”THE MEMORY OF REVOLUTION”
Contemporary Greek Artists – 100 years after the October Revolution
The exhibition mainly aims to present the October’s Revolution narrative on the occasion of 100 years, through the eyes of modern Greek artists; they are invited to give their own interpretation of symbols, images, protagonists, messages, slogans, spirit, momentum, dynamism and dimensions of one of the most important historical events that shook the world and determined its course in the 20th century. The exhibition does not intend to replace historical studies, different readings, conflicting interpretations and historians’ valuations. Besides its commemorative character, it focuses on a different point of view based on the concepts of Utopia and Revolution and in direct dialogue with works from the Costakis collection of the State Museum of Contemporary Art. Artists today are still inspired by the Russian Avant-garde as it consists of an inexhaustible source of meditation and stimuli, leading to productive historical and cultural associations, and it implements exemplary radical artistic and socio-political utopias in the most admirable way.
Participating Artists: Michalis Arfaras, Manolis Baboussis, Xenofon Bitsikas, Nikolas Bliatkas, Panos Charalampous, Kostas Christopoulos, Thodoris Chryssikos, Lydia Dambassina, Kornelios Grammenos, Stefanos Kamaris, Dimitris Karlaftopoulos, Antigoni Kavvatha, Theodore Lalos, Ioannis Lassithiotakis, Andreas Lyberatos, Alexandros Maganiotis, Dimitris Merantzas, Antonis Papadopoulos, Aliki Pappa, Konstantinos Patsios, Natassa Poulantza, Yannis Psychopedis, Nikos Sepetzoglou, Yannis Skaltsas, Marios Spiliopoulos, Giorgos Tserionis, Kostas Tsolis, Kostis Velonis, Babis Venetopoulos, Andreas Voussouras, Dimitris Zouroudis. Apart from the artists’ works, the exhibition also includes objects from Vassilis’ Konstantinou collection.
Works of Russian Avant-garde from the Costakis Collection are presented in a different section.
Curated by: Yannis Bolis, art historian & curator SMCA
Opening days & hours: Tuesday-Saturday 10:00-18:00
Duration: March, 22 – July, 22, 2017
Dialogues with antiquity
On the occasion of the great feast happening in Athens due to documenta 14, a.antonopoulou.art gallery opens the exhibition ‘Antiquidia’ on Tuesday, 4 April 2017, 7:00-10:00 p.m.
It’s an exhibition where the artists are invited to be inspired by an artwork of antiquity and express their own contemporary proposal.
The presence of contemporary Greek artworks alongside the country’s revered ancient monuments makes the artists aware of their living relationship to their history. Undoubtedly, the claim of a country to a cultural identity that is connected to its past is valid to the extent that its society, its artists’ creativity and its art in general, demonstrate a capacity to change the coordinates of this relationship by extending the interpretation of history.
The a.antonopoulou.art gallery exhibition “Antiquidia”, through the 13 artists’ works, seeks to convey to the public the energy that emanates from a creative approach to history. Delving deeply into history and time like inspired archeologists, the artists rejoin fragments of memory trying to transfer the philosophy of the past into modern reality. In doing so, they had to rid themselves of any inhibitions and fears that by doing so they could be considered as mere reproducers of a fruitless and obsessive adherence to the Greek ancient heritage.
The exhibition poses the questions, through the attestation of the work of art, one of the most interesting chapters of the discourse between the old and the new; between the contemporary Greek creation and the weighty legacy of our ancient history.
Michalis G Kallimopoulos
Curated by Angeliki Antonopoulou
Exhibition Opening: Tuesday, 4 April, 7:00 – 10:00 p.m
Exhibition Duration: April 5 – July 15, 2017
Visiting Hours: Wed-Fri 2:00 – 8:00 p.m. and Saturday 12:00 – 4:00 p.m.
[The gallery will be closed on 14/04 and 15/04/2017]
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: 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
September: Monday 11:00 – 15:00 | Tuesday – Friday 11:00 – 19:00 | Saturday 11:00 – 15:00
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.
Opening: Tuesday May 16th, 20:00 pm
Exhibition dates: 16 May – 16 July 2017
The Bouzianis Museum, in an opening to contemporary art and in dialogue with the Documenta 14, is pleased to invite you the exhibition of Brigitte Polemis. The show will be held in the great Greek expressionist George Bouziani’s studio and Museum as a retrospective of old and new works by Polemis, as well as video animations and sculptures. In parallel, as a historical artistic reference, there will be exhibited installations by the renowned Greek artist Yannis Gaitis.
Despite the fact that Brigitte started her career as an artist by using oil on canvas, in order to evolve her craftsmanship she decided to use digital painting on photograph and Plexiglas printing. Throughout these practices, Polemis transfuses depth to her artwork, in multiple layers (3D).
The main body of Polemi’s work focuses on the self-immersion of humanity in social media and technology. Therefore she chose to entitle her exhibition #iFollow. The lack of identity and ideals, the now common state of passiveness and loneliness of the young humans of the Western world, exhorted her to paint juvenile, faceless figures. Assimilation, which is not a result of critical processing but a submission to world order, urged her to ‘’dress’’ all her impersonal figures with suits. Combining all the above with her distinctive technique and pop art aesthetics, Polemis work becomes purely contemporary and up-to-date. The diversity of its materials (silicone, resin, Plexiglas) gives additional conceptual value to its thematic axis: industrialized, mass made, materialistic constructions.
Brigitte Polemis was born in Damascus, Syria and in her later teens she moved to Greece. She graduated from the Chelsea School of Art and her artworks have been presented internationally (2015 – Albermarle Gallery, London, UK – 2015 – Blender Gallery Affordable Art Fair, London, UK – 2014 – Vanessa Quang Gallery, Paris France – 2013 – FAF GALLERY – THE HENRY CLAY Louisville, Kentucky USA, etc.)
High quality photos at: www.brigittepolemis.com
The show will have as partner the public benefit Foundation THEOTOKOS, which provides special education and treatment services for preschool children and adolescents with developmental immaturity, cognitive developmental disorders and autism spectrum disorders. Furthermore, THEOTOKOS provides vocational training and job rehabilitation to young adults and both supports and intervenes in their family when it’s necessary. Throughout 52 years of its service, THEOTOKOS has served and supported more than 5,000 people. Nowadays, there are 370 children and young people under its wing, 60 of who are destitute or uninsured.
Curator: Foivos Kypraios
Project coordinator: Sissi Chlomisiou
Assistant Curator : Anastasia Pilitsidi
HOURS: Thu ~ Sun 12:00 – 19:00
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’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.
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.
Cy Twombly’s Photography Exhibition
“To my mind, one does not put oneself in place of the past; one only adds a new link.”
Gagosian is pleased to present an exhibition of Cy Twombly’s photography, to coincide with “Divine Dialogues” at the Museum of Cycladic Art. Curated by Nikolaos Stampolidis from the Cycladic Art Museum and Jonas Storsve, curator of the recent Twombly retrospective at Centre Georges Pompidou, Paris, “Divine Dialogues” will show Twombly’s work alongside classical antiquities.
The gallery exhibition comprises more than twenty photographs of natural subjects—tulips, strawberries, cabbages, lemons—taken in Rome and Gaeta between 1985 and 2008, and a bronze sculpture. From his days as a student at Black Mountain College during the early 1950s until his death in 2011 at the age of 83, Twombly captured his daily life in photographs. He recorded the verdant landscapes of Virginia and the coasts of Italy; close-up details of ancient buildings and sculptures; studio interiors; and still lifes of objects and flowers.
Image: CY TWOMBLY, Brushes (Lexington), 2005, Color dry-print, 17 x 11 inches, 43.2 x 27.9 cm (unframed), 6/6, © Nicola Del Roscio Foundation, Courtesy Gagosian
May 25- July 29, 2017
Hours: Tue-Fri 11-6 + Sat 11–3
#CyTwombly #TwomblyPhotographs #GagosianAthens
Image: CY TWOMBLY, Untitled (Gaeta), 2008, Color dry-print, 10 1/4 x 9 7/8 inches, 26 x 25.1 cm (unframed), 4/6, © Nicola Del Roscio Foundation, Courtesy Gagosian
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
Curated by: Lorenzo Canova*
Technohoros Art Gallery presents Thalassini Douma’s photographic exhibition entitled “Journey in the Labyrinth”, which will be inaugurated on Thursday, June 15th at 20:00 and will last until Saturday July 8th . The exhibition -curated by Lorenzo Canova- is held under the auspices of the Italian Cultural Institute of Athens and the Department of Geology of the University of Patras. Part of the trilogy was presented at the Archaeological Museum of Patras between April 26 and May 14, 2017, in an exhibition organized by Technohoros and curated by Dr. Nina Fragopoulou, under the auspices of the Department of Geology of the University of Patras and the Italian Cultural Institute of Athens. The exhibition consists of three series of black and white photography: “Dissolving Travellers”, “Move In” and “Lines”. The first series was established in Greenland, the second in underground canyons in Arizona, and the third in New York. This trilogy is a multilayered journey between desolate landscapes of nature and buildings of the metropolis.
Art historian Lorenzo Canova, curator of the exhibition, mentions:“…Thalassini Douma, carries out a complex journey that comes to be strong through the intensity of a glance which gets into the vital essence of the places, in order to distill either history, or the concealed meaning that gives life in its presence. Working on the iconography of urban and natural landscape, in a very concentrated way, Douma goes through territories apparently distant and opposed, finding those affinities and concordances that mysteriously connects the icebergs on the sea with the desert dunes, the rocks of the underground canyon’s with the crystal facades of a skyscraper. These recent cycles of Douma’s work could be read as a multi-level journey, where civilization’s absence and presence are viewed as complementary elements of a unique crossing….”
The artist herself notes: «When I started this personal research I did not know where this search would really lead me, and what would be the connection of these places to me in space and time. What I was glad to retain was my return to the mythical roots of Greece, the journey, and a central symbol that links the ancient to the modern and the present, finding the idea of the labyrinth in stone and skyscrapers, in water and crystal, sand and ice, revealing the changing and eternally regenerated forms. My work is a journey of the soul that finds its labyrinth again, where the labyrinth is the internal seeking, rebirth and reunion…the return to the womb of Mother Earth.»
Thalassini Douma studied at the University for Foreigners of Perugia, University of Urbino and the Roberto Rossellini Institute in Rome. She lived in Italy between 1987 and 1998, where she came into contact with the contemporary art circles of San Lorenzo and the vecchia avant-garde art in Rome.
As a photojournalist, since 1991, she has covered crises in war zones and their impact on daily life on numerous assignments from the war in former Yugoslavia, to the Middle East, Pakistan and Afghanistan. Her work has appeared in major international publications including The Observer, The Guardian, The Straits Times, L’ Espresso, Il Manifesto, Archaeology magazine, Expressen, etc. In 1998, she began her collaboration with the Associated Press in Athens as a photojournalist and for two years (2002-2004) she worked for the photographic department of the Press office at the Athens 2004 Olympic Games Organizing Committee.
Her artwork has been hosted in a series of solo and group exhibitions in Greece and abroad since 2006. She lives in Greece and travels frequently to create her photographic projects.
Opening: Thursday June 15th, 20:00 – 23:00
Exhibition duration: June 15th until July 8th 2017
Gallery opening hours:
Tuesday, Thursday, Friday: 11:30 – 15:00 & 18:00 – 21:00
Wednesday, Saturday: 11:30 – 15:00
Sunday, Monday: Open by phone appointment
The select wine offered during the exhibition opening reception is kindly sponsored by the Palivou Estate
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.
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
Communication Sponsors: KROMA Magazine