we finally move on?
Tapas’ latest work constitutes the most complete sample of his continuous survey on human existence. For this show the artist returns to the three archetypes; earth-water-sky and reconfigures the present’s attention to history and to his own identity, seeking the universal through today’s Cyprus, which is a postcolonial mosaic of distinct and not particularly integrated communities, ethnicities and nationalities. With a series of little islands made with papier-mâché in such a way that they simulate rocks and soil -an emotional material packed with symbolism- with a hallucinatory paper lace of floating waves and a floating universe of stars, his direct takes on identity and metamorphosis evolve into something dreamy and at the same time quite abstract.
The production process is a space of contemplation for Tapas. All works are hand-made, painted or cut-out by hand with care and attention. The country, which resembles a dot on the map, multiplies and spreads out its various versions in the gallery space. The island installation occupying the large left wall of the gallery is made entirely of pulp, graphite and rare natural earth pigments mined from various quarries of the island – some of which are currently banned and/or abandoned. For the creation of the paper pulp, the artist uses pages from Phileleftheros (the largest daily newspaper of Cyprus) which his father has been reading and collecting for over 30 years. On a large table in the centre of the gallery there is a lace made of cut-out paper that looks like a restless sea and on the opposite wall a series of nocturnal skyscapes, pictured exactly as he remembers observing them for years during his evening duty shifts in the army.***
Through his reflection on the island’s rich history and culture, with all its geographical and political peculiarities, with stories of friendliness, discomfort and hostility, ghosts as well as allies, Tapas moves from the regional to the universal in a way that makes his Archipelagos neither entirely a record, nor a construct of his mind or imagination. After all, what we enjoy in his oeuvre is not the precise and detailed recording of history, nor the tranquility and harmony of the pictures he creates, but the answer he gives to a question of ours or rather the question that he ultimately asks us, forcing us to answer.
* A paraphrase from Italo Calvino’s Invisible Cities.
** Cyprus, officially the Republic of Cyprus is an island country in the Eastern Mediterranean and the third largest and third most populous island in the Mediterranean, located south of Turkey, west of Syria and Lebanon, northwest of Israel, north of Egypt, and southeast of Greece.
*** Military service is mandatory to all men in the Republic of Cyprus. They are also obliged to serve the National Guard as regular reservists.
Lefteris Tapas (b. 1974) lives and works in Limassol, Cyprus. He studied Fine Arts at the Kent Institute of Art & Design and at the University of Kent, UK. Archipelago is his fifth solo show. He has participated in various group shows in Greece, Cyprus, Austria, Belgium, The Netherlands and Bosnia-Herzegovina and his work can be found in public and private collections across Europe. In 2009 he was commissioned a monumental permanent installation for Larnaca International airport proposed by Yiannis Toumazis. The installation is inspired by the Cypriot flora and fauna and adorns the glass backdrop of the entire check-in area of Hermes Airport in Larnaca.
Opening: 11/01/2019 at 8:00 p.m.
Duration: 11/01/2019- 23/02/2019
Exhibition opening hours:
Tuesday – Friday: 12 a.m. – 3 p.m. / 5 p.m. – 8 p.m.
Saturday: 12 a.m. – 4 p.m.
CAN CHRISTINA ANDROULIDAKI GALLERY
Address: Anagnostopoulou str 42, 10673 Athens
Vassilis Karakatsanis’ solo exhibition
A visual approach to the Athenian landscape through personal experiences. Each painting is a true story that has played out in the suffocating, concrete environment of districts in Athens and Piraeus. A personal journal with churches as bookmarks, identifying each region. These are ‘distinct’ points, which do not depict reality but rather sum up the artist’s feelings and, through this virtual reality, presumably the viewer’s too.
Furniture, objects, insects and animals stand out against the urban grid, evoking our effort for an urban way of life – at times authentic, at times not.There is asceticism and abstraction in the depiction of the urban landscape, and humorous symbolism, as the artist states his personal conclusions and acceptance of reality. An acceptance and affirmation that required a 36-year artistic journey in order to be expressed.
In most of his thematic units, he deciphers the urban landscape as an internal process. Today, surrounding space is presented as a surprise, as theatrical action.
‘Vassilis Karakatsanis’s Athens’ by Nikos Vatopoulos
The experienced gaze on the city, the gaze that scans its niches and caches; that gaze, with its reserve of experience, has claimed the right to be free. Unfettered by stereotypical perceptions of Athens, Vassilis Karakatsanis defines the extension of an active plan for the visual mapping of a broad personal fresco. It flows into Athens in a mood of equal confrontation, face to face, feeling by feeling, gesture by gesture, in order to finally exalt its own palimpsest, which carries a common body of memories and desires.
Athens, as shown in Vassilis Karakatsanis’s new works, is more the idea of an Athens than its portrayal. It is more the distillation of a fantasy than its depiction. That is why, in his attempt to access the deep body of the city, by organizing a bridge from his earlier urban ‘Carpets’, Vassilis Karakatsanis, unites fragments and becomes the architect of new co-habitations. Against the full-frontal facades of the urban apartment blocks and old houses, Vassilis Karakatsanis juxtaposes his personal stories. There is a dovetailing between the innermost and the extroverted, in a dialogue that is not always obvious. Vassilis Karakatsanis, in a mood both accepting and conciliatory towards the city-nurturer, extends his gaze, from an inner niche to an urban clearing. There, in the multiethnic, multicultural city, on an urban theatre stage, pretty much everything happens. But what seems to abate is the silence amid the crowd, and also the relics of the personal microcosms, which, like oblations, like blazons, like chiselled pendants on an urban canvas symbolize a new, as yet not fully formed relationship.
Vassilis Karakatsanis, a resident of downtown Athens, on a street that has absorbed layers and layers of generations, in a house resonating with the echoes of previous inhabitants, filled with its own, dense and polysemous world, like a cabinet of curiosities, the artist too is an observer of the city. The view from the inside out, literally and metaphorically, ensures the minimum of a totally interdependent relationship that sustains without crushing the sparks of desire.
At first reading, the urban works of Vassilis Karakatsanis bring, through their colour flashes but also through their semi-realistic rendering, waves of emotional euphoria. What emerges is an Athens (in the broader sense of the metropolitan centre, since Piraeus is also included) with revelatory tendencies, pulsating like a living organism with pores and arteries, just like the floor plan of a typical Greek block of flats. The frontal viewing of this honeycombed, multi-storey home generates feelings of intimacy, but at the same time brings with it the fine vibrations of a clandestine observation.
Yet, even though the canvas of Vassilis Karakatsanis’s houses and apartment buildings – this entire urban condenser that he offers us – appears pulsating, emphatic, gushing with all the equipment of the present time, it arrives laying claim to the viewer’s senses. Along with it comes a sense of breach, doubt or questioning. The absence of distinct faces seems to empty the urban ark of sounds.
Like a sequence of banners, Vassilis Karakatsanis’s full-frontal apartment blocks are dense, almost stifling, and no doubt deeply Athenian, through all the markings and motifs of an urban legacy tucked away in the common affect. There, in these half-illuminated openings, in contrast to the intense colours of the first impression, symbols emerge as robust as trophies, originating in the painter’s personal mythology, though not only his. Domes of temples, bell towers, aeroplanes in flight, house pets in the foreground, insects and other fragments of dissimilar and largely unpredictable gaze condensers, define a polysemous world that asks to be given meaning.
There is a tendency for detachment from the paltry. The primary, mobile and ephemeral first level of the street is not of much interest; what draws the viewer’s attention is the viscera of the city, the successive rows of apartments; old houses; architectural protrusions as permanent as a roof or ephemeral as an awning; over layings; cohabitations; sequences. The urban deposit, as it occurs and emerges through this frontal observation, appears to become autonomous and to re-establish a new relationship with the viewer.
Athens, with that broad, universal, exuberant interpretation of the city-womb, is revealed through a visual language that seeks to break stereotypical perceptions and reorganize familiar desires. Vassilis Karakatsanis’s urban landscapes are registered in the visual history of Athens as banners and totems of self-knowledge, but even more as dictates by which to understand, accept and eventually extend and project the personal world into the urban funnel.
(Journalist – Author)
‘VASSILIS KARAKATSANIS’ by Manina Zoumboulaki
Athens, as you’ve never seen it before: living from the inside out, with inwardness and introversion, but with colors and perfumes that make it a magical Athens – a city flying above its crowds and cramped spaces. The new series of works by Vassilis Karakatsanis titled “Distinct District” is, in the words of the painter, “an artistic approach to the Athenian landscape through personal experiences”. But it’s not just that.
Vasilis’s suddenly beautiful apartment buildings, one stuck on the other, breathe vividly through the laundry hanging out to dry, the colorful awnings and the crenellated balconies. Church domes grab the eye like bookmarks, identifying particular areas of Athens and Piraeus. And while all these pictures are real, with people moving, having sex and living behind the balcony doors; at the same time they are reminiscent of opera sets.
A “grandmother’s” side-table; a shiny, cypress-green plastic chair (the kind gypsies sell off their trucks); a goldfish bowl; a carpet/jacket; a gown/motif, all in the foreground, and the apartment blocks behind them, breathing silently.The deep colors and human figures take you by surprise, as do the fluffy insects, and the pets that pose, all sly innocence, as if they were in front of a photo lens.
Thirty-six years of visual arts journeys, wanderings and discoveries in the life and art of Vassilis Karakatsanis are spread out over his latest works, resting upon recognizable but disguised elements of the Athenian urban landscape.
All elements are used with inwardness, with a depth that surprises you and, in a way, keeps you in a state of astonishment. None of the works loses the artist’s sense of humor and typical wry smile, making them realistic and wildly surrealist at the same time. This is his signature, the connective tissue that has held together Vassilis’s works over the past forty years or so… and here we come upon it at its most mature, interesting and truly beautiful moment.
Athens, October 2018
He was born in 1957 in Athens where he lives and works. He studied painting at the Athens School of Fine Arts, art theory at the Barcelona School of Fine Arts, and conservation of architectural monuments at the Centro Europeo in Venice, with scholarships from the Greek State Scholarship Foundation, the Spanish Government and the Council of Europe.
From 1982 to the present, he has exhibited his work in Greece, Cyprus, Spain, Italy, Indonesia, Ecuador, Turkey, Denmark and Germany (solo exhibitions). This is his 89th solo exhibition.He has taken part in dozens of group exhibitions, art fairs and international exhibitions. His works are in museums, as well as private and public collections in Greece and abroad.
Opening: 17/01/2019 at 20:00
Duration: 17/01/2019 – 09/02/2019
Tuesday ,Thursday, Friday: 11:30 – 21:30
Wednesday & Saturday: 11:30 – 15:30
Monday & Sunday: Closed
Address: 35 Haritos Str., 10675 Athens, Greece
Tel.: +30 211 7100 566
Kappatos gallery presents the second solo exhibition of Yorgos Papafigos. The exhibition’ s subject area is about human relation with new technologies and the World Wide Web and the concomitant influence that they exert on him through references to the video game aesthetics and the Internet culture.
A new series of artworks like moving images focuses on the Digital era and how immateriality affects human’ s perception of the real world through digital content (sound and image), which are generated entirely in the CPU. These digital artworks are a mash-up of disquieting situations, which take place in a fake world. Animated monochromatic bodies without a specific gender identity or ethnicity or imaginary boarder-less places, which have been affected by ecological devastation. The compositions and environments consist of 3D modeling and 3D scanning data while the physical sculptures are related to the other components allegorically, as they represent hybrid objects.
The exhibition will present a selection of drawings, 3D printed installations and animation.
Yorgos Papafigos was born in Larisa, Greece in 1989. He studied at the School of Fine Art of the Visual and Applied Arts Department of Aristotle University in Thessaloniki (2015) and MA Royal College of Art – Moving Image(2018).
He has presented his work in the solo show Reality of Paradox at Kappatos Gallery, Athens (2015) and in group shows in museums and galleries in Greece and abroad, including Whitechapel gallery open screenings(2018), 25th Drawing Show at Boston centre for the arts(2017), New Digital Art Biennale(2017), CICA Museum, South Korea (2017), The right to be human, Goethe Institute, Thessaloniki (2017).
Opening: 18/01/2019 at 20:00
Duration: 18/01/2019 – 23/02/2019
Tuesday to Friday 12:00-20:00
Saturday 12:00-15: 00
Sunday, Monday: Closed
Address: Athinas A12, Athens 10554
Tel: +30 210 3217931
Media Sponsor: KROMA Magazine
Traces of Escape
Cube Gallery, begins this year, inaugurating its collaboration with the artist Nikos Kryonidis, and hosts his solo exhibition, entitled “Traces of Escape”, in which paintings and mixed media artworks coexist in an artistic dialogue.
For Nikos Kryonidis, his art is an agonizing action – escape from the weight of his corporality and also the weight of the world that defines and specifies him, as he reports. And he continues, saying that this is a precise move, which carves scars in the face of time, minimum signs, which betray as less as possible the motion – the movement – the transit – the course, inside of it and inside of the world, with an outer destination.
The concepts that he deals with through his work are these of the escape, but also of the escape from the reality. Concepts that differ from one another, but also work interrelated, so they organize a personal escape.
The paintings of Nikos Kryonidis, with the brushstrokes that create densities and dilutions, and they swirl on the canvas, sometimes floating and sometimes chromatically compact, they invite the viewer to an optical game – voyage through the personal maps of the artist. The piercing color lines, horizontal and vertical, leave decisively their traces, the “Traces of Escape”, and they create imaginable routes from which the artist escapes from the traps of the reset.
In contrast, his mixed media artworks include within them, without leaving a way of escape, their “subjects”, human figures and figures of animals in all of the possible combinations, though without trapping them. They work more as wombs, or as warm nests, surrounding them and protecting them from the external dangers. Their motion is like they are floating in the vacuum, almost dancing, and luring the audience to a mood of internal search and investigation.
The coexistence of the form and the color on always white canvases focus on the creation of works – environments, open with a wondering mood. A wonder which leads to the white figures of the mixed media artworks of the artist, just like returning “home”, to the familiar landscape, where almost always one wants to return to. The only sure thing is that the audience is not invited to choose, but to travel through the “Traces of Escape”.
Nikos Kryonidis was born in Xanthi, a small and picturesque town of North Greece in 1963. He graduated from the School of Architecture of the Aristotle University of Thessaloniki. He realized many solo and group exhibitions in Greece and abroad. His works are found in the Macedonian Museum of Contemporary Art and the State Museum of Contemporary Art in Thessaloniki, the American College of Greece in Athens and in private collections. He paints with his fingers and depicts pictureless actions – traces on small and large surfaces of paper or canvas. He designs the human body, illustrates animals, creates compositions with objects of common use and plastic models of animals on small wall surfaces or in large installations in internal spaces or in the country. He writes texts about art, poems and songs which he performs on stage.
Opening: 18/01/2019 at 20:00
Duration: 18/01/2019 – 16/02/2019
Tuesday, Thursday, Friday 10.00 – 14.00 & 18.00 – 21.00
Wednesday Saturday 10.00 – 14.00
Sunday & Monday: closed
Address: 39, Miaouli str. Patra, Greece
Media Sponsor: KROMA Magazine
Mark Hadjipateras’ solo exhibition opens at a.antonopoulou.art on Thursday 24th of January. The new paintings and sculptures that comprise this exhibition contain many of the features recognizable in Mark Hadjipateras’ practice: biosynthetic creatures, enigmatic objects and symbols, indeterminate topographies, and, of course, his characteristic playfulness. Here, however, it is as though a mist has lifted on the scenery revealing a brighter, fresher palette of clear blues and greys offset by acid yellows, greens, earth tones, accented with an occasional flash of red. Hadjipateras now presents a simpler world of more precisely executed forms that then transmigrate from their two-dimensional communities into discrete three-dimensional figures.
In the paintings, crisp bands of gradated or flat colour fields evoke curiously furnished rooms or horizon lines separating skies from uncharted seas and lands that support unidentifiable life forms. Unlike the populous stretches of Hadjipateras’ earlier Habitats, these places are sparsely settled. Each element plays a distinct role, albeit mystifying, in the environment. When the colour bands are vertical, they set up amicable if incongruent conversations between interior and exterior, among arabesques, swirls and static totems that could be of the natural world or of human production for domestic use, or some hybrid of both. Hadjipateras has removed illusory perspective but retained allusions to nature.
The cast aluminium sculptures take their forms from the paintings, in some cases directly and elsewhere less so. At 50cm tall, they are the comforting height of family pets. Like the shapes and creatures in the paintings, they conjure up plants, trees, lighting fixtures, furniture, marine life, birds, small predators, hieroglyphs, and obscure sacred objects. As autonomous and free-standing, unlike their two-dimensional counterparts, their presence and provenance is even more ambiguous.
Of the sculptures, some are given a shiny metallic finish; some are painted black and some are white. The metallic sculptures take mostly curvilinear and spiroid forms, whereas their black and white companions are generally more static. Although the modernist element has always been present in Hadjipateras’ practice, these graceful organic shapes are particularly informed by the 20thcentury sensibility shared with artists such as Arthur Dove, Joan Miró, Hans Arp, Henri Matisse, and others.
Andrea Gilbert, 2018
Opening: 24/01/2019 at 19:00
Duration: 25/01/2019 – 04/03/ 2019
Exhibition opening hours:
Wednesday, Thursday, Friday: 14:00 – 20.00
Saturday: 12.00 – 16.00
Sunday, Monday & Tuesday: Closed
Address: 20 Aristofanous Street, Psyrri, 105 54 Athens
Tel.: 210 3214 994
Media Sponsor: KROMA Magazine
DL Gallery presents the group exhibition of photography titled «Re-thinking Environment», curated by Nina Kassianou.
Life takes place in many different environments: in natural or urban landscapes, in recreational sites, industrial premises, and in travel explorations.
How does the character and appearance of our environment, influence our experience of space we live and move? And how that space and that experience are interpreted and presented by photographers? These are the questions which form the starting point for the exhibition, Re-thinking Environment, a trip through the human nature.
This exhibition is about the experience of the environment, in all its manifestations, which reveals the emotions and thoughts that the photographers has projected on it. The diverse and multi-faceted ways which photographers perceive this experience echoes the breadth of this exhibition.
By examining issues related to nature and humanity Re-thinking Environment contributes also to the ongoing debate around the world on environmental awareness. The scope of the photographers, involved in this show, explores the changing nature and points out the need for a dynamic interference to prevent environmental deterioration.
The exhibition is a journey followed by 14 artists which spans a wide range of photographic genres including all the kinds of contemporary photography.
Like nature itself, this is an exhibition not just to be seen, but to be experienced.
Panos Charalampidis & Mary Chairetaki,
Opening: 08/02/2019 at 20:00
Duration: 08/02/2019 – 04/05/2019
Wednesday – Saturday 12:00 – 17:00
Thursday – Friday 12:00 – 19:00
Address: 55A Mesologgiou str, 18545, Piraeus
Tel.: +30 21 0463 1933
Media Sponsor: KROMA Magazine