Paperwork and the Will of Capital: Taryn Simon @ GAGOSIAN
Feb 27 @ 7:00 pm – Apr 5 @ 6:00 pm

 Paperwork and the Will of Capital

Taryn Simon

KROMA/TARYN SIMON Finance package for the construction of the Baku-Tbilisi-Ceyhan pipeline. Baku, Azerbaijan, February 3, 2004, Paperwork and the Will of Capital, 2015 Archival inkjet print & text on archival herbarium paper in mahogany frame 85 x 73 1/4 x 2 3/4 inches, (215.9 x 186.1 x 7 cm) Edition of 3 + 2APs

TARYN SIMON-Paperwork and the Will of Capital. © Taryn Simon. Courtesy Gagosian

-These flowers sat between powerful men as they signed agreements designed to influence the fate of the world.-

Taryn Simon

Gagosian is pleased to present large-scale photographs from the series Paperwork and the Will of Capital by Taryn Simon.

Simon is a multidisciplinary conceptual artist whose work spans photography, sculpture, and performance. Her research-driven approach has produced such impactful bodies of work as The Innocents (2002); An American Index of the Hidden and Unfamiliar (2007); Contraband (2010); and the web-based Image Atlas (2012); as well as The Picture Collection (2013); Birds of the West Indies (2013–14); and Black Square (2006–), an ongoing project about the consequences of human inventions. For Simon, photography has always been a vehicle for larger conceptual ideas. Paired with text, her photographs reveal the structures behind controlling systems, from ancestry and borders to botany and diplomacy.

In Paperwork and the Will of Capital (2015), Simon considers the stagecraft of power via the accords, treaties, and decrees drafted to influence systems of governance and economics, from nuclear armament to banking conventions and diamond trading. All involve the countries present at the 1944 United Nations Monetary and Financial Conference in Bretton Woods, New Hampshire, which addressed the globalization of economics after World War II, leading to the establishment of the International Monetary Fund (IMF) and the World Bank. In archival images of the signings of these documents, powerful men flank flower arrangements; Simon recreated and photographed these arrangements, pairing them with texts that explain each event, underscoring the ways in which power is created, performed, marketed, and maintained.

KROMA/TARYN SIMON Source image with botanist’s identifications, Contract to rehabilitate the Lebanese postal system. Beirut, Lebanon, July 22, 1998, Paperwork and the Will of Capital, 2015

TARYN SIMON-Paperwork and the Will of Capital. © Photo by JOSEPH BARRAK/AFP/Getty Images


Each bouquet is placed in front of a striking, bicolored background, creating compelling still lifes that occupy several layers of symbolism at once: they refer to the “impossible bouquet”, the concept from the Flemish Enlightenment that brought together flowers of different climates and seasons in still life paintings; their bold use of line and color is a nod to Pop and hard-edge abstraction; and their custom-made mahogany frames emulate the bombast of certain post-war interior design, both corporate and governmental. With Paperwork and the Will of Capital, Simon addresses the instability of executive decision-making and the reliability and endurance of records, as a reflection on the precarious nature of survival. As time advances, so do these artifacts transform, revealing mutable versions of themselves.

Taryn Simon was born in 1975 in New York, where she currently lives and works. Collections include Centre Georges Pompidou, Paris; Tate Modern, London; Museum für Moderne Kunst, Frankfurt; Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; and Solomon R. Guggenheim Museum, New York. Institutional exhibitions include “Taryn Simon: An American Index of the Hidden and Unfamiliar,” Whitney Museum of American Art, New York (2007, traveled to Museum für Moderne Kunst, Frankfurt; Foam Fotografiemuseum, Amsterdam; Institute of Modern Art, Australia; and Centre for Contemporary Photography, Melbourne, through 2010).

KROMA/TARYN SIMON Contract to rehabilitate the Lebanese postal system. Beirut, Lebanon, July 22, 1998, Paperwork and the Will of Capital, 2015 Archival inkjet print & text on archival herbarium paper in mahogany frame 85 x 73 1/4 x 2 3/4 inches, (215.9 x 186.1 x 7 cm) Edition of 3 + 2APs

TARYN SIMON- Paperwork and the Will of Capital. © Taryn Simon. Courtesy Gagosian

“A Living Man Declared Dead and Other Chapters,” Tate Modern, London; Neue Nationalgalerie, Berlin (2011, traveled to Museum of Modern Art, New York; Geffen Contemporary at Museum of Contemporary Art, Los Angeles; Corcoran Gallery of Art, Washington, D.C.; and Ullens Center for Contemporary Art, Beijing, through 2013; “Contraband,” Centre d’Art Contemporain, Geneva (2011); “A Polite Fiction,” Foundation Louis Vuitton, Paris (2014); “Rear Views, A Star-forming Nebula, and the Office of Foreign Propaganda,” Jeu de Paume, Paris (2015); 56th Biennale di Venezia (2015); “Taryn Simon: Action Research / The Stagecraft of Power,” Garage Museum of Contemporary Art, Moscow (2016); Galerie Rudolfinum, Prague (2016); “A Soldier is Taught to Bayonet the Enemy and Not Some Undefined Abstraction,” Albertinum, Dresden (2016); “Taryn Simon: An American Index of the Hidden and Unfamiliar,” Louisiana Museum of Modern Art, Copenhagen (2016–17); “Taryn Simon: The Innocents,” The Guild Hall Museum, East Hampton, NY; and “Taryn Simon: Paperwork and the Will of Capital,” Musée d’art contemporain de Montréal, Canada (2017). Simon’s first large-scale performance installation, An Occupation of Loss (2016), cocommissioned by the Park Avenue Armory and Artangel, premiered in New York in 2016 and will be presented in a new iteration in London in 2018.

On May 26, two new immersive installations by Simon will open at MASS MoCA, North Adams, Massachusetts. The exhibition will also include the first major museum presentation of Simon’s distinguished bookwork.

KROMA/TARYN SIMON Source image with botanist’s identifications, Contract to rehabilitate the Lebanese postal system. Beirut, Lebanon, July 22, 1998, Paperwork and the Will of Capital, 2015

TARYN SIMON-Paperwork and the Will of Capital. © Photo -/AFP/Getty Images


General Info:

Opening: 27/02/2018, 19:00-21:00

Duration: 27/02/2018 – 05/04/2018

Exhibition/Opening hours:

Tuesday-Saturday: 11:00-18:00

Closed on Monday and Sunday

Admission: Free


Address: 3 Merlin Street, Athens 10671

Tel: +30 2103640215




Dancing in the Light 2 @ Contemporary Space Athens
Mar 3 @ 7:00 pm – Mar 24 @ 9:00 pm

Dancing in the Light 2





The Europea n Centre for Architecture Art – Design and Urban Studies in collaboration with the Chicago Athenaeum Museum for Architecture and Design, presents an exhibition of featuring sculpture and photos titled: “Dancing in the Light 2”.



VENIVINCE is a collaboration between Kalliopi Venieri (ballerina, choreographer, sculptor) and Vincent Guy (theatre director, actor, photographer). Their purpose is to create new works from their mix of artistic disciplines. They also draw freely on others’ creative skills. They have had two exhibitions in Athens dedicated to their work: at Herakleidon Museum, Thission, in 2013 and at Zivasart, Maroussi, in 2014. A third was at the Archaeological Museum of Delphi in September 2017.



About Kalliopi Venieri

She was a ballet soloist with leading international companies (American Ballet Theatre, Grand Ballet du Marquis de Cuevas, Opera of Geneva, Dutch National Ballet). Her talent was first discovered by Anthony Tudor when she was 14 years old. Picked to dance Sleeping Beauty with Nureyev, she chose instead to go to the Hamburg Opera where she danced leading roles in George Balanchine’s ballets, coached by Balanchine himself. Worked with many other great choreographers like Lifar, Massine, Nijinska, and coaches from the Bolshoi and Kirov. Ran La Danse school in Athens for 24 years, where she choreographed nearly 50 ballet performances for her students. Now a full-time sculptor, she has had several solo exhibitions.
Dancing is one of the most powerful sensations there is; body, mind and feelings are engaged in a pattern with the music.  In my sculpture, I try to capture that intensity of a moment of dance. I wish to transform those moments as dancer and choreographer into something solid and – who knows? – perhaps lasting. Sculpture enables me to continue my work as a dancer in a new medium. I feel the movements of the dance in my fingers as I work the clay. A ballet lasts perhaps an hour; a dancer’s step a fraction of a second. In my sculpture, I hope to capture that moment and hold it for a little longer”.


KROMA/Dancing in the Light 2-wings



About Vincent Guy

“While studying Philosophy at Oxford, I spent more time directing plays than reading Plato. Oxford student theatre is a common road into the profession; I took it and spent a decade as a theatre director all-round the UK. My work included shows of many kinds from Shakespeare to Ionesco, from Moliere to Coward, a period teaching at the Royal Academy of Dramatic Art (RADA), staging a fashion show and collaborating on a ballet with voices.

I then spent a few years travelling the world and went on to a new career as a communication trainer for business people. This was mainly international and took me as far afield as Latin America, India and the Middle East, learning as much as I could of the languages and cultures I met. The focus of my training activities became cross-cultural understanding – how to build trust between people of different nationalities, languages and cultures – and I wrote a book on that theme.

For the last 15 years I have been a frequent visitor in Greece and with Kalliopi ran a series of events entitled “MYTH: Move Your Thoughts Higher”. This was participative theatre with elements of storytelling, dance therapy and self-exploration based on the legends of ancient Europe.

Lately, my theatre career has reopened. I’ve acted at the Edinburgh Fringe Festival and elsewhere in Scotland. In 2015 I played Captain Scott in a new radio play about the Antarctic explorer. Also, I am the business manager for my daughter Zoë’s singing and songwriting; she now has two CDs on the market – Join the Dots and Love Burns. Last year I created a poetry performance Philhellenes: English poets who loved Greece, bringing to life the great English poets who were inspired by Greece, her ancient culture, her modern struggles and her magical landscapes. This I performed at the open-air theatre of the in Angelos & Eva Sikelianos Museum in Delphi.

As a photographer, I have built up two portfolios: one centred on sculpture, the other on the landscape. My concern is with the light itself as much as the subject. Photography, as every Greek knows, is “writing with light”. So, I am attracted by the shadow on the wall rather than the object in front of it; by the sun coming through a transparent leaf rather than the branch itself. In working with Kalliopi’s sculptures I bring my theatrical background to bear on the delicately caught movement of the dance. They say every picture tells a story. I prefer one that asks a question: What’s going on here? How was this shot taken? And why? And the answer should include Aha, I see!”

General Info:

Opening:  Saturday, 03/03/2018, 19:00 – 21:00

Duration: 03/03/2018 -24/03/2018

Exhibition/Opening hours:

Wednesday to Sunday  14:00-21:00

Facebook Event 

Admission: free

Contemporary Space Athens

Address: 74 Mitropoleos str, Plaka

Tel: +30 210 3428511




Media Sponsor: KROMA Magazine

Repatriation Vol. 2 | Kornelios Grammenos @ yianna grammatopoulou gallery
Mar 13 @ 7:00 pm – May 5 @ 3:00 pm

 Repatriation Vol. 2

Kornelios Grammenos

KROMA/ 19. Equus, wood, wool, paint, iron, h110X90X45cm, 2014

Equus, wood, wool, paint, iron, h110X90X45cm, 2014


Repatriation Vol. 2, the second phase of the artist’s sculptural investigations into the notion of return, first revealed in the show entitled Repatriation Vol.1 in 2017.

While Repatriation Vol. 1 charted reveries of home and the familiar, Vol. 2 concretizes a personal journey with a scrutiny of the external. Grammenos wields wood, paint, marble and iron to capture and convey the impulses that propel his universal perceptions. The artist uses the term “shadow-body” to signify the force that channels and protects the essence of his creations and furnishes the facility for apprehension. Grammenos states: “If the aim of art was and maybe still is the broadening of our consciousness about the cosmos then it would be good if the work of art, along with other qualities, is direct and easy to decipher, so that a link is created between the artist and the viewer – or in some cases not, which is also significant.”



KROMA/ Nirvana, wood, paint, h164X98X64cm, 2017

Nirvana, wood, paint, h164X98X64cm, 2017


The sculptures embody the aphorism “Verum ess Ipsum factum” (What is true is precisely what is made). Beyond mere depiction, Grammenos aims to tender the essential being of his subjects symbolically through the meticulous arrangement of the details of the formal body. Sculpture and painting are united in a single entity: The cathedralthe philosopherthe dog. A unique environment is sustained by the disciplined and supple constructions. Colour is deployed as a structural element, energizing the composition and accentuating the harmony of the whole. For example, Nirvana imparts serenity and balance via the symmetrical juxtaposition of white and black marble.

“Each sculpture specifically, and the entire exhibit synergistically realizes the nexus between memory, history and the imagination and the concrete intentions of the artist. The internal and external rituals that define and constitute conceptions of place and homeland are immaculately rendered in the achievement of the repatriation of the world”.

-Niki Papaspyrou, art historian-

KROMA/ 09. Mr Jazzman, wood, wool, stainless steel, h217X110X30cm, 2015

09. Mr Jazzman, wood, wool, stainless steel, h217X110X30cm, 2015


Kornelios Grammenos was born in Patras, Greece in 1959. He studied graphic arts and photography in Athens, 1977-1980, and sculpture and painting at the Cologne School of Fine Arts (Kölner Werkkunstschule, Meisterklasse), Cologne, Germany, 1981-1988. A lifetime of international residencies includes Rome, Italy 1988-1991, New York City, 1991-1992, and San Francisco, California, 1999-2000. His career comprises major exhibitions of all aspects of his oeuvre in a wide variety of locations throughout Germany, Greece, Italy, Turkey and the United States. Presentations of his sculptural inventions have appeared in places as diverse as Palazzo Corvaja, Taormina, Sicily, 1990, Dexameni Square, Athens, Greece, 1995, the Marina of Patras, Greece,1996, the Macedonian Museum of Contemporary Art, Thessaloniki, 1997, and the 10th Public Elementary School, Vyronas, Athens, 2006.

Solo shows include The Goethe Institut Athen, 1987, Goethe Institut Thessaloniki 1998, the Nica Gallery Inc, San Francisco, California, 2000; the Galerie Beyer, Dresden, Germany, 2009, and the Yianna Grammatopoulou Gallery, Athens, Greece, 2008, 2011, 2014, 2017 and 2018. He currently lives and works in Athens, Greece.


KROMA/ Self portrait as blissful, lead, paint, marble, h17X20X12cm, 2017

Self portrait as blissful, lead, paint, marble, h17X20X12cm, 2017

General Info:

Opening: Tuesday 13/03/2018, 19:00

Duration: 13/03/2018 – 05/05/2018

Exhibition/Opening hours:   

Tuesday-Thursday-Friday: 11:00 – 20:00

Wednesday: 11:00 – 18:00

Saturday: 11:00 – 15:00

Sunday & Monday closed

Admission: Free

 yianna grammatopoulou gallery

Address: 9A Valaoritou str., 10671, Athens

Tel:  +30 210 3607 598