Summer Lovers’ Shot Stories at the Gallery “Art Shot”- Sophia Gaitani
The Gallery “ArtShot” Sophia Gaitani invites us to the well-established Summer Exhibition “Summer Lovers” for the 5th consecutive year entitled “Shot Stories“.Greek summer, hot middays, see, sun, freedom and, of course… love!In the center of Athens, right by the Acropolis Museum, artshot-Sophia Gaitani gets together whit Hitchcocktales to co-present the work of well-known Greek artists inspired by the summer and the love inspired by it.The art exhibition will start in June 29th and will last till the end of September while at the same time several gastronomical events will be taking place along with artists who will be painting their work in the gallery.All these great surprises together will give to those of you who visit Athens, one more exciting destination, and the sweetest, most colorful art memory that will accompany you upon leaving the country. The rhythm of the waves, the colors of the sunburt prairies, the smell of the sea and a sky full of stars will surely find their space in your suitcase.Exhibition curators: Sophia Gaitani & Hera PapapostolouArtists that participateSophia Gaitani, Milena Dimitrokallis, Helena Lakkioti, Milly Martionou, Christina Lappa, Maria Filippakopoulou, Yianna Xanthopoulou, Yiorgos Callas, Katerina Kassaveti, Yiorgos Bounias, Yiorgos Syrigas, Dimitris Kretsis, Alexandros Spathoulas, Alexandros Liapis.Ceramist: Sophia Velentza, Mosaics: Magda Roumelioti, Art fashion: Gaitani & kOnDe
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
Hommage to Dimitris Condos (1931-1996)
With works by Dimitris Condos, Ralph Hunter-Menzies,
Giorgos Kontis, Nina Papaconstantinou, Voula Priovolou
The first tribute of CAN Gallery for 2017 focuses on the work of Dimitris Condos (1931-1996) one of the most significant artists in Greece who worked with abstraction.
Condos overcame the traditional boundaries of the frame and created works that had the potential to extend indefinitely on the wall or in the free space. In his series Transformations and Homogenesis he created gestural writing, amorphus, and conceptual art pieces – while in works such as Toys for Old Children or in the Roman Pictural he focused at pieces that employed the participation of the audience in the artwork and thus became a pioneer of international level in his field. His works express his fresh and restless artistic spirit and remain contemporary and bold examples of an unprecedented style and positioning in the visual arts in Greece and internationally.
CAN CHRISTINA ANDROULIDAKI GALLERY
Opening: Saturday 16th of September, 12-4 p.m.
Show Duration: 16.09.17 – 27.10.17
Tuesday – Friday: 11a.m. – 3p.m. / 5p.m. – 8p.μ.
Saturday: 11a.m. – 4p.m.
and by appointment
Curated by Dr. Eva Kekou
Eirene Efstathiou, Yiannis Theodoropoulos, Anna Lascari, Stefania Strouza, Lanfranco Aceti & Willem Jan Smit
Mixed media exhibition
This mixed media exhibition (photography, video, painting, sculpture and performance) discusses the timeliness – and highlights the problem of Greek society, which often behaves as not being able to identify the problem, unable to cope collectively, it sometimes behaves as if there is no problem at all. The discussion focuses on the fact that the Greek society, despite the range of discussions, it fails to name the cause but also the essence of the problem itself, and finally it is constantly talking about a problem / – generally shifting the discussion and orientation from unimportant to essential.
This title deliberately chosen in English wishes to link the local with the world, the special with the general. It refers to sarcasm and humour in dealing with problems in “societies in crisis”, “transition societies”, which remain inactive and passive, often developing a bipolar and ambivalent attitude to the problems they face. The title translated in Greek “Where is the problem?” is heard as a question, which aims to identify the problem (conceptually, spatially, sociologically) than to “overlook” it. The two terms empathy – apathy do not come as an answer but as a dipole for investigating the problem itself. In a playful way, this open-ended question is based on the two etymological Greek words – the word of empathy – but also of apathy. It is interesting that the word empathy has a positive sign in English. All these concepts, however, concern the Greek society, a society with diverse elements that easily condemns, identifies itself with something else or at the same time remains indifferent – deprived of the “passion” for radical changes and for solving the issues that afflict it.
Duration: Tuesday 19 September – Friday 13 October 2017
Opening hours: Monday to Friday, 14:00 – 19:00
Opening: Tuesday September 19th, 8pm Facebook event
Curator: Nina Kassianou
ΔΛ Gallery presents the group exhibition of photography titled «Local stories», curated by Nina Kassianou on Friday 29 September 2017.
Lately, as Nina Kassianou notes, the world – and each one of us individually – has experienced a dramatic and unprecedented change. We often find ourselves straddling two worlds – one foot on the “old”, familiar world of our childhood, and the other on the “rich” globalized holistic world of today.
Our environment is influenced and shaped by information which creates a picture of everyday life common to all the people, wherever they may be, faithfully following the trends and imperatives of a globalized paradigm. Nevertheless, we all live somewhere and that somewhere is a specific place. The school, the kiosk, the pharmacy, the restaurant as well as the people we meet every day define our local neighbors and are part of this microcosm that surrounds us.
However, the rhetoric of globalization overcomes and ignores this locality, even fights it and supports the notion that we live in a world without actual and strong ties with anyone or anything. Globalization is like a blanket that hides the complexity, the multiculturalism, and the differences. These are the concepts that this exhibition «Local stories» attempts to highlight arguing that the world we live in has the characteristics and peculiarities of every single place. The world is “local”.
In this exhibition the photographers abandon the idea of a “non-place” that globalization implies and turn their attention to a familiar world, to a birthplace in which they often spend all their lives, or to an imaginary place they would love to live in and feel that they belong to, showcasing through personal stories the corners of the earth that they consider “their own”.
The photographs are a puzzle of different types and techniques and present a wide range of contemporary photographic expressions. Documentary photography blends with art photography, landscape pictures start a dialogue with portraits in a studio, and photographs developed with modern and complex methods observe with curiosity those reminiscent of a simpler but glorious past.
The photographers who exhibit are Virgilio Ferreira, Dominika Gesicka, Efi Haliori, Demetris Koilalous, Ellen Kooi, Maria Mavropoulou, Lia Nalbantidou, Camilo Nollas, Rea Papadopoulou, Andreas Theologitis, Chrissa Tsovili, Dimitris Yeros.
Opening: Friday, 29 September 2017 at 20:00
Duration: 29 September to 11 November 2017
Tuesday – Thursday 11:00 – 19:00
Friday 11:00 – 20:00
Saturday 11:00 – 16:00
Admission to the exhibition is free.
“Welcome to wee”
On Wednesday, October 4, 2017 at 20:00 AD Gallery opens the new solo show of Steve Gianakos entitled “Welcome to wee”.
Steve Gianakos entered the stage of American art almost ten years after the first appearance of Pop Art. He began to exhibit his early work when Pop Art was at its peak, when its stars were shining on the scene, while, at the same time, Minimal Art appeared with remarkable strength. The artist is particularly attracted by the ideas of Minimalism, especially by its shift with respect to the objects and materials used in the composition of the artwork, and the “absence” of the artist from the final work, in the sense of the absence of his recognizable “manual” skills.
The second pole of attraction for Gianakos is the strong image, which arrives at the limits of provocation. His work is nourished by popular culture, by the eroticism and the violence of comic books, by the pretentious innocence of children’s books of the 50s. Gianakos is part of a group of American artists that constituted an opposing force to the sensationalism and commercialism of the mainstream Pop Art of the 60’s… and presented themselves as artists’ artists rather than mediagenic darlings of the market and the art trade.
He takes aim at the politically correct values of puritan America—those of the puritan West—and finds great pleasure in watching them explode in our faces. But the absence of the artist from the final work is what places the provocation in the sphere of the social. Gianakos does not create provocative, sexist and violent images, but “assigns” this role to the peculiar way in which society functions. This is why, in the end, his work is more Punk than Pop.
“The Image is the Product!”
The central issue in this series of works is for the image itself to constitute the final product. In this sense, the spectator shouldn’t “look” beyond it, shouldn’t search the method of construction, the skill of the artist or the texture. This is reminiscent of the effort of minimalist art to produce works that are self-contained. Gianakos takes up the challenge to do so through the strength of the image. He doesn’t bypass the difficulties of figurative composition by simply giving it up. He also wants to revert the characteristic process of Pop Art, which upgrades common images from comics and pop heroes to the “noble” material of the canvas. Here painting loses its halo and acquires the form of a commonplace object, it transforms into a “poster”. Steve Gianakos chooses to make his final product look like a “poster”, a perfect industrially produced product. So, here the visitor of the exhibition will have to get over his uneasiness to decide to what extent what he sees is just a poster or not. If, in the end, the strength of the image makes the object-product a work of art.
The works in the exhibition are unique pieces. The artist does not follow the pathways of mec-art of the 60s, where the painter composed the form that, supposedly, would be produced massively by a machine. He chooses to create unique works, which could lead him to different versions of the image. His approach is closer to the approach of Picabia and the different versions of his own painting that the latter made. Versions for which Picabia was at first criticized, and later praised as the ancestor of contemporary painting.
The 1st flour of the gallery presents a selection of printed canvases, either as pre-thoughts or after-thoughts in the process of making the black-and-white works of the 2nd floor. The research that led him to the “pure image-product”, to his “posters”, has in a way infiltrated the canvas. By breaking the traditional rules and using some of the codes and methods that were used, during the previous century, to declare the “end of art”, Gianakos seeks, on the contrary, to push art a step further.
The position The Image is the Product wasn’t however always as strong. During previous historical periods, the image was only the pretext. The important thing was what was happening in “the inner space” of the work, and what was important was set by the particular means by which the artist composed the image. This position is here canceled. There is nothing happening inside the image we see. However, Gianakos’ position isn’t an analogous to the philosophical debate on the “end of art” or the “end of ideology”. The artist wants to expose the myths that accompany the work of art as much as the role of the artist in society. Myths that supported the dominating social beliefs concerning the relation among opposite sexes, sexuality, family or the role of the child. Gianakos wishes to subtract the “traditional” values of art, to destroy it’s “aura”, to be finally able to touch it’s essence.
Compared to the more appealing canvases, the posters are more unappetizing in many ways – in terms of the picture, in terms of the violence of the subject matter, in terms of the paper. You have to be a slightly “vulgar” person to consider it art… “But the message has to be strong enough to make the picture appealing” says Gianakos. “Think for a moment, who makes posters? Political parties, for instance, make posters. Their purpose is to produce something direct and strong, which does not need any explanation, where the meaning is the image, where the image, and therefore the meaning, is the product. That’s the goal – to make nothing … it’s close to nothing, but it is something. It is really not easy, but it’s interesting to figure out how to make the ugliest thing in the world into a beautiful thing to look at”.
Exhibition duration: October 4 – December 2, 2017
Visiting hours: Tuesday-Friday 12:00-21:00 and Saturday 12:00-16:00