Calendar

Nov
3
Sat
Video art Miden collaborates with Kinitiras @ Kinitiras
Nov 3 2018 @ 8:00 pm – Jun 30 2019 @ 11:45 pm

Video dance & video performance screening 

Video Art Miden collaborates with Kinitiras

 

 

 

KROMA/Michele Manzini_Casa Mantegna[337]

 

 

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

 

KROMA/Same As SisterBriana Brown-Tipley & Hilary Brown and Aitor Mendilibar_ Odd Jewels Beauty Under Mask[335]

 

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.

  1. Christina Mertzani / free fall company, Aliki Chiotaki & Dimitris Barnias, 60 pulses, Greece 2016, 3.32
  2. Blas Payri, Ce monde inconnu de sensations, Spain & France 2018, 3.25
  3. Francesca Leoni & Davide Mastrangelo, Nowhere History, Italy 2017, 3.40
  4. Patricia Bentancur, Untitled, (Play), Uruguay 2014, 1.35
  5. Francesca Leoni , Ego-Crazia, Italy 2017, 8.25
  6. Еlena Artemenko, Soft Power, Russia 2016, 10.00
  7. Marta Arjona & Ariadna Llussà, ZOÍ I ζωή, Spain 2017, 3.40
  8. APOTROPIA, Φ, Italy 2017, 4.44
  9. Yiorgos Drosos, District one, Greece 2014-2015, 1.50

 

KROMA/MarciaBeatrizGranero_Minada[336]

 

 

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.

  1. Izabella Retkowska, Inertness, Poland 2016, 1.10
  2. Marta Arjona & Mei Casabona, X-TREM, Spain 2016, 5.24
  3. Aliki Chiotaki, Cipher, Greece 2017, 1.18
  4. Daphna Mero, Selfiesism – Dance Duet, Israel & USA 2017, 5.03
  5. Fran Orallo, the chaos theory, UK 2018, 3.40
  6. Gaetano Maria Mastrocinque, Argille, Italy 2016, 5.47
  7. Johannes  Christopher Gérard, Night, Street, Lantern, Pharmacy, Russia 2017, 4.51
  8. Dancevacuum dance company-Vicky Vassilopoulou, Handmade, Greece 2018, 8.11
  9. Same As Sister/Briana Brown-Tipley & Hilary Brown and Aitor Mendilibar, Odd Jewels: Beauty Under Mask, USA 2018, 8.26
  10. Cecilia Seaward, Recollect, USA 2016, 2.40
  11. Stefano Croci & Luca Veggetti, SCENARIO, Italy 2017, 22.00

 

KROMA/Γιώργος Δρόσος_ District one[339]

 

 

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.

  1. Mircea Bobînă, Dust, Moldova 2017, 1.00
  2. Eleonora Roaro, 00:00:01:00, UK 2016, 2.00
  3. Hanna Schaich, 400000 times, Germany 2017, 4.36
  4. Irini Folerou, Revealing, UK 2016, 1.19
  5. Anna Macdonald, After Mrs Mills, UK 2016, 2.37
  6. Hamza Kirbas, I, YOU, S/HE, WE, Turkey 2017, 00.47
  7. John C. Kelley, Drum Solo, USA 2018, 4.54
  8. Cat Del Buono, Pass the Buck, USA 2018, 1.33
  9. Mauricio Sanhueza, The House, Peru 2018, 8.15
  10. François Roux, The Western Bug, Canada 2014, 1.22
  11. Collin Bradford, End Light, USA 2016, 11.07
  12. François Roux & Mathieu Bouillod, Phantom’s Ontology, Belgium 2014, 3.45
  13. Marcia Beatriz Granero, Minada, Brazil 2015, 2.15

 

KROMA/Χ. Μερτζάνη free fall company, Α.Χιωτάκη,Δ. Μπαρνιάς_ 60 pulses[338]

 

 

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.

  1. Gabriel Andreu, My Father’s Tears, UK 2016, 3.52
  2. Eduardo Herrera, Liberación, Argentina 2016, 2.30
  3. Michele Manzini, In the House of Mantegna, Italy 2017, 6.36
  4. Nuno Veiga, Boa Morte, Portugal 2018, 4.05
  5. Alexander Isaenko, Memorial, Ukraine, 2016, 12.24
  6. Elisabetta Di Sopra, The Care, Italy 2018, 2.34
  7. Miloushka Bokma, Thuis, Home, Heimat, Netherlands 2018, 7.57
  8. Aleksandra Mlynarczyk-Gemza, KOAN: What did your face looked like before your parents were born?, Poland 2014, 1.18
  9. 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


General Info:

Video Art Miden- Infowww.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.


 Kinitiras

Adress: Erechtheiou 22, Acropolis
Athens 11742

Tel.: +30 210 9248328

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Media Sponsor: KROMA Magazine


Jan
11
Fri
Lefteris Tapas “Archipelago” @ CAN CHRISTINA ANDROULIDAKI GALLERY
Jan 11 @ 8:00 pm – Feb 23 @ 4:00 pm

Lefteris Tapas

“Archipelago”

 

KROMA/archipelago1

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.*

KROMA/archipelago6

 

 

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?

 

KROMA/archipelago3

 

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.

 

KROMA/archipelago5

 

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.***

 

KROMA/archipelago4

 

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.

 

KROMA/archipelago7

 

Bio:
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.


General Info:

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.

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CAN CHRISTINA ANDROULIDAKI GALLERY

Address:  Anagnostopoulou str 42, 10673 Athens

Tel.: +30.210.3390.833

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Jan
17
Thu
‘Distinct District’ , Vassilis Karakatsanis’ solo exhibition @ Gallery Genesis
Jan 17 @ 8:00 pm – Feb 9 @ 3:30 pm

“Distinct District”

Vassilis Karakatsanis’ solo exhibition

KROMA/'Distinct District'

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.

KROMA/'Distinct District'

 

‘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.

KROMA/'Distinct District'

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.

KROMA/'Distinct District'

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.

KROMA/'Distinct District'

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.

KROMA/'Distinct District'

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.

Nikos Vatopoulos
(Journalist – Author)
December 2018

 

‘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.KROMA/'Distinct District'

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.

KROMA/'Distinct District'

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.

Manina Zoumboulaki
(Writer)
Athens, October 2018

 

BIO
Vassilis Karakatsanis

KROMA/'Distinct District'

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.


General Info

Opening: 17/01/2019 at 20:00

Duration: 17/01/2019 – 09/02/2019

Opening hours:

Tuesday ,Thursday, Friday: 11:30 – 21:30
Wednesday & Saturday: 11:30 – 15:30
Monday & Sunday: Closed 

Admission: Free

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Gallery Genesis

Address: 35 Haritos Str., 10675 Athens, Greece

Tel.: +30 211 7100 566

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