Calendar

Mar
31
Fri
“Back to basics: Text” , group exhibition. @ ENIA GALLERY
Mar 31 @ 8:00 pm – Jul 28 @ 8:00 pm

”Back to basics: Text”

Curator: Artemis Potamianou

Artists: Zavier Ellis, Guerrilla Girls, Joseph Kosuth, Kostas Bassanos, Yoko Ono, Giorgos Papadatos, Nina Papaconstantinou, Artemis Potamianou, Marios Spiliopoulos, Mark Titchner, Alexandros Psychoulis.

The ΕΝΙΑ Gallery presents on Friday, 31 March 2017 the group exhibition “Back to basics: Text”, curated by Artemis Potamianou.

As part of the Back to Basics series of exhibitions on some fundamental themes and elements of the artistic practice, the exhibition Back to Basics: Text aims to explore the objectives behind the artists’ visual use of text and the methods of approaching it.

The written word has been part of visual art since the beginning of art history. Excerpts from texts have been used in artworks in Ancient Greece, Byzantium and the Renaissance, but always in a secondary, auxiliary, supplementary role as aids to resolving potentially unclear points. In these pieces the written word is never a visual work in itself.

Naturally, the exhibition Back to Basics: Text is not able – and does not aspire – to present all aspects of the use of the written word in the history of visual art. The quest is to establish a dialogue among the works of the participants and pose questions about the purpose of introducing text into the production of artworks and its role in them.

More Info

Admission to the exhibition is free

Official opening: Friday, 31 March 2017 at 20:00

Duration: 31 March 2017 to 28 July 2017

Opening hours: Tuesday – Wednesday – Thursday 11:00 – 19:00

Friday 11:00 – 20:00

Saturday 11:00 – 16:00

Facebook page

May
11
Thu
THREAD @ Kalfayan Galleries
May 11 @ 11:00 am – Jun 24 @ 3:00 pm

“THREAD”

Kalfayan Galleries (11 Haritos Street, Kolonaki, Athens) present the group exhibition titled ‘THREAD’, curated by Areti Leopoulou.

Works by: Vartan Avakian, Bill Balaskas, Ioannis Faitakis, Niki Kanagini, Maria Loizidou, Elias Mamaliogkas, Silvina Der Meguerditchian, Alex Mylona, Nina Papakonstantinou, Nausica Pastra, Retrovi, Efi Spyrou, Maria Tsagkari.

A thread has the ability to connect and hold together other objects; it is located always “somewhere in between” as a binder and it doesn’t seem to have an independent entity. Functioning as a literal and metaphorical bridge, it may simultaneously consolidate, yet also separate. Whether the thread is approached as an object of knitting or as an allegorical reference in life and in psychoanalysis (e.g. the “life thread”, or the “Ariadne’s Thread” -the mythological abolition of the human sacrifice custom in the ancient world), it is undoubtedly a term that is present to numerous situations of life over time, but customary used in the frame of weaving, knitting and embroidery. Mathematics also find meaning through threadsi; people look at their lives on the edge of the thread; even computer programming is based on the thread as a process. Furthermore, if viewed as the product of an industry that has supported tremendously the Greek economy, during the 20th century, then one easily perceives that it does carry a memory with countless cultural and social aspects.

The scenario of this exhibition is based on the above thoughts and its aim is to meet a variety of thread management cases: all projects are clear attempts to use the thread as a bridge structure for visual and conceptual research, by both anonymous craftsmen of previous centuries, by tapestry experts of the 60s and 70s, as well as young contemporary artists, following different applied appropriations and conceptual interpretations of thread’s multiple significance and history.

Thus in this show there are presented textiles of the 19th century Greek tradition by anonymous craftsmen, along with modernist approaches of weaving (pile-woven textiles, namely “tapisseries”) by artists of the ‘60s – ‘70s Greek avant-garde (Niki Kanagini, Ioannis Faitakis, Alex Mylona) who attempted to adapt the paintings’ qualities and the style of abstract expressionism on the decorative surface of tapestries; preparatory drawings of grids, based on the research of mathematical sequences (Nausica Pastra); grids by unexpected organic or inorganic materials (Vartan Avakian, Efi Spyrou); stories of the modern mass media calling on us, in order to connect the threads of various sociopolitical events (Elias Mamaliogkas, Bill Balaskas); drawings with traces on the paper surface in a kind of allegorical weaving narrative (Nina Papaconstantinou); odd, yet magic carpets of historical memory (Der-Meguerditchian); gestures that sometimes define presence or absence of meaning in a space (Maria Loizidou, Maria Tsagkari); even fashion design re-using crafts traditions (Retrovi).

Opening Hours:

Opening: Thursday, 11 May 2017, 19:00 – 21:00.

May – June: Monday 11:00 – 15:00 | Tuesday – Friday 11:00 – 19:00 | Saturday 11:00 – 15:00

July: Tuesday – Friday 11:00 – 19:00 | Saturday 11:00 – 15:00

August: closed

September: Monday 11:00 – 15:00 | Tuesday – Friday 11:00 – 19:00 | Saturday 11:00 – 15:00

ATHENS IS NOW @ Sarri 12
May 11 @ 7:00 pm – Jul 15 @ 9:00 pm

Is Athens’ turn now?

Art Director of Documenta Dam Szymczyk, in an interview with a German radio station on April 7th, 2017, reported: “Sure, one could blame us for not including the local art scene in Athens  enough. We did not care much about this but more of the city as a living organism. This goes beyond the contemporary art scene. Athens is not standing alone; it stands for other parts of the world. Lagos, Guatemala City. We also feel responsibility towards these places. The expectation of linking ourselves to the artistic scene of Athens will be very limited in this document. If one feels betrayed by this, they should know: our exhibition never intended to represent the art scene of Athens. Others have to do this. If some feel that they are not sufficiently represented, they should devote a little thought to this, on what they can make themselves to be heard more.” And maybe he is right, we have to stand on our feet and not wait for the Barbarians to save us and to represent us. That’s why we are doing this group exhibition at the “Sarri 12” Gallery.

Artists: Iakovos Volkhov (NAR), Grigoris Lagos, Alexandros Maganiotis, Jason Cocao Rocks, Achilles Michaelides (Paparazzi), Manos Tsichlis.

Facebook page, Facebook event

May
18
Thu
Elliot Hundley “Movement V” @ BERNIER/ELIADES GALLERY
May 18 @ 10:30 am – Jul 12 @ 4:00 pm

ELLIOTT HUNDLEY

Movement V

Bernier-Eliades is pleased to present an exhibition of new works by the Los Angeles-based artist Elliott Hundley, on Thursday May 18, from 20:00 to 22:00. The artist will be present at the opening.

Elliott Hundley is known for his dazzling multimedia compositions that reference both art history and mythology. His work brings together scenes from the past with recognizable imagery taken from the contemporary world. The artist creates complex and mesmerizing works, incorporating a spectrum of varied materials, employing content-rich resources that are psychologically intense to form a kind of decentralized cultural map.

Whereas his earlier bodies of work have focused on classical Greek tales such as Euripides’s tragedy The Bacchae, this exhibition is moving from antiquity to the modern, based on the artist’s historical research on theatre, literature and film, loosely referencing Antonin Artaud’s plays. On view will be a series of billboard collages forming an ongoing visual narrative.

Hundley builds up the layered and labored surface of his works using paint, magazine cutouts, fabric, straight pins, found objects and other materials sourced from his extensive archive.

With complex accumulations of imagery and painted gestures adjoining three-dimensional elements  protruding from the surface, his vibrant works are vivid and playful.

One can’t even trace the surface of these works, producing perceptual effects. These brimming, insidious canvases impose a state of disquiet and hint of hidden violence with depictions of internal organs, crowds, ants and animals.

Despite their elaborate rendering, Hundley’s compositions keep a delicate balance between abstraction and representation. They defy time and gravity, shivering and vibrating with their own cosmic energy.  These billboard collages are existing for their own sake, swirling over a sense of chaos and resisting attempts at deciphering. Each one represents a different state of anxiety and echoing the moment of an imminent disaster.

May 18 – July 12, 2017

Gallery is open Tuesday-Friday 10:30-18:30. Saturday 12:00-16:00.

Facebook Page

Website

 

May
19
Fri
Encounters I May or May Not Have Had with Peter Berlin @ Vamiali’s gallery
May 19 @ 8:00 pm – Jul 29 @ 6:00 pm

Encounters I May or May Not Have Had with Peter Berlin
Mariah Garnett, Paul Mpagi Sepuya, Neal Tait. Curated by Caroline May 

Vamiali’s gallery presents the exhibition “Encounters I May or May Not Have Had with Peter Berlin”, curated by Caroline May. The exhibition borrows its title from Mariah Garnett’s homonymous work and refers to “Peter Berlin” as a concept and as a metaphor to illuminate the notion of desire, highlighting the impulse to “meet with our heroes”. Through these encounters, as real or imaginary, intellectual or deeply personal as they may be, our sense of identity is reshaped and consequently, the process of art making is recharged, re-positioned and re-defined. Peter Berlin is a photographer, artist, model and filmmaker. Serving as his own photographer, model and fashion designer, Berlin redefined self-portraiture and became an international sensation.

Mariah Garnett Encounters I May or May Not Have Had with Peter Berlin, film still, 16mm, 14min, 2012, Courtesy the artist

Mariah Garnett’s film highlights the artist’s desire for the extravagant gay icon and mystifies the 70s as a decade of sexual liberation. Partly documentary, partly biopic, the film features the artist herself re-enacting Berlin’s erotic persona. As Garnett inhabits the filmmaker’s signature manner of style and dress, she presents a film that galvanizes the kind of gender misidentification that is a consistent point of interest throughout her practice. Garnett’s other film in the show, Other & Father, is a re-enactment of footage that narrates the relationship of her Northern Irish Protestant father and his Catholic girlfriend, aired by BBC in 1971. The original broadcast, which was riddled with half-truths to suit the BBC agenda, led to death threats and his eventual flight from his home. Garnett re-enacts the documentary, starring herself and a trans-woman shifting focus from the ethnic/religious tensions to sexual politics and gender dynamics. Through her deeply personal lens she mediates her own subjectivity as well as that of her chosen medium, which systematizes definitions of identity. The process of filmmaking, the de-mystification and re-mystification of the process, the negotiation of actor/performer and filmmaker are integral to Garnett’s project.

Neal Tait, Dibbuk or Dybbuk, tempera and acrylic on linen, 91 x 76 cm, Courtesy the artist

Similarly, Paul Mpagi Sepuya studies how photography (mis)represents or dissects his own identity and exposes the mechanisms of picture making. He documents his subjects in a formal studio setting, at the same time deconstructing and mystifying the process of photography and the relationship between model and photographer. His intimate portraits follow a long tradition of photographers such as Lyle Ashton Harris, Peter Hujar and Rotimi Fani-Kayode. The dignity with which he arms his subjects, black and white men, led the writer and critic Hilton Als to include Sepuya in his 2016 exhibition on James Baldwin, poetically situating him as one of Baldwin’s creative “children”. Speaking about his work, Sepuya claims: “every photograph contains within it the instances of what preceded it. In thinking of photography this way, I am able to bring together and embrace the contradictions that photographic production generates: in its accelerated gratification of desire and simultaneous displacement of its subjects by the resulting image-objects. It allows me to hold, within the studio, all material as potential. Each enters into the frame of another within a chain of production, revision, destruction and re-production”.

This accentuation of desire is central in Neal Tait’s work. His intellectual encounters with his heroes, like Leger and Guston, are prevalent in his works. Using found imagery he starts a painting without having a pre-conceived idea of how it will end. In this sense the painting process is the subject of his work. His identity as a painter is in a constant flux during this process: both doubting and asserting himself in his attempt to capture the essence of desire, employing a dark, unruly and idiosyncratic vocabulary, which poses open-ended questions which alert the viewer.
With the kind support of Arctos Films.

Opening 19 May, from 20:00
19 May –  29 July 2017
Friday and Saturday 12:00 – 18:00 and by appointment     http://www.vamiali.net/, Facebook event

 

Jun
10
Sat
ANTIDORON. The EMST Collection Fridericianum, Kassel @ National Museum of Contemporary Art, Athens (EMST)
Jun 10 @ 11:00 am – Sep 17 @ 9:00 pm

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

OPENING HOURS

Monday: Closed, Tuesday-Sunday: 11.00 am – 9.00pm

EMST Facebook page, Official page, Instagram, Twitter

Media Sponsor: KROMA Magazine

Jun
22
Thu
The Space Age at Romantso @ ROMANTSO
Jun 22 @ 8:00 pm – Sep 10 @ 11:00 pm

The Space Age

Electric and Electronic Art in Greece 1957-1989 exhibition

It has been seventy years since the launching of the first artificial satellite, the soviet Sputnik (Спутник-1, Sputnik 1). It was launched on the 4th of October in 1957. Imagine that it a period in when the most common answer that children gave to the question “What will you do when you grow up?” was “I’ll become an astronaut”. If this makes you feel nostalgia, you were probably born before 1970. If this mystifies you, you were probably born much later. At some point in recent history, everyone, even children, were turned into very down-to earth citizens. The reason for this transformation was not only space research, the Berlin Wall’s fall, the Cold War’s end, the modernism’s end, the ideologies’ end, but maybe all these factors contributed in how everything finally ended up.


Starting from the USA, the term Space Age, has not only become a common saying between people, but it has also been used in official bibliography. It is a term that coincides in time, is connected and even identified with the term Atomic Age, a term that obviously regards the age that is defined by the atomic bomb in Hiroshima and the consequent fear of the absolute disaster during the Cold War. Greece never had a space program, neither atomic nor nuclear energy nor the related guns. During the age in when space exploration was in its beginning’s zenith between the two Cold War Superpowers, Greece was trying to heal its wounds from the devastating Civil War. Nevertheless, as many documents of this age confirm, suffering Greece, was empathizing the space vision as much as any other country, wealthy or poor, on the left or the right side of the Iron Curtain, on the planet during this age. As in any other country the idea of the Astronaut/Cosmonaut, the Spacecraft , the Robot and, a little bit later, the Computer, spread in scientific discussions, journalism and mass culture.


A new kind of art had to be created. The vision of a technological art will initially take the form of an electric and then of an electronic art. If, on an international level, the experimenting with electric visual art has already fruited before the World War II with Laszlo Moholy Nagy’s artworks, in Greece it will be a little late. Practically, the first use of electricity in the Greek art scene will come from the cinema projectors and preamplifiers of the musical instruments and the microphones in the light music. In visual arts, a series of artists from the 60s and on will rapidly cover lost ground.

The exhibition will explore the utopian future implementations and technologies in the fields of Music (Xenakis, Logothetis, Hristou, Mamagakis, Adamis,…), Visual Arts (Takis, Pantelis Xagoraris, Giorgos Zogolopoulos, Kostis Triantafyllou, Minons Argirakis,…), Cinema, Architecture and Urban Planning.

Minos Argyrakis, Takis, Pantelis Xagoraris, Valerios Kaloutsis, Giorgos Zogolopoulos, Thanasis Rentzis, Manthos Santorinaios, Kostis Triantafyllou, Konstantinos Doxiadis, Giannis Hristou, Giannis Xenakis, Anestis Xenakis and many more.

The exhibition will be accompanied by a book (Konstantinos Vassiliou, Thanasis Moutsopoulos) from Asini publications.

Organization: Euromare
General Curator: Thanasis Moutsopoulos
Assistant Curator: Ilia Mpoura
Architectural Editing: Nikos Patsavos
Musical Editing: Nektarios Papadimitriou
Video Art Editing: Nepheli Dimitriadi

Opening Day: Thursday 22nd of June 2017
Arrival time: 20.00
Exhibition’s Duration: Thursday 22nd of June 2017 – Sunday 10th of September 2017
Every day: 18:00-23:00
Free Entrance

Communication Sponsors: KROMA Magazine

Facebook event, Official Page