Marianna Ignataki solo exhibition
Organized by MUNICIPAL ART GALLERY OF THESSALONIKI
Marianna Ignataki’s solo exhibition at Alatza Imaret deals with issues of gender, identity, otherness and exclusion, through images and sculptures that seem both beautiful and grotesque. Figures that appear both dominant and dominating, that show no signs of vulnerability that lie hidden or reveal themselves behind masks or hair, juxtapose alternating and coexisting concepts of both the terrible and the absurd.
Referencing Chinese philosophy and tradition, bearded ladies and hairmen, the circus and the opera, the artist introduces us to a world where “being different” is not only the subject of urban myths, clichés or carnival disguises, the subject of anthropological curiosity or ridicule but a new reality/regularity.
Issues of racism and race are placed side by side to issues of gender identity. According to Darwin’s theories of sexual choice the beard of a white woman only casts doubt on her gender, while a beard in a black woman even disputes her origin as human. Similarly, instances where gender identity or gender expression differs from the assigned sex are treated as exotic birds. Ignataki’s works take us exactly there, into the deep, dark forest where there are parrots in love.
Marianna Ignataki was born in Thessaloniki in 1977 and she currently lives in Berlin. She begun her studies in architecture at the Technische Universität in Vienna and then she moved to France where she studied Visual Arts at the School of Fine Arts of Saint-Etienne. Between 2010-2017 she lived and worked in Beijing, China. She has had six solo exhibitions to date, namely “Josie, the Armor and the Hairman” at CAN Christina Androulidaki gallery, Athens (2017), ”The End of Magic” at Outpost Project Space, Amsterdam (2012), “Sphinx” at Fake Space gallery, Beijing (2011), “This Joke Ain’t Funny Anymore” curated by Apostolos Kalfopoulos at Zina Athanasiadou gallery, Thessaloniki (2009), “Coitus Interruptus” (double solo show) at Public Room Project Space, Skopje (2008), and one more show in cooperation with Lola Nikolaou at Fleming gallery, Thessaloniki (2004). She has participated in a number of group shows in Greece, China, Spain, Holland, France, Germany and the US. She is represented by CAN Christina Androulidaki gallery, Athens.
Opening: 19/11/2018 at 20:00
Duration: 19/11/2018 – 5/01/2019
Tuesday – Saturday 11:00-18:00
Address: Kassandrou 91-93, 54633, Thessaloniki, Greece
by Ellie Griva
Elli Griva is the Open Letter.
Her letters are a visual installation in space and at the same time a verbal depiction of her world.
On Thursday November 29 at Art Zone 42, from 8.00 pm onwards the exhibition visitors will be able to penetrate the grounds from which creation begins, thus closely examining the course of expression that the artist-creator follows.
Conforming with the economic situation of our times, the artwork will be affordable to all visitors of the exhibition, highlighting once again the direct connection between social needs, work and expression.
Distinguished writer Thanassis Triaridis said about Grivas work:
For years (almost ten), Elli Griva has been fighting in a domain beyond painting. Poetry, theater, cinematographe and music invade the territory of her art and eject a new blood that keeps spreading… And all of Elli’s exquisite vows do not cure – on the contrary they deepen the wound until its end, until it’s perfection, until it’s greatest blossoming.
Elli Griva was born in Thessaloniki and lived there until she was twenty. In 1994, she was honorably accepted and given a scholarship at the Athens School of Fine Arts. Ever since, she lives in Athens. She creates mainly in Greece and occasionally abroad. Her work is emotions manifested in words and pictures. She has three poetic collections: “49 painted poems”, “11 + – /. A History of Love in Intermediate Time. “+” Together, Never, Forever”, She has collaborated with important art galleries, has participated in ART ATHINA and many group exhibitions in Greece and abroad. She has had 16 individual exhibitions. She has also depicted over 30 titles of children’s books.
Opening: 29/11/2018 at 8:00 pm
Duration: 29 November to 22 December 2018
Exhibition opening hours:
Tuesday, Thursday, Friday 15:00 – 21:00,
Wednesday & Saturday 11:00 – 15:00
Leoforos Vasileous Konstantinou 42, 11635 Athens
Tel.: +30 210 7259549
Ino Varvaritis – Ino Varvaritis / Giannis Dellagramatikas – Lambrini Markou – Panos Famelis – Socrates Fatouros
The Kappatos Art Gallery presents five contemporary artists in five distinct sections of art work titled Five perspectives. Each piece occupies a standalone space, where each artist exhibits part of his/hers recent personal creation, which acts as an independent presence in the context of a comprehensive group exhibition.
The designs of Ino Varvaritis are not restricted to the limits of painting representation, but they are mainly a conceptual approach to the history, memory and formation of the national imaginary. Also in the context of a conceptual approach, the ongoing joint project of Inos Varvaritis with Giannis Dellagramatika “The willingness to revisit, 2012-2018” starts with the process of “collecting” souvenir and takes the form of a installation, exploring the importance of objects as carriers of meaning, as products of exchange or economic exploitation in the context of tourism and cultural practice.
The sculptural proposals of Labrini Markou revolve around the notion of ambivalence; stability and destabilization, matter and dematerialisation, tangibility and opacity, these are the main directions of the work she presents.
Finally, the work of Panos Famelis and Socrates Fatouros tend to break the narrow boundaries between painting and sculpture, between visuality and tactility; the first creates textures with the use of a thick paste of color, while the latter uses mixed techniques of processing of industrial materials. The two artists succeed in tangling though their work the two-dimensional with the three-dimensional space.
Looking back at the past, one considers the position of the formalist theorist and art critic, Clement Greenberg, who, in a 1945 article titled “The New Sculpture,” defended the purity and accuracy of the limits of artistic means. By maintaining each art forms limits and boundaries, he believed, allows each one to be distinct; sculpture as an art of the three dimensional is directed more towards the sense of touch, while painting as a two-dimensional art in the sense of vision. Ten years later he came to reject his original theory when he found that contemporary art tended to make the boundaries between the arts increasingly permeable and therefore obscure. Indeed, since then, the course of modern art has taken a different turn (minimalism, conceptual art), a process that continues to this day, with the convergence of different media going beyond any formalistic approach.
The exhibition aims to highlight and promote the ways five contemporary creators confront the current artistic practices following different paths and approaches, based on their aesthetic and style of expression.
Opening: 30/11/2018 at 20:00
Duration: 30/11/2018 -12/01/2019
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
Βασίλης Μιχαηλίδης / Vasilis Μichailidis
The theory that a work contains within it the right of its existence, in its colors and forms, that the principles of color are objectively perceptible and that they can lead to a high level of order and truth¹, has been the reason for exploring these mechanisms and for choosing painting as a decision-making process.
In this context, (inevitably) there is a tendency of transitivity ², a situation in which a painting forms part of a network defined either historically, or financially and institutionally, or defined by addressing questions of matter and aesthetics.
The preparation of the work, in terms of the method, moves alongside the poetics of surrealism, the beginning of the painting process without preconceived thinking, the equivalent of the objectively random (hasard objectif).
The impressions and reactions that are created as the result of the gestures and the color spots determine the course of the artistic approach as they become part of the proces. The unpredictability, which acts both as an incentive and as a prerequisite, leads to the Implementation of the project. Abundant features and choices through a trial and error process.
An retrospective intervention, through a reconstruction process with light and shadow variants, the presence of the material competes with a type of illusion, depth as a product of naturalistic illusion. From undefined visual ideas, to something specific. Infusing, remodeling the structure of surface painting, as opposed to the representation process.
The work resulting from the interaction of the different painting processes is re-identified as the surface on which the thoughts and the conventions between the feasible and necessary are emerging and reflected.
1 Johannes Itten, Art of Color, Texts of Fine Artists 5, 1998, p. 34.
2 David Joselit, Painting Beside Itself, October 130, Fall 2009, p. 125-134.
Opening: 30/11/2018 at 20:30
Duration: 30/11 – 08/01/2019
Exhibition opening hours:
Tuesday, Thursday, Friday : 10: 30 – 14: 00 & 17: 30 – 21: 00
Wednesday & Saturday : 10:30 – 14:00
Sunday & Monday: closed
Zina Athanasiadou’s Gallery
Address: P.P. Germanou 5, 546 22 Thessaloniki
Tel: +30 2310 275 985
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
“Disorderly Crushed” – “Ατάκτως ερριμμένα”
by Tania Drogosi
Tania Drogosi‘s solo exhibition titled “Disorderly Crushed” will be presented at the Peritechnon Karteris art gallery. Works of large, medium and small dimensions, worked with acrylic and mixed techniques on canvas.
Extracts from the exhibition catalogue…
The symptomatic and asymptomatic elements in the paintings, along with the visible and obscure, correspond to the dialogue that exists between the consciousness and the unconscious, individuality and teamwork, in the past and in the present, in the myth and history . It is certain that Tania Drogosi, using realistic writing combined with expressionist gestures and by creating a counterpoint dialogue between the cold and the hot “lights” of impressionism, is able, in an allegorical and symbolic language, to bring to life and enlivel the chiliness and friability of the objects, which are left to their fate but still try to resist the wear and tear, triggering internal questions with their stubbornness to the passersby.
In other words, they attract instant attention, through their inconsistencies and the “oppositions” that each of their history suffers in the course of time, as is apparent in reality, defined by this nature, as well as the intertwined “consistency” that pertains to the plot of each individual narrative.
Tree trunks and gray branches form a paradoxical and three-dimensional “alphabet” with hieroglyphics, (if one thinks we see them as “objects” and “forms”), while temporarily forsaking their desired and all-important meanings. They are also reminisce of syllables that detect forgotten pieces and meanings, worn out as if parts of Penelope’s woven shroud, next to dried leafy greens and stones left in their loneliness. Between them, there are gobs of soil, ashes and cigarette butts, yellow leaves and “orphan” objects from an older life or a random passerby , such as a scuffed shoe, useless and curled objects left in their fate, broken and forgotten, like a small pot of rain water. Suddenly, the gaze is hooked on a piece of rope, then pieces of wood and stones appear to be reminiscent of Xenophon’s analogy.
And all, presented through the colors and above all through the tones, the hidden sweet sorrow of the ocher, the rinsed blue, the pink of the dawn, and a drowned sorrow, appear in the pieces to meet the prospect of the absurdity or the mercy of the nostalgic afternoon, but also the reddish tones that, like distant recollections and indelible memories, intertwine, as perforated lace, their texture through the whitish tones and the gray halves of absence.
Art Historian & Theory of Culture
Tania Drogosi was born in Athens. She studied fashion design at the Veloudakis Fashion School. She created her own atelier in fashion, where she excelled in various competitions. She won the first prize at the TEXTILIA Pan-Hellenic Competition at the TIF, second place for knitwear and was praise for fabric design.
She attended free hand drawing and painting lessons at Eirini Koutridou‘s workshop, engraving lessons at the “Athens Engraving Art Center” with teachers Dimitra Siaterli and Pino Pandolfini. She also attended painting lesson with artist Rania Kapliari. Her works are in private collections in Greece and abroad.
She lives and works in Athens.
Opening: 13/12/2018 at 19:30
Duration: 13/12/2018 – 12/01/2018
Exhibition opening hours:
Tuesday – Thursday – Friday: 11.00 – 20.00
Wednesday – Saturday: 11.00 – 14.00
Sunday – Monday: closed
Peritechnon Karteris Gallery
Address: 5 Irodotou str., Kolonaki, 10674 Athens, Greece,
Tel.: +30 210 8239 465
Media Sponsor: KROMA Magazine