the Eternal World-roamer
The Benaki Museum and Kazantzakis Publications, with the Kazantzakis Museum, the Historical Museum of Crete, the National Library of Greece and the Piraeus Bank Group Cultural Foundation as co-organisers, are organising a great tribute to Nikos Kazantzakis, as 2017 has been proclaimed “NIKOS KAZANTZAKIS YEAR” by the Ministry of Culture and Sports.
The tribute includes three exhibitions which are presented at three of the museum’s venues: in the Pireos Street Annex, the N. Hadjikyriakos-Ghika Gallery and the Museum of Islamic Art.
- At the Pireos Street annex, visitors can see notes, letters and manuscripts that shed light on the author’s life.
- The Ghika Gallery has an exhibition of drawings by Nikos Hadjikyriakos-Ghika for the English translation of Kazantzakis’s “Odyssey”.
- The Museum of Islamic Art part showcases the writer’s impressions of Eastern philosophies and countries.
It is an homage to the great Cretan writer, a modern approach to his life and work, shedding light on known but also unknown aspects, through a rich audiovisual and archive material.
Nikos Kazantzakis is one of the most significant writers with an ecumenical character, as he is the most translated Modern Greek writer, who achieved to transcend the boundaries of his country and unfold a literary talent of universal range and resonance.
He was nominated for the Nobel Prize in Literature in nine different years and transcended the boundaries of his country with a literary talent of universal range and resonance. Some of his works include: Zorba the Greek, The Last Temptation of Christ and Christ Recrucified.
Opening: On now
Duration: On now – 24/02/2018
Pireos St Annex: Thursday and Sunday at 10:00am – 6:00pm
Friday and Saturday at 10:00am – 10:00pm
Ghika Gallery: Wednesday- Saturday at 10:00am – 6:00pm
Museum of Islamic Art: Thursday- Sunday at 10:0am – 6:00pm
General Admission: 7 euros
Combined ticket for all three exhibitions: 15 euros
Benaki Museum Pireos
Address: Street Annex, 138 Pireos & Andronikou
Museum of Islamic Art: 22 Aghion Asomaton & Dipylou
Ghika Gallery: 3 Kriezotou
New Horizons in Painting
Part two: The Unpredictability of Ideas
What are ideas made from?
Continuing the “New Horizons in Painting” trilogy, Frissiras museum promotes contemporary trends in Visual Arts and suggests intriguing artists, from the museum’s collections.
In this second part, entitled “The Unpredictability of Ideas”, various depictions of visions and ideas are presented through the works of twenty-one artists. Each of them weave in their own way unique worlds, some times dream-like, while others use scientific tools, thus creating images, which are bound to surprise not only the viewer, but sometimes even the artists themselves.
Agnès Baillon, Beata Bigaj, Christopher Le Brun, Vincent Corpet, Biliana Djurdjevic, Apostolos Georgiou, Afroditi Krontiri, Frédéric Léglise, Mohamed Lekleti, , Michalis Manousakis, Gilles Marrey, Tassos Mantzavinos, Spyros Prokopiou, Léopold Rabus, Edouard Sacaillan, Uta Siebert, Attila Szcucs, Djamel Tatah, Elena Tsigaridou, Chrisa Valsamaki, Grzegorz Wnek.
The exhibition is held with the exclusive donation of the Stavros Niarchos Foundation.
Duration: 5/1/2018 – 30/6/2018
Wednesday to Friday: 11:00 – 18:00
Saturday and Sunday: 11:00 – 17:00
Monday and Tuesday: closed
Seniors: €3 Over 65 y.o, students, members of the Chamber of Arts
Free: Members of AICA, ICOM, students of schools of Fine Arts
Address: 3 & 7, Monis Asteriou, Plaka, Athens
Tel: +30 210 3234678, +30 210 3316027
AD Gallery opens Maria Polyzoidou’s third solo show in Athens entitled Incident on Wednesday, January 17th at 20:00. Her paintings inscribe themselves in the tradition of realism. She shifts the adherence to the representational, however, by adopting forms of digital image production; conversely, she counters those forms with a nimpenetrable rendering.
The technical dimension is mirrored in the chromatic saturation of the canvas without the slightest expressive gesture; a subtle colourism responds tothe digital manipulation of colour, and the combination of heterogeneous pictorial elements to form anunalterable unity transforms the boundless availability of images. Polyzoidou draws from her archive of personal images as well as from the vast stock of images circulating on the web. Whereas intimate pictures are dissociated from the person and claim public visibility, anonymously produced and generally accessible images are conceded unique meaning.
Polyzoidou’s painting makes reference to the spheres of the private and the public, the virtual and the corporal – every painting is a momentary concretization of anunstable and destabilizing interface between the various realms. The paintings function as fragments. Many look like tightly cropped details of a far more expansive constellation. The objects are positioned in such a way that no further change is conceivable. They are distinguished by immobility, oppressive silence, impermeability (even if a stage-like space is depicted) and distance (however close a thing might be).
Their cohesion is brought about by pressure generated with the means of painting and further heightened by theatrical set pieces of Baroque pathos. They do not come together of their own accord; their affiliation, rather, is imposed upon them from the outside and after the fact. Yet however irreversible this affiliation might appear, it nevertheless remains precarious. The three-dimensionally painted hand of achildrests on a completely flat patch of colour to be read as a human back; the projection of a black-and-white picture on the wall collides with a vividly red billowing bed spread; the lights of a Christmas tree, glowing feebly in the dark, defyre conciliation with the brightly illuminated back of a sofa.
Mutually distinguished from one another, the objects provide occasion for the introduction of contours, cuts and sharp edges that slice through every scene. Painterly violence enforces momentarily cohesive images of a reality that hasal ready dissolved into freely floating particles. Taken together, the paintings in Incident expose an apocalyptic vision. The light that models the bodies and illuminates the spaces is the light of a far – distant, already long-extinguished star.
Opening: Wednesday , 17/01/2018 , 20:00 & 22:00
Duration: 17/01/2018- 03/03/2018
Exhibition Opening hours:
Tuesday – Friday 12:00-21:00
Admision : Free
Address :3, Pallados str., 105 54 Athens
Tel: +30 210 322 8785
BUILDING A BABEL TOWER
Giorgos Tserionis’ solo exhibition
DL Gallery presents on Friday 26 January 2018 the solo exhibition of Giorgos Tserionis titled «BUILDING A BABEL TOWER».
Giorgos Tserionis, following his participation in the 6th Biennale of Thessaloniki and the 7th Biennale of Beijing, presents his latest work at DL Gallery.
His solo exhibition features collages of archive images processed in an origami technique, drawings with phrases on folded paper, ceramic sculptures and an installation that allude to the tower of Babel. Part of the show is the installation of an imaginary room in the Babel Tower which examines capitalist growth in relation to human coexistence, the difficulties of communicating and our psychological distancing as a result of the dilemmas we set ourselves.
As observed by art historian Anna Mykoniati, in the exhibition “BUILDING A BABEL TOWER” Giorgos Tserionis presents two sets of works, wall-mounted compositions and sculptures, which attempt to pose the philosophical question about existence and the attainment of man’s universal truth.
The first set of works comprises drawings and photographic collages which attempt to correlate the image with speech as a medium for conveying knowledge and information. The drawings depict written pages that are folded or crumpled so as to either allow or prevent their reading. In his photo collages, by contrast, the archive material from National Geographic magazine is combined and folded using the Japanese origami technique to generate a new reading of the subject matter.
The second set of works is made up of a central installation of an “imaginary room” in the Babel Tower and a series of sculptures. The installation of various sculptural elements alludes to the tower of Babel as the symbol of a mental state rather than an edifice. A heap of black cubes-debris pointing to abandonment, the book as symbol of knowledge, the deer as symbol of beauty, nobility and intellectual development, and an unfinished structure—a model of the tower of Babel in the manner of Bruegel. The clay sculptures, whose different elements are combined into organic shapes, are wrapped in a mesh and acquire a tendency to rise and escape upwards.
Giorgos Tserionis lives and works in Athens. He studied graphic design at the Vakalo School (1988-1991) and painting, sculpture and art history at the Art & Philosophy Group under Roubina Sarelakou, Kyriakos Rokos and Yannis Papaioannou.Since 2006 he teaches pottery at KETHEA DIAVASSI. He is a founding member of the Provo Principles art group (2011 – to date). His works can be found at the Macedonian Museum of Contemporary Art, the Benaki Museum, in the collections of CITIBANK, ALPHA BANK, American College of Greece, Municipality of Eleusis, State Museum of Contemporary Art, Kostakis Collection, Kopelouzos Collection, Benetton Collection as well as in private collections.
Opening: 26/01/2018 at 20:00
Duration: 26/01/2018 – 21/04/2018
Exhibition opening hours:
Monday – Tuesday closed
Wednesday – Saturday 11:00 – 15:00
Thursday 11:00 – 18:00
Friday 14:00 – 20:00
Address: 55A Mesologgiou str, 185 45, Piraeus,
Tel: (+30) 2104631933
Media Sponsor: KROMA Magazine
Zissis Kotionis’ exhibition
The series of domestic objects, named do_as is created by the assemblage and re configuration of different elements from our domestic culture (such as bricks, wooden sticks, metal rods, funnels, bowls, buckets, reeds and grids). Acting in-between architecture, art and design, Kotionis follows a methodology of collecting and documenting fragments of the contemporary living spaces in the urban and regional households. He focuses on the materials and elements of the new urban culture as well as the resisting cultures of the open air living and urban gardening in regional Greek cities. After the documentation, the collections’ elements are being drastically transformed for new domestic performances. Initially the assemblages were presented in museums in the form of artistic installations, and then the do_as methodology emerged for designing and constructing objects and furniture for the everyday living.
Do_as is a series of furniture created by gathering and assembling different elements of wood and other domestic material under a light iron support system. The design methodology is analogous to the methodology of cooking by using the practice of recipes. The materials to be used, their quantities and their combinations create the structure of new domestic objects and furniture. Every assembled object can be dis-assembled and its structural elements can be reused in the composition of new objects. The sustainable design methodology, proposed by Zissis Kotionis is open to infinitive variations leading to new forms of furniture for interior and open air domestic spaces.
In the a.antonopoulou.art space the combination of a lighting installation and the do_as furniture create a unique domestic assemblage. As a background for this living space the collection of elements, sketches and construction drawings are shown as an archive of the do_as artistic practice of design and creation.
During the exhibition artists and poets are hosted to reflect by their actions on the do_as experience.
Zissis Kotionis is a PhD architect, writer and artist. He is a Professor in the Department of Architecture, University of Thessaly. He has published eight books on architecture, theory, urban culture and narrative poetry. His architectural work has been awarded, exhibited and published internationally. His artistic projects have been exhibited in museums and international exhibitions. His work includes artistic performances, installations and public art practices. In 2010 he was co-Commissioner of Greece in the 12th Biennale of Architecture, Venice.
Opening: Thursday, 09/02/2018 at 19:00 – 22:00
Duration: 09/02/2018 – 10/03/2018
Wednesday, Thursday, Friday 14:00 – 20:00
Saturday 12:00 – 16:00
Address: 20 Aristofanous, Psyrri 10554, Athens
Tel: 210 3214994
Media Sponsor: KROMA Magazine
Imprints of white and black
Yiannis Moissidis’ exhibition
Ersi Gallery presents the solo painting exhibition of Yiannis Moissidis on Thursday 15 February 2018 at 20:00.
“Yiannis Moissidis studies the behaviour of the white colour on the white surface and of the black colour on the black surface.
He is intrigued by the idea of the imprint as delimitation of the colour’s substance when it is shaped into an abstract form.
The compositions of Yiannis Moissidis, as pounding chromatic surfaces, do not elude the potential randomness or what is determined by the natural law of gravity, and, what is more, they absorb the Doric style at its plainest form.”
YiannisMoissidis was born in 1985. He studied painting at the 2nd painting studio of the Faculty of Fine Arts of the Aristotle University of Thessaloniki under KiriakosMortarakos, and graduated in 2015. He has participated in several group exhibitions; the most recent ones are: 2017 “Dialogue possibility”, Vogiatzoglou Gallery, Athens; 2015 “Thirty eight aspects – One cause” Eirmos Gallery & Metamorphosis Gallery, Thessaloniki, etc. The exhibition“Imprints of white and black” at Ersi Gallery is the first solo exhibition of YiannisMoissidis, who lives and works in Thessaloniki.
Opening: 15/02/2018 @ 20:00
Duration: 15/02/2018 – 10/03/2018
Exhibition Opening hours:
Monday – Friday: 11 – 14:30 & 17:00 – 20:00
Saturday: 11:00 – 14:00
Address: 4 Kleomenous Street, KolonakiTel/Fax: 210 7220231
Media Sponsor: KROMA Magazine
Aimer c’est perdre – To love is to lose .
by Matina Stavropoulou
On Tuesday, February 20, “7” Gallery presents the 17th individual painting exhibition by MATINA STAVROPOULOU “Aimer c’est perdre” – “To love is to lose .”
The exhibition is about the life and work of Camille Claudel (1864-1943), who was the assistant, mistress and muse of the sculptor Rodin. She lived the last 30 years of her life in a psychiatric hospital, at the initiative of her mother and brother Paul Claudel, the works presented attempt to portray her talent, her unconventionality and the defeat she felt because of Rodin’s rejection as well as the “violence” of her involuntarily committed to the psychiatric hospital. The designs and studies, sometimes representational and sometimes abstract, yield, through graphic art and violent color gesture, her subversive and charismatic personality. Oil, graphite, dry pastel, cassia, glues, varnishes, china ink and sand on paper and cloth were used.
Matina Stavropoulou was born in Athens and graduated in 1990 from the School of Visual and Applied Arts of the Aristotle University of Thessaloniki. She continued her studies at the FAC DES LETRES University in Poitiers, France until 1991.
She participated in numerous group exhibitions in Greece and abroad the most important ones being: 1993 “Dialogues” Paris, France, 2007 “Birthplace” Benaki Museum Athens, 2008 “Dionysios Solomos” Judecca Venice, Italy.2015 “Monument cut in two“ Unesco, Town Hall of Kifissia, Athens. She has exhibited individually at the French Institute of Thessaloniki, 1991, Bologna, Italy and Saint Etienne, France, 1993.
Since 1994 she has been collaborating and exhibiting individually in Gallery 7, with the last exhibition “Camille Claudel-Aimer c’est perdre”, February 2018. Her works are at the French Institute of Thessaloniki, the City Hall of Niort, France and in many private and public collections in Greece and abroad.
Duration: 20/02/2018 – 17/03/2018
Tuesday Thursday. Friday: 11:00 – 14:00 & 18:00 – 21:00
Wednesday, Saturday : 11:00 – 15:00
Address: 20, Solonos st. & Voukourestiou st.
106 71 Athens, Greece
Tel: 210 361 20 50
Media Sponsor: Kroma Magazine