”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.
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
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]
Dimitris Lambrou / Individual Exhibition
Activist/bookshop Free Thinking Zone, yet again providing young Greek creators with a stepping stone, is proud to host the solo exhibition of Dimitris Lambrou, a great, young Greek visual artist, entitled “Seeking Voices”.
Efthimis Lazongas , curator of the exhibition, (Sorbonne University –Paris I –Pantheon, History of Art Professor at ASFA, Master’s in Visual Arts, curator) notes:
“What possibly could such personalities as Pasolini, Kounelis, Pound, Tarkovsky, Axelos, Foucault, Angelopoulos, Simone de Beauvoir, Emma Goldman, Rosa Luxemburg, Baudelaire, Godard, Beckett, Fellini be doing in Athens? Twenty or more “apostles” of art, cinema, and literature meet up through the remarkable “penmanship” of visual artist, Dimitris Lambrou, who “iconizes” and revives the vanguard of global intellect (in modern times), so that they stand as lighthouses against the darkness of the structural crisis experienced today, at an intellectual, cultural and economic level. It is not at any gallery or art hall that they meet, rather at a select meeting venue for contemporary thought and art, an open conversation field, a place where young artists can take the floor.
Dimitris Karatzas, MET graduate, ASFA graduate, Film Direction at Stavrakos’ School graduate, also notes:
“It is no accident that just before the advent of the first photograph in 1826 by Niepce, David paints his greatest masterpiece “The Death of Marat” (1793), at a time when the portrait, at least in Western Art, has come to feature the hero at his peak moment of victory, that of his death.
It is at this time when photography appears. Photography use has played a double role to this day, namely to state the condemnation of the “aura” on the one hand while transforming the mundane on the other.
As the flagship of urban actualization photography seems to have reconciled several contradictions within itself.
It stood as the magic potion playing a major role in the healing of the wound left, symbolically at least, by a hero with his eyes closed, dying because of his ideals in a mundane scene in his bathtub.
As a visual artist, drawing from the photograph means revisiting that wound which was once healed, reopening it and reading it incessantly.
Such a process becomes even more personal when this is done using drawings as a vehicle, as, even though we may have a minute satellite picture at our disposal, most of the time it takes a simple drawing line on a map for us to find our way.
Drawing from a photograph means cutting up the wound and re-stitching it using your own stitches. This is the main concern underlying Dimitris Lambrou’s work.
Dimitris Lambrou : a brief presentation
He studied at ASFA (Art School Of Athens) from 2004 to 2010, under Professor George Lazongas. Later he completed a Master’s degree at ASFA (2011-2013) with honours.
In 2011 he participates in a European and Mediterranean Biennale entitled” Symbiosis, Rome/ Italy, Thessaloniki/Gr.
In 2013 he takes part independently with a solo presentation of his work in the International Modern Art Venue “Remap 4”, entitled “Story as a Dream / Athens/ Metaxourgeio/ Gr.
2013 also finds him exhibiting together with Vlassis Kaniaris at a historical exhibition in the Lola Nikolaou Gallery, entitled “1+3”.
In 2014 he co-exhibits with his Professor George Lazongas at the Lola Nikolaou Gallery, with the title “Two Generations / Three writings”.
He established the Lustspiel group, which participated in several art happenings in Art Athens in 2013 and 2014.
He has also set up the Dipoles group, together with art scholar and curator Efthimis Lazongas, whose work led to an exhibition entitled Dipoles, at the Art Gallery of Athens.
He has taken part in the “Manipulation” exhibition at the Depo Darm Gallery, and has also taken part in several Art Athens happenings either individually or as a member of a group.
In 2016 he participated in Back to Athens 4, an international modern art venue.
He is currently co-curating with Efthimis Lazongas (art Scholar, Member of Faculty of the ASFA post-graduate programme) a great meeting of young and significant older artists on the subject of “Secret”, which is to take place at the end of 2017.
Opening: Thursday, 6th April, 7 – 10 pm
Duration: until end of July
Schedule: 10:00 – 21:00 weekdays, 10:00 – 20:00 Saturdays, 12:00 – 16:00 Sundays (for 2 Sundays a month) please call in for groups wishing to visit at any other time.
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.
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
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