ANTIDORON. The EMST Collection Fridericianum, Kassel
10 June- 17 September 2017. Curated by: Katerina Koskina Assistant Curators: Tina Pandi, Stamatis Schizakis
As documenta 14 continues its journey in Athens, having the National Museum of Contemporary Art (EMST) as one of its main exhibition venues, an important part of the EMST collection travels to Germany, to be part of documenta 14 program in Kassel (10/6-17/9/17). The exhibition ANTIDORON. The EMST Collection will occupy the whole emblematic building of Fridericianum. It comprises 82 artists and 180 works and it is curated by the Director of EMST, Mrs. Katerina Koskina, supported by Stamatis Schizakis and Tina Pandi, Assistant Curators and Iro Nikolakea in the Architectural design. It is presented in the framework of the Museum’s series EMST in the World.
The exhibition at the Fridericianum marks the first time that the most part of the EMST collection is presented outside Greece, through a double relocation that renders EMST’s home, one of the main venues of documenta 14 in Athens, and the Fridericianum, traditionally the centerpiece of a documenta, the temporary home of EMST’s collection.
EMST began creating its collection in 2000. Its acquisitions now include more than 1,100 works by Greek and international artists from the 1960s onward. The exhibition ANTIDORON. The EMST Collection is an adapted version of the extensive museological study that will be displayed in full at the EMST spaces. Presented in the Fridericianum, the birthplace of documenta and the first public museum in Europe, the exhibition deals with issues of border crossings, diasporas, cultural exchange, existential quests, and mythologies, as well as personal and collective memories. Additionally, the Fridericianum’s brief tenure as Germany’s first parliamentary building makes it the most appropriate venue in which to show the works of several artists, active during the troubled postwar era and the ensuing decades of political upheaval and revolutionary re-imagination of society.
While the presentation of the collection maintains its international scope, it also emphasizes the presence of pioneering Greek artists, highlighting and revisiting their national and international journeys.
The title embodies the mutual respect of both institutions, documenta 14 and EMST independently of their diverse commitments and missions, to discourse and to reinterpret essential issues and visual language. It deals with concepts such as trading, exchanging, sharing, giving and offering Antidoron (αντίδωρον, literally the return of a gift) or Antidanion (αντιδάνειo, the return of a loan either linguistic, cultural, or financial). The prefix “anti” reveals a distinct position and consequently a view, not necessarily opposed to, but departing from a different point in order to communicate, to argue, to bridge, to converge, and to accept each other’s’ stances.
Until September 17, Fridericianum in Kassel becomes EMST’s contemporary home in Germany, and ANTIDORON, a gift in return – when translated – symbolizing the shared benefits of this collaboration.
LIST OF ARTISTS:
ALEXIS AKRITHAKIS, NIKOS ALEXIOU, DIMITRIS ALITHINOS, ANDREAS ANGELIDAKIS, STEPHEN ANTONAKOS, JANINE ANTONI, EVGENIA APOSTOLOU, ATHANASIOS ARGIANAS, MANOLIS BABOUSSIS, BERTILLE BAK, LYNDA BENGLIS, ANDREA BOWERS, CHRONIS BOTSOGLOU, YIANNIS BOUTEAS, ADAM BROOMBERG & OLIVER CHANARIN, CONSTANTIN (DIKOS) BYZANTIOS, PEDRO CABRITA REIS, VLASSIS CANIARIS, PANTELIS CHANDRIS, CHRYSSA, DANIL, BIA DAVOU, GEORGE DRIVAS, EIRENE EFSTATHIOU, HARIS EPAMINONDA, KOKEN ERGUN, JAN FABRE, STELIOS FAITAKIS, CARLOS GARAICOA, KENDELL GEERS, GEORGE HADJIMICHALIS, JOANA HADJITHOMAS & KHALIL, JOREIGE, MONA HATOUM, GARY HILL, EMILY JACIR, GULSUN KARAMUSTAFA, NIKOS KESSANLIS, KIMSOOJA, PANOS KOKKINIAS, DIMOSTHENIS KOKKINIDIS, JOSETH KOSUTH, JANNIS KOUNELLIS, PIOTR KOWALSKI, YORGOS LAZONGAS, GEORGE LAPPAS, ANGE LECCIA, STATHIS LOGOTHETIS,
MARIA LOIZIDOU, ANDREAS LOLIS, DANNY MATHYS, YIANNIS MICHAS, NIKOS NAVRIDIS,
NINA PAPACONSTANTINOU, MARIA PAPADIMITRIOU, ILIAS PAPAILIAKIS, AEMILIA PAPAPHILIPPOU, RENA PAPASPYROU, NAUSIKA PASTRA, PAVLOS, JANNIS PSYCHOPEDIS,
ALEXANDROS PSYCHOULIS, WALID RAAD, OLIVER RESSLER, LUCAS SAMARAS, YORGOS SAPOUNTZIS, ALLAN SEKULA, VASSILIS SKYLAKOS, CHRISTIANA SOULOU, ASPA STASINOPOULOU, TAKIS THEODOROS, sculptor, THANASIS TOTSIKAS, NIKOS TRANOS,
STEFANOS TSIVOPOULOS, COSTAS TSOCLIS, DIMITRIS TZAMOURANIS, COSTAS VAROTSOS, KOSTIS VELONIS, BILL VIOLA, VANGELIS VLAHOS, PANΤELIS XAGORARIS, GEORGIOS XENOS
Monday: Closed, Tuesday-Sunday: 11.00 am – 9.00pm
Media Sponsor: KROMA Magazine
Epi ton typon ton ilon / Into the print of the nails
The artist Andreas Nicolaou, presents at the Archaeological Museum of Patras, the art installation entitled “Epi ton typon ton ilon / Into the print of the nails”. The title of the installation, has been taken from one of the six paintings that are included in it. In this painting, the finger is placed in the wound of the Greek flag, bringing us face to face with the wounds of our time and challenging us to put a finger on them to wonder and perhaps eventually be convinced that they are real.
The art installation “Epi ton typon ton ilon / Into the print of the nails” is also an ongoing art project and it has been presented for the first time in Art Athina 2016, International Art Fair of Contemporary Art. For the hospitality at the Archaeological Museum of Patras, new works have been added, complementary and evolutionary to the first group of paintings. Our goal is the project to be hosted in the future in other important cultural sites, both in Greece and abroad.
Yiannis Bolis, art historian, writes about “Epi ton typon ton ilon / Into the print of the nails”:
In direct correlation with the emotional, mental and experiential behaviours, the artwork by Andreas Nicolaou looks into the human condition, alienation and the dramatic nature of the human condition in a hostile and fragmented world, raising questions on the existential and ontological order, thus maximizing the significance of its implications. The plasticity of the forms, the critical contrast of light and shadow, the treatment of the relationship between form and space in a remarkably plain, suggestive and dramatic manner and a special sense of monumentality contribute decisively to the unique painting sensitivity, to the intensity of his themes, the core of which has always been man and his destiny. Recurring themes, such as the sensual male and female nudes, are charged with the indicative meaning ascribed by Nicolaou and the manner in which he develops and transfigures them by means of a mature technique, demonstrating a painfully conquered eloquence in the treatment of the language: richer narratives, more in-depth symbolisms, outstandingly well-combined tempo, forms provoking a sense of direct physical experience and intimate contact, while simultaneously distancing themselves, experiencing their own secret life.
Andreas Nicolaou validates the economy of expressive means, consistency, cohesion and the quality of his morphoplastic quest. His dedication and experimentation of a particular way, his ability to draw a content rich in tones and innerness, is open to multiple interpretations and connotations. Notions of Sleep, Love and Death become entangled in an unbroken unity with religious and mythological references claiming a leading role. The modern Pieta with her sacerdotal posture and tenderness, the unresisting tragedy of the tradition of the theme and the contact developed between the woman and the man where the dramatic feeling of loss coexists with the serene impression of acceptance and elegiac grief, as well as the voluptuous naked bodies of the young girls in the arms of Morpheus compose an unexpected universe of images. In fact, they create an almost metaphysical-mystical atmosphere, they transmit and preserve unaltered the primary emotion, the truth and the distinguishing romantic character of their theme, they approach the deeper essence of the forms, which seem to have lost their material, earthly existence being transformed into symbols and allegories. The lonesome, fragile and erotic bodies appear to emerge from the light and sink into darkness, levitate on the threshold between reality and its spectral-dreamlike reflection, on the fringes of an intermediary world, surrendered and exposed to an inescapable predestination, to inner ellipticity and significance, neutral and fragmentary, to moments frozen and unalterable in space and time. The viewer is confronted with this “landlocked” world, the borders of which coincide with the borders of the composition, a world of imperturbable and eerie silence and tranquillity where the representation retreats in the course of the revelation of what is kept hidden below the surface, the mysterious, ambivalent and magical power of the image, which acquires its own defence and life. Furthermore, compositions such as Pieta, young girls screaming in anguish and rage, but most of all Epi ton typon ton ilon, echo the experiences, the response and the critical stance of the artist towards his contemporary realities, documenting moments of the trauma and dead ends of an alienated, transitional and unpredictable era.
Curators: Liana Zoza, Yiannis Bolis
Exhibition Duration: 23rd June – 31st August 2017
Opening Hours: Every day 08.00 – 20.00
ART begins at the end of your comfort ZONE
Paraphrasing the well-known quote “Life begins at the end of your comfort zone” and making a pun with the name of the hosting gallery, 33 Greek contemporary artists wholeheartedly submit painting, sculpture, photography and artistic jewellery works and try to artistically evince the creative transcendence they are called upon to achieve in their involvement with Art.
Because making Art, does not only entail constant personal practice and technical evolution or innovatory vision and inspiration – and consequently an uninterrupted creative, spiritual battle with your own self, but at the same time a daily battle, human, with an impact often on psychological, social, financial, political, moral, livelihood level. This constant struggle against the realistic extentions of life requires sacrifices, requires from the artist to outface difficulties and obstacles in practice and dare, against everyone and everything, in order to illustrate his worries and dreams.
A persistent conflict with external forces, with the adversities created by the sterile daily routine, often with political status quos and deeply rooted perceptions that go against everything innovative and groundbreaking art can counter, social stereotypes and conservatism, people’s scepticism on everything that includes modernism and avant garde.
But, is it a duty of only the artist to get away with it and break the safeguards of a conventional life, in order to create and submit a personal view through his work? Clearly not. But in times lacking healthy standards and ideals, it is certainly his duty as well -among others’- to raise his carriage through his personal impression, to surpass himself and express “artistic word”, perceptive and incompatible. Moreover, according to Erich Fromm’s apposite remark, “The quest for certainty blocks the search for meaning. Uncertainty is the very condition to impel man to unfold his powers”.
Curator : Domna Chanoumidou, Theoretician – Art critic
ART ZONE 42
6-29 of July & 14-30 of September
Tuesday, Thursday, Friday 11:00-14:00 & 18:00-21:00
Wednesday & Saturday 11:00-15:00