UNIVERSITAS: an exhibition on the subject of migration and learning
The exhibition is curated by Sotirios Bahtsetzis.
From April 7 to May 7, 2017, AthenSYN mounts an exhibition on the subject of migration and learning in collaboration with the Avtonomi Akadimia and the Athens Biennale.The show is hosted byTrii Art Hub.
The exhibition presents works by:
Sebastian Bayse Schäfer (D),Vilelmini Vilma Andrioti (GR), Gudrun Barenbrock (DE), Manaf Halbouni (SY), Thomas Kilpper (DE), Georgia Kotretsos (GR), Joulia Strauss (DE), DimitrisTzamouranis (GR),Dionisis Christofilogiannis (GR) and LiwaaYazji (SY), based on a series of artist workshops curated by Katja Ehrhardt.
The formats of the UNIVERSITAS exhibition range from film,video, text, photography, to painting, installation and object. The exhibition at Trii Art Hub marks an attempt to conduct a discussion about common learning in today’s Europe with an eye to our common future.
[OUT] TOPIAS – Performance and public / outdoor Space) @ Benaki Museum, Athens
OPENING: 19/0692016, 20:00
DURATION: 22/09 – 20/11/2016
ORGANIZED BY: Benaki Museum and deviant GaZe, in collaboration with the Prague Quadrennial of Performance Design and Space
AFTERLIFE, Short Film, 00:03:22 – Texts by Apostolis Artinos, Ioannis Dedes, Violleta Zefki
Το εγκαταλειφθέν εκμαγείο του Κούρου της Βολομάνδρας μέσα στο εγκαταλελειμμένο καποδιστριακό Εϋνάρδειο κτίριο, αναγεννάται παράγοντας το έργο του Διονύση Χριστοφιλογιάννη, ακολουθώντας μια διαδικασία ανάλυσης, ερμηνείας, επαναπροσδιορισμού και τοποθέτησης του εαυτού στο “σήμα” του Τώρα, μιας διαδικασίας που προσομοιάζει στα επιθανάτια τελετουργικά και μέσω αυτών και των αρχέγονων καθαρμών δια πυρός και θαλάσσης. Στα χέρια και το μυαλό του Χριστοφιλογιάννη αυτό το αντίγραφο είναι ο αρχετυπικός μεγάλος νεκρός. (…απόσπασμα κειμενου Ι.Δεδε) … Ο κούρος του Διονύση Χριστοφιλογιάννη, σύμβολο θανάτου κι αυτός, είχε την τύχη να πλαστεί εκ νέου, να αναγεννηθεί στο πρότυπο του Κούρου της Βολομάνδρας, να στολιστεί με περίσσια αγάπη και φροντίδα και να παραδοθεί στην καθαρτική πυρά δίπλα στη θάλασσα. (… απόσπασμα κειμενου Β. Ζεύκης) … Το ίχνος του Άλλου, που είναι και ίχνος μιας αρνητικότητας, το εσώγλυφο μιας απώλειας, μια οπτική, εν τέλει, ψευδαίσθηση, ένα παιγνίδισμα της εικόνας, μία επένδυση, ό, τι απέμεινε απ’ αυτήν. Το σώμα του Κούρου, γίνεται έτσι, στο έργο του Χριστοφιλογιάννη, ένα αυτοπαθές αντί-κείμενο. Μέσα στον φλογισμό των μετωνυμιών του, εντοπίζει και την αλήθειά του. Χαράξεις που του επέφερε ο πόθος και τον περιζώνουν τώρα στη διαφορά του. Η φλεγόμενη δαντέλα αφήνει μόνο τα εσώγλυφα ίχνη της πάνω στο δοκιμαζόμενο σώμα. Ένα σώμα που φλέγεται, αυτός ο φλογισμός του βλέμματός του, μία μορφή πλέον εξαϋλωμένη, μία διάτρητη επιφάνεια. Χαράξεις λοιπόν, ρωγμές, αυλακώσεις νοήματος, ιστορημένα ίχνη, αυτά μόνο τα ίχνη του Άλλου. (… απόσπασμα κειμενου Α. Αρτινού)
The abandoned mould of the Volamandra Kouros, located in the deserted kapodistrian Eynardion building, once again comes to life producing the work of Dionisis Christofilogiannis. It follows a process of analysis, interpretation, redefinition and positioning of the self in the “signal” of the Now, a process that simulates the deathly rituals and though these, as well as through primordial purification processes that entail going through fire and water. In the hands and mind of Christofilogiannis this replica is the archetypal great dead. . (…excerpt I Dedes text) Dionisis Christofilogiannis’s kouros, also a symbol of death, was lucky to have been sculpted anew, to have been reborn patterned after the Volomandra Kouros, adorned with love and care, surrendered to the cathartic fire by the sea. (…excerpt V.Zefki text) The trace of the Other, which is also a trace of a negative, the carving of a loss, what is ultimately an optical illusion, a floric of the image, a coating, what is left of it. The body of the Kouros becomes in the work of Christofilogiannis a reflexive object. Within the enflaming of its metonymies it also traces its truth. Carvings that are brought upon by desire and now surround him in its difference. The burning lace only leaves its counter-relief traces upon the body that is under trial. A body that is burning up, this enflammement in its stare, a now disembodied figure, a perforated surface. Carvings then, cracks, corrugations of meaning, illustrated traces, only these; the traces of the Other. (…excerpt A.Artinos text)
The core of the exhibition presents video projects created in Greece in recent years which attempt an approach of outdoor, public space through performing arts. The movement towards outdoor space is linked to the renegotiation of public space as primarily shared space and is accompanied by an increased interest in the distinct physical features of the surroundings as they contribute structurally to the realization of the performance event.
The exhibition presents projects that joined the Hellenic National Participation at the Prague Quadrennial of Performance Design and Space 2015 as well as the Dutch National Participation (Best Curatorial Concept Award PQ15). New performance projects created during 2015 – 2016 are also presented while, during the exhibition, there will be held a range of parallel events: live performances, lectures, workshops, masterclasses, video and film screenings and a series of round tables.
Participating artists and groups
A4M Performing Arts group – Athina Dragkou, Ακοο-ο & SonicPlanet™ Inc., Eirini Alexiou / Dimitris Christopoulos / Pavlos Tsiantos, Tzeni Argyriou – amorphy, Angeliki Avgitidou, Anne Karin ten Bosch / Sigrid Merx – Tim Heijmans / Moniek Oerbekke / We-Are-Amp – Between Realities #Athens, Emilia Bouriti, Sophie Bulbulyan – Dk-Bel Co., Argyro Chioti –Vasistas, Dionisis Christofilogiannis, Barbara Dukas – Para.site.art, Katerina Evangelatos, Dimitris Halatsis, Linda Kapetanea & Jozef Frucek – ROOTLESSROOT, Michael Kliën / Christina Gangos, Maria Koliopoulou – Prosxima Dance Co., Euripides Laskaridis – OSMOSIS Performing Arts Co., Paris Legakis, Jenny Marketou, Michael Marmarinos – Theseum Ensemble, minimaximum improvision, Mariela Nestora – YELP danceco, November – Christos Kaoukis / Marion Renard / Giorgos Maraziotis, Ohi Pezoume Performing Arts Co. / UrbanDig Project, Omada7, Apostolia Papadamaki, Elli Papakonstantinou – ODC Ensemble, Harry Patramanis, Vicky Spanovangelis – Nomads and Urban Dwellers, Annetta Spanoudaki, Spatial Media Group – Dimitris Charitos / Penny Papageorgopoulou / Charalampos Rizopoulos / Iouliani Theona, Efthimis Theou, Giorgos Zamboulakis – Experimental Theatre of Thrace, Mary Zygouri.
The program of the performances will announced soon.
Curator: Thanos Vovolis, Scenographer, Curator of the Hellenic Participation at PQ15
Consulting Curator: Sodja Lotker, Artistic Director of the Prague Quadrennial of Performance Design and Space ,2011 & 2015
The Exhibition is under the Auspices and Supported by The Hellenic Ministry of Culture and Sports
NEW ERA EAUDESEA, House of Cyprus 10-24th March 2016
The collective art exhibition NEW ERA EAUDESEA, dedicated to the refugee, opens on Thursday, March 10, 2016 at 20:00 at House of Cyprus and runs till March 24.In conjunction with the opening, there will be a panel discussion on “The Refugee Crisis and the Future of Europe” at House of Cyprus, Thursday, March 10, 2016 at 18:00.The Hellenic Foundation for Culture presents, as part of its series of events dedicated to the Refugee, in collaboration with the House of Cyprus:
The collective art exhibition entitled NEW ERA EAUDESEA with the participation of 16 Greek artists (Nicos Charalambidis, Dionisis Kavallieratos, Erato Hadjisavva, Irini Bazara, Christos Michaelides, Marina Provatidou, Hara Piperidou, Theo Laios, Vivi Panagiotou, Αrtemis Alcalay, Eleanna Martinou, Ioanna Kafida, Konstantinos Patsios, Ioannis Malegiannakis, Altin Patselis, Dionisis Christofilogiannis) will run from 10 to 24 March, 2016 in the exhibition hall of House of Cyprus.
The Greek flag installation made of by two sides of the thermal blanket used for the Refugees is a Homage to those on frontline of refugee crisis be commended for their passion and self-sacrifice.
The word gospel derives from the Old English gōd-spell, meaning “good news” or “glad tidings”. The gospel was considered the “good news” of the coming Kingdom of Messiah, and of redemption through the life and death and resurrection of Jesus, the central Christian message. “Gospel” painting, personify thousands of the refuggess deaths in the water of Aegean sea showing a golden human figure over the sea as a gospel considered the “good news” of the coming Kingdom of Europe, and of redemption through the life and death and resurrection of Syrian people.
performance Yiannis Adoniou,
curated by Konstantinos Argianas
the project is under the program of
SCALE # 2:100 | The Labyrinth of Kypseli
supported by NEON
Dionisis Christofilogiannis invites you to Fokionos Negri 16, to a distinctive location in Kypseli. HOME (less) installation is an artistic proposal where sculpture, painting and performance are in direct dialogue. The Greek artist gives a second life to pieces of old wooden furniture collected from the streets of Athens and covers them with white embroidered crochet and white plaster, redefining their structure, function and aesthetics. These constructions dominate the architectural element and geometrical forms where simplicity, purity and abstraction come together with beautification and lyricism.
The aesthetic effect of both whitewashed architecture of Charles Eduard Jeanneret, known as Le Corbusier, and the architecture of the Cyclades, which is inspired not only the Swiss architect but also Greek artists like Chryssa (Cycladic Books in plaster) is evident in Christofilogiannis’ work.
The ambiguous title of the exhibition HOME (less) reflects the very ambiguity of the installation. Can the sculptures of the Greek artist can be seen as furniture or as archaeological ruins of modern Athenian society in crisis? Is it a new housing proposal or perhaps its deconstruction?
Along with Christofilogiannis sculptures and paintings there is also his new video screening, a performance by the choreographer Yiannis Adoniou. Wearing a full body costume made of white crochet, Adoniou performs physical exercises. Harriet Summer, a black British performer, conflicts with the hegemony of white, addressing at the same time, social, political, gender and national identity issues.
This exhibition comments on the contemporary social, economic and political disorder where the right to housing, a fundamental human right, is placed under constant questioning.
In his painting Greek Mellon, Dionisis Christofilogiannis employs both irony and humor: here the face of an ancient statue (Apollo?) is reflected on the surface of a watermelon (‘mellon’ being a play on the name of the fruit and the Greek name for ‘future’). In this case, it seems likely that the artist is commenting on the merger and coexistence of the classical with the popular: on the one hand, the concept of beauty and idealized form, and on the other, a symbol of one of the modern Greek’s timeless pleasures (due to its affordability even on these years of crisis, watermelon remains the fruit of the people).
Στο ζωγραφικό Greek Mellon ο Διονύσης Χριστοφιλογιάννης επιστρατεύει εκτός από την ειρωνεία και το χιούμορ: εδώ το πρόσωπο ενός αρχαίου αγάλματος (του Απόλλωνα;) αντανακλάται στην επιφάνεια ενός καρπουζιού. Σε αυτή την περίπτωση, το πιθανότερο είναι να σχολιάζεται η συγχώνευση και συνύπαρξη του κλασικού με το λαϊκό: από τη μία, η έννοια του κάλλους και της ιδεατής μορφής και, από την άλλη, ένα σύμβολο των διαχρονικών απολαύσεων του νεοέλληνα (λόγω της προσιτής τιμής του το καρπούζι παραμένει και σε τούτα τα χρόνια της κρίσης το φρούτο του λαού). text Christopher Marinos
Tirana Open 1, 6-13 May 2015 , www.tiranaopen.org
Tirana Open 1 presents the first of its kind initiative in the Balkans, bringing together under one umbrella an unprecedented array of Albanian and International cultural institutions presenting a rich multi-disciplinary program of exhibitions, events, and public interventions.
Reflecting on a city that is at once an old Roman center, Ottoman outpost, Italian Novecento archetype, Fascist utopian dream, an example of Stalinist brutalism, and finally, a model of contemporary (non) architecture run amok, Tirana Open 1 explores its locale as a vibrant lab of cultural hybridity and an alternative model for urban development and audience engagement.
“Tirana Open 1 is an invitation to a pass-the-word that Tirana is the urban square that has no cultural barriers, but only porous borders of cultural belonging” says festival co- director Helidon Gjergji. “By inviting international cultural institutions to participate in this city-wide happening, we hope to make the local institutions and citizens of Tirana feel a bit like visitors in their own city, and to make visitors feel like citizens of Tirana. This is not a role play, but a playful reality.”
Pamur, the festival’s contemporary arts section, presents a special guest project by celebrated artist William Kentridge (South Africa), alongside a a juried competition of video art by prominent international and local artists, including Yuri Ancarani (Fondazione Sandretto Re Rebaudengo, Torino), Olivo Barbieri (MAXII, Rome), Henry Chapman (T293 Gallery, Naples), Donika Cina (Galeria e Vogël, Tirana), Alberto Di Fabio (Gagosian Gallery, London), Nathalie Djurberg (Museo Pascali, Polignano a Mare, DZT Collective (Stefano Romano & Eri Çobo) TICA (Tirana Institute of Contemporary Art, Tirana), Yllka Gjollesha (Zeta Gallery, Tirana), Elis Gjoni (Art Kontakt, Tirana), Felix Gmelin (Stacion – Center for Contemporary Art, Prishtina), Ibro Hasanovic (Tirana Art Lab, Tirana), Aurora Kalemi (Zenit Gallery, Tirana), Santiago Mostyn (Moderna Museet, Malmö), Alban Muja (Tulla Culture Center, Tirana), Marzena Nowak (Galerija Gregor Podnar, Berlin), Matilda Odobashi (FAB, Tirana), Anri Sala (Hauser & Wirth Gallery, Zurich), Sissi (MAM Foundation, Tirana), Cauleen Smith (Museum of Contemporary Art, Chicago), Stefanos Tsivopoulos (Thessaloniki Center of Contemporary Art, Thessaloniki), The Two Gullivers (Flutura Preka & Besnik Haxhillari) MAI (Marina Abramovic Institute, Hudson, New York), Nasan Tur (Blain/Southern Gallery, London), Nico Vascellari (The National Gallery of Arts, Tirana), Kostis Velonis (Kunsthalle Athena, Athens), Driant Zeneli (Fondazione Pistoletto, Biella). Granting an award named after the renown Albanian artist Danish Jukniu, competition jury includes Edoardo Bonaspetti (Mousse Magazine), Cathryn Drake (Artforum & Frieze Magazine), and Michele Robecchi (Phaidon). Artist Adrian Paci (Shkodër/Milano) will be delivering a featured artist talk.
ULTRA, the contemporary architectural section, presents Elian Stefa’s curatorial with international artists: Antonio Ottomanelli, Dionisis Christofilogiannis, Ecovolis, Gjergji Bakallbashi, McCann Tirana, Niku Alex Mucaj, Sputnik Productions, The Department of Eagles.
A Reflection on the Urban Mobility of the City of Tirana
Tirana has often been cited as one of the most problematic cities in Europe when it comes to pollution and traffic, as reflected in numerous studies where the level of airborne, cancer-causing particles have been reported to be three times the limit mandated by the World Health Organization, causing a lowering of up to two years in life expectancy; while the urban noise that the citizens are exposed to is an average of 20 decibels above the recommended limits.
The quality of life in the urban environment is deeply affected by these qualities, and as a principal contributor, mobility becomes one of the most crucial topics to be reflected upon.
The way we move drastically affects the way that one experiences the city, and the consequences of our collective transportation choices are felt throughout society– directly when considering statistics such as that traffic related accidents in Albania are 3.5 percent higher than in other Eastern and Central European countries, and more subtly when we take into account factors such as status, often influenced by the kind of vehicle one drives.
Although Tirana has a very strong premise to be lived at a human scale and with self powered vehicles, social constructs of the last 25 years give unbalanced value to the element of the car, which increasingly takes over public space and has radically changed the perception of the urban landscape. Within the context of Tirana Open, the first edition of ‘ULTRA’ will investigate and take a critical stance towards the the societal, legislative and economic reasons that influence mobility in Tirana, through different interventions in public space. By using a methodological approach, local and international designers, architects and artists will be invited to create site specific installations which aim to raise awareness and propose alternative realities of mobility and relation to public space.
Tirana Open 1 Directors: Arlinda Dudaj, Helidon Gjergji & Vladimir Myrtezai- Grosha. Tirana Open 1 is organized by Tirana Open, under the auspices of Edi Rama, Prime Minister, and the Ministry of Culture, Republic of Albania.
With the Prime Minister Edi Rama and the curator of Tirana Open 1 Helidon Gjergji and Elian Stefa at Pallace of Congress, 2015
2015 SCALE # 1:100 “Scale made/«τώρα»” (30΄)
with Yannis Adoniou, Eugenia Arsenis, set design Dionisis Christofilogiannis
Sixrono Theatro Evmolpidon 45, Gazi in Athens Greece
16-26 Apr 2015
“Scale made /«τωρα»”, Concept: Yannis Adoniou, Eugenia Arsenis, Choreography / Dance: Yannis Adoniou
Text Written by / Voice: Eugenia Arsenis, Scenography: Dionisis Christofilogiannis
Created in a residency at the Akropoditi dance center, Syros Greece
Παίζουν: Γρηγόρης Βαλτινός, Ζέτα Μακρυπούλια, Συμμετέχει ο Στάθης Νικολαΐδης Μετάφραση Μάριος Πλωρίτης Σκηνοθεσία–μουσική επιμέλεια Γρηγόρης Βαλτινός Σκηνικά Διονύσης Χριστοφιλογιάννης Κοστούμια Γιώργος Σεγρεδάκης Φωτισμοί Μελίνα Μάσχα Βοηθός σκηνοθέτη Χαρά Μπαλτά Φωτογραφίες Ρούλα Ρέβη Παραγωγή: Θέασις – Δράσεις Πολιτισμού
2014 Uber Bodies at Hydra School Projects curated by Dimitrios Antonitsis. Participating artists: Heimir Bjorgulfsson, Saint Clair Cemin, Graham Collins, Lovett/Codagnone, Dionisis Christofilogiannis, Martha Dimitropoulou, George Lappas, Andreas Lolis, Brice Marden.
Duration: 27.06.2014 to 29.09.2014
“…The contemporary body resembles a flame…It entwines itself with the public body and burns with the same heat, shines with the same light as other body flames…One day, it will detach itself completely from the uber-body and vanish…” (Pierre Lévy, Virtual Reality)
For the 15th consecutive year Dimitrios Antonitsis curates the summer show at the Hydra School Projects. This years exhibition is titled Uber-Bodies, focusing on different takes of contemporary sculpture.
The exhibition addresses the transcendence of form, as this is instantiated within Hydra’s landscape and Grecian light. More often than not, our mind perceives space and form in its own individual way. Frequently we attribute this to chance, to the incomprehensible or to the envisioned. What can be seen is not what really is and maybe that’s the way it should be. The manifestation of form is simply the critical mass of a feeling. Quoting the Finish architect and thinker Juhani Pallasmaa “…form only affects our feelings through what itrepresents…”. True to this line of thought lie the sculptures ofGeorge Lappas, Saint Clair Cemin and Graham Collins, created specifically for this exhibition.
Their way of organizing matter does not really differ from a system of esoteric communication. Cemin’s Cherub out of mirrors and fiberglass creates a sensory link between mind and sentiment. Collin’s aluminum/glass/brick temple being placed at the HSP’ s back yard exudes a melancholic eroticism whereas Lappas’ giant synthetic fur Sketching Crabs brings up an emancipatory discourse on matter and material (in times when a singing drag queen, Conchita Wurst, with facial hair can turn the European Song Contest into a political stage).
Form, as a manmade intervention to the essence of the already existing object (or even building) characterizes the works of Dionisis Christofilogiannis, Martha Dimitropoulou and also of Heimir Bjorgulfsson making his first appearance in Greece. Christofilogiannis ‘tailors” the gate of the Sachtureion mansion with traditional lace casting his uber-handcrafted abracadabra (in Aramaic: I create as I speak). Martha Dimitropoulou addresses the dichotomy of humility versus luxury employing dried pine needles to form a crown and a chandelier. Last but not least the sculptures ofHeimir Bjorgulfsson tiptoe through fractioned taxydermic balancing acts and crystal clear sentimentality. … (more at arty.net here) and (DLProjects here)
2014 SelfConsious Art Gallery of The American College of Greece curated by by Sotirios Bahtsetzis.
The exhibition SelfConscious features the works of artists who explore how technological media have become a significant part of our social and psychological lives. Advertising media, Broadcast media, Digital media, Electronic media, Hypermedia, Mass media, Multimedia, New media, Social media… the catalog is prolific. However divergent these media all have something in common: influencing what we do as well as our thinking and feeling. In this era of vast digital archives and communication technologies, consciousness, affect and even identity are understood in new ways. In SelfConscious artists explore these themes through diverse media: painting, sculpture, photography, digital imaging, video, installation and performance.
The exhibition presents works by Bill Balaskas, Dionisis Christofilogiannis, Christos Delidimos, George Drivas, Giorgos Gyparakis, Effie Halivopoulou in collaboration with Tim Ward, Elias Kafouros, Georgia Kotretsos, Maria Kriara, James Lane, Jenny Marketou, Panos Mattheou, Caroline May, Jennifer Nelson in collaboration with Theodoros Papatheodorou, Eftihis Patsourakis, Vassiliea Stylianidou, and Thodoris Zafeiropoulos.
– See more at:http://www.acg.edu/events/selfconscious-exhibition-opening#sthash.teF0ZFmF.dpuf
2013 Civilisation (genres and cases), curated by Alexios Papazacharias, the art foundation, Athens
By the group bijoux de kant / works of painting, sculpture, video and photography by greek artists
metamatic:taf presents for the summer season 2013 the exhibition Civilisation (genres and cases) of the group bijoux de kant curated by Alexios Papazacharias, which opens on Thursday 27 June and will run until 2 September 2013.
The exhibition is part of bijoux de kant ‘s artistic programme and expression and presents works of painting, sculpture, video and photography by greek artists.
Civilisation was born several years ago, enough so that we cannot know how many exactly. Firstborn son, he was born out of the love of two women: Life and Thinking. A rebellious and moody child, however spoiled as the first male of the family. He was always extremely social and from a very young age he got to know everyone everywhere. He was raised along with Art, the daughter of Creation and Inspiration, almost the same age as him. Art even today is the great love of his life, companion and eternal partner. Both are children without father. We often forget their true origin. Then, various adventurers claim the paternity of both, turning their eternal marriage into a horrific incest and their numerous children into the most terrifying monsters. Civilization and Art protect and assert their identity and integrity every time they are threatened through a variety of demystification procedures aiming to shatter the uninspired rhetoric of the prospective fathers.
Participating artists: Dimitrios Antonitsis, , Manolis Baboussis, Margarita Bofiliou, Lizzie Calligas, Antonakis Christodoulou, Dionisis Christofilogiannis, Dimitris Dokatzis, Nikos Kanarelis, Andreas Kassapis, Andreas Lyberatos, Margarita Myrogianni, Rallou Panagiotou, Natasha Papadopoulou, Ilias Papailiakis, Maria Polyzoidou, Photoharrie, Georgia Sagri, Yannis Skourletis.
Curated by: Alexios Papazacharias
Opening: Thursday 27.06.13, 20:30 , Admission free, Exhibition duration: 27.06-02.09.2013
2013 White House Biennial, Exercises on democracy, curated by Nicos Charalambidis, Open Case 303, Athens
A great number of International artists participate at the White House Biennial, such as:
Khaled Hourani (Palestine), Moataz Nasr (Egypt), Helidon Gjergji (USA- Albania), Sandra Ramos (Cuba), Ilona Nemeth (Slovakia), Baptiste Debombourg (France), Txuspo Poyo (Spain), Eric Valette, Daniel Le (France), Juraj Dudas (Slovakia), Democracia (Spain), Ai WeiWei (China), Olaf Nicolai (Germany), Driant Zeneli (ALBANIA), Savvas Christodoulides (Cyprus), Radu Cioca, Oana Farcas (Romania), Paramarenko (Belguim), Marco Fantini, Artan Shabani, Dritan Hyska (Albania), Nicos Tranos (Greece), Mounir Fatmi (Marocco)
Kostas Tsolis, Yiannis Theodoropoulos, Caroline May, Nikos Papadopoulos, Aggelos Skourtis, Rika Krithara, Vasilis Vasilakis, Dimitris Papachristos, Chariklia Chari (Microgeographies), Yiannis Grigoriadis, Yiannis Isidorou, Kostas Emmanouilidis, Nikos Larios, Thanos Triantos, Efi Spyrou, Yula Chatzigeorgiou, Andreas Savva, Andreas Lyberatos, Babis Karalis, Ioanna Myrka, Danae Stratou (Hollow Airport Museum), Artemis Potamianou, Giorgos Papadatos (Lo and Behold), Eva Marathaki, Lito Kattou (SKOUZE 3), Dimitrios Antonitsis, Ioanna Pantazopoulou, Nate Lowman, Dash Snow (Hydra School Projects) Giorgos Tserionis (Provo Principles) Paki Vlassopoulou (3_137) Eva Mitala, Ryusuke Kido (TO.BE), Eirini Tsachrelia, Ioannis Oikonomou, Dimitra Tsachrelia (GLASNOST), Achilleas Kentonis, Maria Papacharalampous (Binary Art Group), Stelios Karamanolis, Tula Plumi, Dionisis Christofilogiannis, Kostas Roussakis, Thanos Kyriakidis (Daily Lazy Projects).
2012 Circus Crew , curated by Lydia Pribisova, Larm galleri, Copenhagen
The show The Circus Crew is a research on relations and connections between contemporary art presentation and archaic performing models as circus, carnivals, parades and processions.
The artists from various countries, Oana Farcas from Romania, Dionisis Christofilogiannis, Dimitrios Antonitsis, and Eva Mitala from Greece, Christian Jankowski from Germany, goldiechiari and Enzo Giordano from Italy, Laura Lima from Brazil, Anetta Mona Chisa & Lucia Tkáčová and András Cséfalvay from Slovakia, Delphine Reist from Switzerland, Peter Callesen and Gudrun Hasle from Denmark, will all reflect on these themes and strategies. They will react to subversive situations in contemporary society, stereotypical identities, exploring experimental investigation in the contemporary world of excess and visual overload in context of surviving mentioned atavistic forms of expression. All of these artists have already worked with the concept of theatricality, spectacularity and similar themes. Together, they will create an integrated playful and glamorous atmosphere which we remember from the childhood, from visiting circuses and also the feeling of awe from carnival parades and religious/pagan processions.
Exhibitions of art, their performative nature were always close to carnivals, circuses, processions. The special atmosphere of rituals and some kind of trance, specific ways of behavior are similar. It seems that the more natural way of presenting art, as exhibitions, art fairs, biennials are in crisis and hardly can bring something new in the artistic discourse. Thanks to the biennals, the new kind of art works was born, more ephemeral, de-material, more conceptual, site specific, which are often outside the logic of art – market. An alternative step in this process could be changing in the art practice and try to apply some atavistic performing models.
Hosted in Athens has invited groups of artists and collectives of different background and nationalities to present their activity in various buildings in the center of Athens through a series of events and exhibitions.
The project intends to articulate and organize its potentials in the area of the historical center of Athens and to involve public and private venues that can host its program in the means of hospitality.
The project seeks to advocate the local art scene and to introduce the work of international artists to the broader Athenian public. To provide the conditions for dialogue and collaboration between groups, communities and individuals and to establish connections between the cities involved emphasizing on the essence of networking and collectivity.
The participatory groups will be able to display their joint collaborations, shows and events in the context of a broader perspective that includes artists, curators, institutions and host venues.
The aim of the project is to underpin the importance of collaboration, the individual participation and the exchange between different art scenes and to indicate new ways of working that embrace the values of exchange and hospitality.
Hosted In Athens is organized by Daily Lazy Projects
Daily Lazy Projects, exhibition view of Image of a Floating World, 2012
(courtesy of the artists and Hosted in Athens)