tag:blogger.com,1999:blog-85708077361400988292024-01-26T18:02:18.112+02:00THEO PRODROMIDIS / ΘΟΔΩΡΗΣ ΠΡΟΔΡΟΜΙΔΗΣINFO/NEWS/WORKS/ΠΛΗΡΟΦΟΡΙΕΣ/ΑΝΑΚΟΙΝΩΣΕΙΣ/ΕΡΓΑ
theo prohttp://www.blogger.com/profile/12259951441093079391noreply@blogger.comBlogger115125tag:blogger.com,1999:blog-8570807736140098829.post-56171284963876478902015-06-25T11:23:00.003+03:002015-09-22T17:01:13.381+03:00Updated website online - beta<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://www.theoprodromidis.info/">www.theoprodromidis.info</a></div>
theo prohttp://www.blogger.com/profile/12259951441093079391noreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-67749664643850205292015-06-21T19:15:00.002+03:002015-06-21T19:18:21.771+03:00Between the Pessimism of the Intellect and the Optimism of the Will, 5th THESSALONIKI BIENNALE OF CONTEMPORARY ART, 23.06 - 30.09.2015<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: 'Calibri'; font-size: 12.000000pt; font-weight: 700;">5</span><span style="font-family: 'Calibri'; font-size: 8.000000pt; font-weight: 700; vertical-align: 6.000000pt;">TH </span><span style="font-family: 'Calibri'; font-size: 12.000000pt; font-weight: 700;">THESSALONIKI BIENNALE OF CONTEMPORARY ART
</span><br />
<span style="font-family: 'Calibri'; font-size: 12.000000pt; font-weight: 700;">June 23 – September 30, 2015
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<span style="font-family: 'Calibri'; font-size: 11.000000pt; font-weight: 700;">MAIN EXHIBITION: Pavilion 6 (Thessaloniki International EXPO premises)
</span><br />
<span style="font-family: 'Calibri'; font-size: 11.000000pt; font-weight: 700;"><br /></span>
<span style="font-family: 'Calibri'; font-size: 11.000000pt; font-style: italic; font-weight: 700;">Between the Pessimism of the Intellect and the Optimism of the Will
</span><br />
<span style="font-family: 'Calibri'; font-size: 11.000000pt;">Curated by <b>Katerina Gregos
</b></span><br />
<span style="font-family: 'Calibri'; font-size: 11.000000pt;"><br /></span>
<span style="font-family: 'Calibri'; font-size: 11.000000pt;">The title of the 5</span><span style="font-family: 'Calibri'; font-size: 7.000000pt; vertical-align: 5.000000pt;">th </span><span style="font-family: 'Calibri'; font-size: 11.000000pt;">Thessaloniki Biennial is inspired by an aphorism invoked by Antonio
Gramsci in the </span><span style="font-family: 'Calibri'; font-size: 11.000000pt; font-style: italic;">The Prison Notebooks </span><span style="font-family: 'Calibri'; font-size: 11.000000pt;">(</span><span style="font-family: 'Calibri'; font-size: 11.000000pt; font-style: italic;">Quaderni del carcere</span><span style="font-family: 'Calibri'; font-size: 11.000000pt;">) that he wrote between 1929 and
1935 while he was imprisoned by the Facist regime in Italy at the time. In these voluminous
writings which he composed during his eleven years incarceration Gramsci repeatedly cites a
particular phrase; in one of the letters he writes: “The challenge of modernity is to live
without illusions and without becoming disillusioned ... I’m a pessimist because of
intelligence, but an optimist because of will.” This duality constitutes a point of departure to
talk about the current situation of crisis – and how to overcome it - that governs much of the
Mediterranean, which is once again the conceptual point of departure for the next biennial.
</span><br />
<span style="font-family: 'Calibri'; font-size: 11.000000pt;"><br /></span>
<span style="font-family: 'Calibri'; font-size: 11.000000pt;">As a diverse blend and composite of cultures, religions, ethnicities, languages, traditions and
norms – the and the crossroads of three principal religions and continents – it becomes very
difficult to define the Mediterranean area, except in geographic terms. Indeed there is much
debate on whether we can even speak of a Mediterranean identity, culture or even region;
and equally, it is impossible to treat the countries of the area as an undifferentiated group,
nor arrive a singular understanding of what constitutes ‘The Mediterranean’. It is as much a
real as an imagined space, whose perception has been determined and coloured by idyllic as
well as negative stereotypes and misperceptions. But what many of the 26 countries seem
to face today are a series of serious ongoing crises (whether social, economic, or political) as
well as several zones of armed conflict. In fact, it would not be an exaggeration to call the
Mediterranean a crisis zone of sorts. Greece, Spain, and Italy are all in the throes of
economic crises, Turkey is in the midst of a political crisis, while a large part of the Southern
shores of the Mediterranean simmer with political and social unrest as democracy is being </span><span style="font-family: Calibri; font-size: 11pt;">challenged, and the Eastern shores remain mired either in armed conflict or decades long
unresolved political, religious and territorial disputes.</span><br />
<span style="font-family: Calibri; font-size: 11pt;"><br /></span></div>
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<span style="font-family: 'Calibri'; font-size: 11.000000pt;">So while the Mediterranean cannot be defined in terms of a common identity, it constitutes
a hotbed for some of the more burning issues of the moment including social and economic
equality, democracy, civil rights, migration and mobility, and personal autonomy, the overall
area treading the fine line between order and disorder. Many countries of the
Mediterranean are, in fact, to a large extent facing a situation of impasse, which is
engendered by prolonged or unresolved crises. Gramsci himself defined crisis as precisely
that situation where “the old is dying and the new cannot be born” and added that, “in this
interregnum a great variety of morbid symptoms appear.” Given the failure of both politics
and the political imagination, what remains in many parts of the Mediterranean world is an
anticipation of alternatives and the hope for a better world.
</span><br />
<span style="font-family: 'Calibri'; font-size: 11.000000pt;"><br /></span>
<span style="font-family: 'Calibri'; font-size: 11.000000pt;">Gramsci’ quote is particularly relevant today, not only as concerns the Mediterranean,
because it well describes the current situation of impasse in many parts of the world. It is in
the vacuum or grey zone of this anticipation that we find ourselves in today, fuelled by
desire but bogged down by reality but also </span><span style="font-family: 'Calibri'; font-size: 11.000000pt; font-style: italic;">realpolitik. </span><span style="font-family: 'Calibri'; font-size: 11.000000pt;">It rests with artists, cultural
practitioners and grass roots activists to exercise the creative and radical imagination, in
order to critically dissect what is happening right now (thus engaging the pessimism of the
intellect) as well as to envisage or allude to another way of being (by harnessing the
optimism of the will). The exhibition will take Gramsci’s ideas as a point of departure to
reflect on the current situation of being in between two situations – one which is
conceptual, the other which is very much tied to the problematic ‘real’. ‘Pessimism of the
intellect’ entails a critical view of things as they are. ‘Optimism of the will’, evokes the
imagination, and the call to action necessary to overcome adversity. It is precisely between
these two mental poles that much of the Mediterranean finds itself today.
</span><br />
<span style="font-family: 'Calibri'; font-size: 11.000000pt;"><br /></span>
<span style="font-family: 'Calibri'; font-size: 11.000000pt;">In light of the general fatalism that governs many aspects of politics, economics, and public
life today, as well as the dominant view that capitalism is ‘inevitable’, Gramsci’s phrase
seems as relevant as it was when first written. It is the optimism of the will that when
implemented finally sparks change and can sow the seeds for a better future. The
Thessaloniki Biennial will explore the multiple meanings of this dual phrase as well as mine
that grey zone in between. In fact, the exhibition aims more to evoke the ambiguity of the
current moment, rather than just literally re-present crisis problematics.
</span><br />
<span style="font-family: 'Calibri'; font-size: 11.000000pt;"><br /></span>
<span style="font-family: 'Calibri'; font-size: 11.000000pt;">The biennial will thus shed light on some of the critical issues springing from Mediterranean
problematics, but will include works whose meaning has a more ecumenical significance.
The artists in the exhibition explore the multiple manifestations of this duality, engage in
critical, oppositional cultural practices, and exercise the freedom of the imagination, thus
symbolically engaging with Gramsci’s aphorism to look into and beyond the current crisis,
allowing for what Ernst Bloch has called “forward dreaming”.
</span><br />
<span style="font-family: 'Calibri'; font-size: 11.000000pt;">44 artists, and one collective from 25 countries all around the world, will exhibit their
artworks, including existing works as well as 14 new productions commissioned for the
occasion by the Biennale.
</span><br />
<span style="font-family: 'Calibri'; font-size: 11.000000pt;"><br /></span>
<span style="font-family: 'Calibri'; font-size: 11.000000pt;">Participating artists: Carlos Aires (ES), Can Altay & Jeremiah Day (TR/US), Ivan Argote (CO),
Marwa Arsanios (US), Bertille Bak (FR), Taysir Batniji (PS), James Beckett (ZA/NL), Adelita
Husni Bey (IT), David Brognon & Stéphanie Rollin (BE/LU), Marianna Christofides (CY),
Depression Era (GR), Ninar Esber (LB), Mounir Fatmi (MA), Peter Friedl (AT), Mekhitar
Garabedian (SY/BE), Ganzeer (EG), Marina Gioti (GR), Piero Gilardi (IT), Hamza Halloubi
(MA/BE), Nick Hannes (BE), Sven Johne (DE), Annika Kahrs (DE), Eleni Kamma (GR), Hayv
Kahraman (IQ), Mikhail Karikis (GR), Chrysanthi Koumianaki (GR), Erik Van Lieshout (NL), </span><span style="font-family: Calibri; font-size: 11pt;">Thomas Locher (DE), Angela Melitopoulos & Angela Anderson (DE/US), Tom Molloy (IE),
Nikos Navridis (GR), Qiu Zhijie (CN), Pavel Pepperstein (RU), Antonis Pittas (GR), Theo
Prodromidis (GR), Meriç Algün Ringborg (TR), Anila Rubiku (AL), Marinella Senatore (IT),
Nedko Solakov (BG), Nikos Tranos (GR), Thomas Weinberger (DE), Olav Westphalen (DE)</span><br />
<span style="font-family: Calibri; font-size: 11pt;"><br /></span>
<span style="font-family: Calibri; font-size: 15px; font-weight: bold;">Exhibition designer: Danae Giamalaki </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8jzDEdlspPSpazIE7OghYAWxRKXPyZHxK-8hj2-JRcgzpC4lgXS8Pc2IkVsoIusZUbrGRhDO6XiCHv-JAD4wTz88cEuKZOmWfw6Zpycyc-B5y-yETUGE0tl5fSpC0aZm6eeEPvC725oY/s1600/BIENNALE+5+INVITATION.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8jzDEdlspPSpazIE7OghYAWxRKXPyZHxK-8hj2-JRcgzpC4lgXS8Pc2IkVsoIusZUbrGRhDO6XiCHv-JAD4wTz88cEuKZOmWfw6Zpycyc-B5y-yETUGE0tl5fSpC0aZm6eeEPvC725oY/s640/BIENNALE+5+INVITATION.jpg" width="584" /></a></div>
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theo prohttp://www.blogger.com/profile/12259951441093079391noreply@blogger.com1tag:blogger.com,1999:blog-8570807736140098829.post-5922510805923738022015-06-21T19:12:00.000+03:002015-06-21T19:12:09.570+03:00Fireflies in the Night, Stavros Niarchos Foundation Cultural Center, 22.06 - 24.06.2015<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzIjhaXAA5wEkGBpUoFNvYvLywnsxR0j8i-Kp7v_Rv43u5Je05RY3VOxbWTbQXeZsebUfNpqCTDKeoyVnZ6H9F6ym-TY633WRUxMA9sDMwiiCijwPCHvoUL4vOMuThQ2yCXCM2jKRyTMA/s1600/Fireflies+in+the+Night+Invitation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzIjhaXAA5wEkGBpUoFNvYvLywnsxR0j8i-Kp7v_Rv43u5Je05RY3VOxbWTbQXeZsebUfNpqCTDKeoyVnZ6H9F6ym-TY633WRUxMA9sDMwiiCijwPCHvoUL4vOMuThQ2yCXCM2jKRyTMA/s1600/Fireflies+in+the+Night+Invitation.jpg" /></a></div>
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<b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><i><span lang="EN-US" style="font-size: 12pt;"><br /></span></i></b></div>
<div class="MsoNormalCxSpFirst" style="line-height: normal; text-align: justify;">
<b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><i><span lang="EN-US" style="font-size: 12pt;">“Fireflies
in the Night”</span></i></b></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><i><span lang="EN-US" style="font-size: 12pt;">All-Night</span></i></b><b style="mso-bidi-font-weight: normal;"><i><span lang="EN-US" style="font-size: 12pt;"> </span></i></b><b style="mso-bidi-font-weight: normal;"><i><span lang="EN-US" style="font-size: 12pt;">Video
Art screenings under the artistic direction of Robert Storr,</span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 12pt;"> <o:p></o:p></span></b></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><i><span lang="EN-US" style="font-size: 12pt;">with the
participation of over 50 Greek & foreign artists and collectives </span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 12pt;"> <o:p></o:p></span></b></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><i><span lang="EN-US" style="font-size: 12pt;"> </span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 12pt;"> <o:p></o:p></span></b></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><i><span lang="EN-US" style="font-size: 12pt;">The
screenings start on the 22nd and last until the 24th of June, </span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 12pt;"><o:p></o:p></span></b></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><i><span lang="EN-US" style="font-size: 12pt;">starting
at 23:00 of each night until 06:00 of the following
day</span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 12pt;"> <o:p></o:p></span></b></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: 12pt;">On Monday,
June 22, the Stavros Niarchos Park turns into an outdoor cinema, and presents
the three-night video art program “Fireflies in the Night”, organized by Robert
Storr, Dean of Yale School of Art, with curators Barbara London, Kalliopi
Minioudaki and Francesca Pietropaolo. </span><span lang="EN-US" style="font-size: 12pt;"> <o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: 12pt;">On the
same night, at 22:45, Robert Storr will be at the Stavros Niarchos Park,
to introduce the works of the Greek and foreign artists, which will then be
screened to the public.</span><span lang="EN-US" style="font-size: 12pt;"> <o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: 12pt;"> </span><span lang="EN-US" style="font-size: 12pt;"> <o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: 12pt;">The Program,
which is part of the events entitled “Light Up the Night at the Stavros
Niarchos Park”, includes non-stop screenings of some of the most important
works of the international video art scene, covering a wide and inclusive range
of formats, styles, themes, and moods. Brief “shorts,” both comic and
poetic, intersperse “feature length” documentaries
and dramatizations that comment on contemporary life in far flung
places, contemplate eternal questions of human existence, or critically explore
a variety of important issues that concern the people around the
world. </span><span lang="EN-US" style="font-size: 12pt;"> <o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: 12pt;"> </span><span lang="EN-US" style="font-size: 12pt;"> <o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: 12pt;">As part of the
programmed screenings, the Park’s visitors will have the rare opportunity
to experience Matthew Barney’s epic masterpiece “The Cremaster Cycle”
(1994-2002), which will be presented, in its entirety, for the first time in
Greece, on the night of Wednesday, June 24 (from 23:00 till 06:00 of
Thursday the 25th).</span><span lang="EN-US" style="font-size: 12pt;"> </span><span lang="EN-US" style="font-size: 12pt;">On the two previous nights (June 22
& 23), the program will present works from a diverse range of over 50
artists and collectives from different generations, both from Greece and
abroad. </span><span lang="EN-US" style="font-size: 12pt;"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: 12pt;"> </span><span lang="EN-US" style="font-size: 12pt;"> <o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: 12pt;">Conceived
“like a cross between performances of classic Greek plays in an ancient
amphitheater and walk-in ‘drive-in’ movie”, as put by Robert Storr,
the videos will be projected back-to-back on one or multiple screens, at
the heart of the Park (at the Great Lawn) on a stage that has been specially
constructed by the architect of the Stavros Niarchos Foundation Cultural
Center, Renzo Piano. </span><span lang="EN-US" style="font-size: 12pt;"> <o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: 12pt;"> </span><span lang="EN-US" style="font-size: 12pt;"> <o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: 12pt;">The
screenings will start every day (June 22-24) late at night, lasting until dawn
of the next day (23:00-06:00). With no end and no beginning, visitors will be
able to attend the screenings freely and watch for as long as they like. </span><span lang="EN-US" style="font-size: 12pt;"> <o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: 12pt;"> </span><span lang="EN-US" style="font-size: 12pt;"> <o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i><span lang="EN-US" style="font-size: 12pt;">Be advised
that given the late hour of these screenings the program was selected with
mature viewers in mind. </span></i><span lang="EN-US" style="font-size: 12pt;"> <o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 12pt;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">List of artists, whose works will be
screened in “Fireflies in the Night”: <o:p></o:p></span></span></b></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<span lang="EN-US" style="font-size: 12pt;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Chantal
Akerman, Alterazioni Video, Francis Alÿs, Michel Auder, Mathew
Barney, Dara Birnbaum, Olga Chernysheva, Donna Conlon and Jonathan Harker,
Danica Dakić, Patricia Esquivias, Haroun Farocki, Omer Fast, Yang Fudong, Shaun
Gladwell, Marco Godoy, Rodney Graham, Gary Hill, Susan
Hiller, Sanja Iveković, Joan Jonas, Isaac Julien, Jesper Just, Anna
K. E., Amar Kanwar, Mary Reid Kelley with Patrick Kelley, Mike Kelley
& Ericka Beckman, William Kentridge, Ragnar Kjartansson, Meiro Koizumi,
Katarzyna Kozyra, Sharon Lockhart, Marilyn Minter, Joshua Mosley, Wangechi
Mutu, Nikos Navridis, Maria Papadimitriou, Sophia Petrides, Paul Pfeiffer,
Artemis Potamianou, Theo Prodromidis, Laure Prouvost, Araya Rasdjarmrearnsook,
Pipilotti Rist, Anri Sala, Carolee Schneemann, Cindy Sherman,
Ann-Sofi Sidén with Jonathan Bepler, Vassiliea Stylianidou, Livia
Ungur and Sherng-Lee Huang, Bill Viola, Guido Van Der Werve, Sue
Williamson, Young-Hae Chang Heavy Industries, ZimmerFrei.<o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: left;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 12pt;">Each night's program, along with
descriptive notes on the works by the curators will be available at </span></b><span lang="EL"><a href="http://www.snfcc.org/countdown"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US;">www.snfcc.org/countdown</span></b></a></span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 12pt;"> <o:p></o:p></span></b></span></div>
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theo prohttp://www.blogger.com/profile/12259951441093079391noreply@blogger.com1tag:blogger.com,1999:blog-8570807736140098829.post-76507023765680608602014-08-30T23:33:00.002+03:002014-08-30T23:33:24.011+03:00Theo Prodromidis Biography<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Verdana, sans-serif; font-size: x-small;">Theo Prodromidis</span></div>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;">born in Thessaloniki in 1979, live and works in Athens, Greece.</span></div>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;">He studied Contemporary Media Practice at the University of Westminster and was awarded an MFA in Fine Art at Goldsmiths in 2007, in London, UK. </span></div>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;">His work has been exhibited in galleries, museums and institutions such as the 4h Athens Biennale, Athens, Greece, ReMap, Athens, Greece, Athens & Epidaurus Festival, Athens, Greece, Kunsthalle Athena, Athens, Greece, Ileana Tounta Art Centre, Athens, Greece, Werkleitz zentrum für medienkunst, Halle, Germany, Contour Mechelen, Brussels, Belgium, State Museum of Contemporary Art, Thessaloniki, Greece, Tramway, Glascow, Scotland, Centre Pompidou, Paris, France, Fondazione Merz, Torino, Italy, the 1st Thessaloniki Biennale, Thessaloniki, Greece, Museum of Cinema, Thessaloniki, Greece, Macedonian Museum of Contemporary Art, Thessaloniki, Greece i.a.</span></div>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;">He has been awarded with European Media Artists Award (EMARE), 2008 and Onassis Foundation Award, 2006. His work is in public and private collections in Greece, UK and Italy.</span></div>
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theo prohttp://www.blogger.com/profile/12259951441093079391noreply@blogger.com1tag:blogger.com,1999:blog-8570807736140098829.post-92136163603152420222014-08-30T23:31:00.003+03:002014-08-30T23:47:52.966+03:00Towards the Bank of the Future, 2013 information <div dir="ltr" style="text-align: left;" trbidi="on">
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Theo Prodromidis</div>
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Towards the Bank of the Future</div>
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2K, stereo, 7'30"</div>
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2013</div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 10pt;">commissioned by the Onassis Cultural Centre-Athens for the <i>Visual Dialogues 2013<o:p></o:p></i></span></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 10pt;"><i><br /></i></span></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 10pt;"><i>presentation text:</i></span></div>
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<span lang="EN-US">"Towards the Bank of the Future" observes and engages with two conceptual axes. </span></div>
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<span lang="EN-US"><span style="font-size: 10pt;">The first axis derives from the analysis of Aristotle in the Nicomachean Ethics, where Aristotle presents the problematic of a definition of the "work of man". </span><span style="font-size: 10pt;">In the same way that Aristotle sets the work of man in motion, this form of a life that is activated by the operation of Logos, Cavafys repositions life, or a form of life at least, in the sphere of History, a history of action, an action beyond a simple livelihood (ζῆν).</span></span></div>
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<span lang="EN-US"><span style="font-size: 10pt;">At this exact point, the work focuses on the second axis, on the concept of historicity, thus the specific position and use of History in the work of Cavafys. The poet frequently narrates in his works, of a man who is historically located either in the classical or the modern times.</span><span style="font-size: 10pt;">The above element is the one that transforms the work of Cavafys to a significant moment of modernity in poetry. The displaced historicity of the form, where the atemporal collides with the historical.</span></span></div>
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theo prohttp://www.blogger.com/profile/12259951441093079391noreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-62800126501281726252014-08-30T23:31:00.002+03:002014-08-30T23:32:32.299+03:00Towards the production of Dialogues On The Market Of Bronze and Other Precious Materials, information<div dir="ltr" style="text-align: left;" trbidi="on">
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Towards the production of Dialogues On The Market Of Bronze and Other Precious Materials, 2013.<br />
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<i style="font-family: Verdana, sans-serif; font-size: 13px;">presentation text:</i><br />
The video installation "Towards the production of Dialogues On The Market Of Bronze and Other Precious Materials" has as a starting point of reference Bertolt Brecht's The Messingkauf Dialogues, a theoretical work in a dialectical form that dates back to 1939 and was written in four different versions in a period of four years but remained incomplete.The work situates a re-interpreted version of Brecht's work, connected to the socio-economic circumstances regarding contemporary society and the implications that these may cause, in the structures of a monetary policy, and its reverberations in the cultural sphere.<br />
Based on Brecht's four nights' structure the artist aims to provoke correlations regarding two structures, the structure of politics and the structure of finance using their architectural form and specificities as a visual starting point. The work motivates the viewer to contemplate all the above elements in a manner that the aesthetic experience of viewing it produces a platform for the critical engagement of the spectator with the socio-political signifiers that are presented.<br />
Theo Prodromidis's video installation has a specific social context, to collective and private experiences as a consequence of politico-economic and political-cultural locations that are densified in a narrativized, critical and poetic process.<br />
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theo prohttp://www.blogger.com/profile/12259951441093079391noreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-88107464777112443782014-06-20T17:30:00.000+03:002014-06-20T17:38:08.456+03:00Hermeneutics of Perpetual Time, REH-transformer<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial, Helvetica, sans-serif;">Theo Prodromidis</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Vox pop and nothing more</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">2009</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">100 black and white slides, 10min, stereo sound</span></div>
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<strong><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Courier New";">REH-transformer</span></strong><strong><span lang="EN-US" style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"> space </span></strong><strong><span lang="EN-US" style="font-family: Verdana; font-size: 11.0pt; font-weight: normal; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold;">announces the opening of the show</span></strong><strong><span lang="EN-US" style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"> </span></strong><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Courier New";">Hermeneutics
of Perpetual Time</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Courier New";"> </span></b><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Courier New";">curated by<b style="mso-bidi-font-weight: normal;"> Katerina Nikou</b>.</span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><o:p> </o:p></span></b><b><span lang="EN-US" style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";"><o:p> </o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Verdana; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Participating Artists: Dimitris Andreadis, Zoi
Gaitanidou, Panos Papadopoulos, Sifis Lykakis, Theo Prodromidis, Diamantis
Sotiropoulos, Dimitris Tsoumplekas<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Verdana; font-size: 11pt;">Opening: Wednesday 17 June, 17.00 – 19.00<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Verdana; font-size: 11pt;">Private Preview & Reception: 20 June,
19.00 – 22.00<span style="color: red;"><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Duration: 17/06/2014 – 24/06/2014<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Verdana; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Opening hours: daily from 17/06 – 24/06, 17:00 -19:00
or by appointment </span></b><strong><span style="font-family: Verdana; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Courier New";">: </span></strong><b><u><span style="font-family: Verdana; font-size: 10pt;"><a href="mailto:info@rehtransformer.com">info@rehtransformer.com</a>, www.rehtransformer.com</span></u></b><span style="font-family: Verdana; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL;"><o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB;">REH-transformer is a new project space
directed by Marcus Kettel in the former Raumerweiterungshalle (produced
and used as a flexible expanding hall during the time of the German Democratic
Republic) in which the name functions as a metaphor for the innovative program
that will be presented in the space.<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB;">The notion of time and our perception of it, either it
is collective or personal, has been questioned by thinkers, intellectuals,
scientists and philosophers through the years. The fact that the experience of
time is connected to the subjectivity of a variety of events creates
difficulties in finding equivalences between different experiences of time and
approaches regarding the perception of the temporal.<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB;">According to our experiences, feelings, social manners
and behaviour, time changes, extends, expands, is being eliminated or even
extinguished. This is what makes the temporal, a particular parameter of our
life in all its conditions: social, personal, public, political, cultural.<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB;">In relation to arts, artists and art production, time
acquires a unique feature: it</span><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-US;"> </span><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB;">becomes perpetual. The artists
express themselves ignoring the constraints</span><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-US;"> </span><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB;">of time and present their
ideas and concerns free to choose the <i style="mso-bidi-font-style: normal;">time
frame</i> even more free to produce associations regarding time dislocation
connected to cultural, political, social, existential and many more issues. In
this case, we notice the combination of real and fictitious elements that allow
the viewer to make a variety of correlations</span><span lang="EN-US" style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-US;">. <o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB;">The show <b style="mso-bidi-font-weight: normal;">Hermeneutics
of Perpetual Time</b> presents works that deal with the notion of time, the
momentum and the archive, without making an</span><span lang="EN-US" style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-US;">d </span><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB;">obvious
and specific chronological indication and distinction. The show</span><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-US;"> </span><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB;">attempts
to reinforce the opinion of some scientists, philosophers and theorists that
the structure of past, present and future belongs to an illusionary system of
approaching time. </span><span lang="EL" style="font-family: Verdana; font-size: 11.0pt;">The perception of time is being</span><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB;">formulated through experiences and events that are
linked to each other in a</span><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-US;"> </span><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB;">paradoxical manner.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB;">Hermeneutics
of Perpetual Time</span></b><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB;"> could be viewed as fragment<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB;">of memory that includes sub-meanings of time
perception and provides an</span><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-US;"> </span><span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB;">alternative paradigm to the
visitor to produce his own associations on time, space and experience as well
as the way that these influence the interpretation of our personal and
collective cosmos.<o:p></o:p></span></div>
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<span lang="DE" style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: DE; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL;">REH-transformer<o:p></o:p></span></div>
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<span lang="DE" style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: DE; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL;">Kopenhagenerstr. 17, 10437 Berlin<o:p></o:p></span></div>
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<span lang="DE" style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: DE; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL;">S&U Schönhauser Allee<o:p></o:p></span></div>
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<span style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL;">and by appointment <b><u><span style="color: #111111;">info@rehtransformer.com</span></u></b><o:p></o:p></span></div>
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<b><u><span lang="DE" style="color: #111111; font-family: Verdana; font-size: 11.0pt; mso-ansi-language: DE; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL;">www.rehtransformer.com</span></u></b><span lang="DE" style="font-family: Verdana; font-size: 11.0pt; mso-ansi-language: DE; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL;"><o:p></o:p></span></div>
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<span lang="DE" style="font-family: Verdana; font-size: 10.0pt; mso-ansi-language: DE;">Katerina Nikou : katerinanikou8@gmail.com<o:p></o:p></span></div>
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theo prohttp://www.blogger.com/profile/12259951441093079391noreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-52718487697384024442014-06-20T17:27:00.001+03:002014-06-22T09:54:00.550+03:00Pre-Text, Ileana Tounta Contemporary Art Center<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Theo Prodromidis<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Goodbye...etc<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">2013<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">in collaboration with Aggeliki Papoulia<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">handbound book, 108 pages in 100gr and 160gr paper<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">edition of 16 + 4 Artist's Proof<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Theo Prodromidis<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Element for the support of new structures<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">2014<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">bronze<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">13cm x 13cm x 13cm<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span lang="EN-US">edition of 64 + 16 Artist's Proof</span><span lang="EN-US"><br /></span></span></div>
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<span lang="EN-US"><span style="background-color: white; color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: small; line-height: 17px; white-space: pre-wrap;">Theo Prodromidis's (Goodbye...etc, 2013 & Element For The Support Of New Structures, 2014) latest works formulate a critique of the political sign and deal with a number of issues: formal, social and historical.The artist collaborated with Aggeliki Papoulia, actress and founding member of blitz theatre group, and together produced 524 new sentences, by using the method of Tristan Tzara on a collection of 524 books. The books were given to the artists as a response to their call for printed material that is relevant in formulating the discourse of the Left. One of the outcomes of this process is the publication of a handbound book limited to an edition of 16, after a 16-hour long performance that lasted two days.</span></span></div>
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link: <a href="http://theo-prodromidis.blogspot.gr/2011/06/farewell-at-kunsthalle-athena.html">documentation of the performance at Kunsthalle Athena</a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>08</b><b>.05.2014 – 19.06.2014</b></span></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;">The Ileana Tounta Contemporary Art Center presents the group show «PRE-TEXT».<br />The show will open on Thursday, 8 May 2014, at 19:30,<br />and will run until 21 June 2014.</span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-GB">PRE-TEXT</span></b><span lang="EN-GB"> is the first part of the exhibition<b> This Is A Historic Opportunity For Us</b> with major support from <b><span style="color: #ff0066;">NEON.</span></b></span></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif;">Curated by Ileana Tounta, Dimitrios Antonitsis and Katerina Nikou</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">Participating artists</span><span lang="EN-US">Dimitris Andreadis, Kostas Bassanos, Kostas Christopoulos, Panos Famelis, Dimitris Foutris, Pavlos Fysakis, Christina Koutsospyrou & Aran Hughes, Irini Miga, Fryni Mouzakitou, Alexandros Papathanasiou, Theo Prodromidis, Kostas Sahpazis, Eva Stefani, Dimitris Tsoumplekas, Kostis Velonis</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-GB">Pre-Text</span></b><span lang="EN-GB"> is the first part of the large scale exhibition <b><i>This Is A Historic Opportunity For Us</i></b></span><span lang="EN-US"> (title taken from Antonis Pittas’ work)</span><span lang="EN-GB">. </span>The idea of this exhibition came up as an internal need and an immediate response to the socio-political crisis that Greece has been through since 2009 as it is one of the first European countries to confront the aftermath of the global crisis. <i>This Is A Historic Opportunity For Us</i> is a project that has been designed since 2012 aiming to find the appropriate venue to host the exhibition in a European metropolitan city.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-GB">Pre-Text</span></b><span lang="EN-GB"> refers to socio-political conditions with connections to political history and our perception regarding historical knowledge. </span>Through the works, the viewer “reads” a concrete political meaning that depends upon the dialectic of individuality and collectivity at play within a social system. They conjure up a universe of individual worlds that invoke contemporary awareness and use it as a prism through which to look upon how we experience reality. The artists explore areas where there are no rigid distinctions between theory and practice; where the boundaries between the two seem to blur.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-GB">Pre-Text</span></b><span lang="EN-GB"> questions the ways in which the past is conceptually and contextually reoriented towards the future. As a great number of contemporary philosophers argue “prior” is the new “after” and the notion of time transforms accordingly to continuous changes of social conditions. </span><span lang="EN-US">The viewer faces an up-to-date historical record of art that confronts the future as the present, art that talks about the future with works, created the last five years and function as knowledge tools to understand the present by reflecting it to the future. </span></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif;">The works suggest different readings and interpretations that aim to provoke the viewer’s perception regarding global sociological issues that affects one’s perception and individual participation to a collective “status quo”.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">Through the </span><span lang="EN-US">painting of <b>Dimitris Andreadis (</b><i>Untitled</i>, 2014) the viewer recognizes and re-evaluates familiar images, which prevail in a black background with the use of chiaroscuro treating light and shades in a strong emotional current.</span><span class="hps"><span lang="EN"> The artist</span></span><span lang="EN"> <span class="hps">proposes a</span>n open <span class="hps">conceptual framework that invites</span> <span class="hps">the viewer to</span><span class="hps">generate his own correlations.</span></span><span lang="EN-GB"> The artist captures the momentum and the “magic power of transubstantiation”. </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-GB">Kostas Bassanos’</span></b><span lang="EN-US"> (<i>Smudge</i>, </span><span lang="EN-GB">2013 & <i>Constitutional White</i>, 2012) poetic approach emerges through the use of minimal means, be it a snapshot when it comes to videos, or some ink or a sheet of paper when it comes to sculptural works. With references to romanticism - sometimes visible and other times merged in a strict and simple visual vocabulary - the artist attempts a conceptual investigation of the perception of reality through the tradition of late modernism. </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US">The two paintings of <b>Kostas Christopoulos</b> </span><span lang="EN-GB">(<i>Untitled</i>, 2012) </span><span lang="EN-US">re-introduce the title of Francis Fukuyama <i>The End of History?</i> </span><span lang="EN-GB">published in the international affairs journal </span><a href="http://en.wikipedia.org/wiki/The_National_Interest" style="color: blue;" title="The National Interest"><i><span lang="EN-GB" style="color: black;">The National Interes</span></i><span lang="EN-GB" style="color: black;">t</span></a><span lang="EN-GB">. Christopoulos borrows the End of History which was used as slogan in a public protest in Berlin. The artist removes the question mark from Fukuyama’s original phrase attempting to declare his personal thesis about the End of History. Christopoulos connects the notion of history and its evolution with the current socio-political conditions that are being defined by the international politics. Expanding this thought the artist wishes to criticize the individual’s ambivalent position in an insecure social environment.</span></span></div>
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<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif;">The unique gesture in <b>Panos Famelis’</b> painting (<i>The Wave</i>, 2013) raises the issue of accumulation of the image and material on the surface of the canvas. The viewer encounters a work, which viewed from different distances, changes in composition. The work raises questions of memory and history in a timeframe that seems to signal the end of an era. The contradictions that arise are a result of empirical knowledge and emotions, which are constantly tested by the very meaning of experience and the individual’s perceptual ability of it.</span></div>
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<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif;">The work of <b>Dimitris Foutris</b> (<i>The End Of It All, Before The End, After The End, End End End, Part 2</i>, 2011) focuses on the concept of nature. It questions nature and the relationship of the Byzantine landscape, specifically on the idea of the <i>cliff </i>that mobilizes our conscience towards meditation, melancholy and optimism on the other, concerning the current situation and its social implications and the ability to perceive depth. Furthermore, it suggests the concept of “the self” as a Landscape or mountain related with the notion of “the desert”, the biblical desert from the Byzantine era.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-GB">Pavlos Fysakis</span></b><span lang="EN-GB"> (<i>Untitled</i></span><span lang="EN-US">,</span><span lang="EN-GB"> 2011-2013) has been always preoccupied with the idea of boundaries. </span>As a photographer, he is interested in the human order of things, constantly debating the solidity, or the fluidity of those territorial, cultural, social, and personal boundaries that define and position us within a society. In that quest, the artist creates imaginary narratives through a geographic exploration of space, documenting culture, identity and social phenomena such as urbanization, isolation and transition</span></div>
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<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif;">Set over four days of unrelenting wind and rain in a remote village high up in the Nafpaktia mountains in the west of Greece, the film of <b>Christina Koytsospyrou & Aran Hughes </b>(<i>Waiting for the Past</i>, 2012) follows the lives of two shepherd families struggling to live. The village, now forgotten and nearly deserted, has had its best days. Combining documentary and fiction with an all-local cast, <i>Waiting for the Past</i> is both the reality and an unsettling allegory of today’s Greece.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-GB">Irini Miga’s</span></b><span lang="EN-GB"> works (<i>In Between,</i> 2012 & <i>The Alluring Warmth of Tolerance as a Habit,</i> 2012) examine dismantled classicism. Within this transitional socio-political period in Greece, she declares herself as a utopian architect creating forms as skeletons, as basic structures that echo the past and suggest a shift in the perceptions of our current reality. The artist invites the viewers to contemplate the way history may repeat itself. Speed is today’s token towards tomorrow, and chasing a lustrous future allows us the privilege of forgetting.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US">Fryni Mouzakitou</span></b><span lang="EN-US"> (</span><i><span lang="EN-GB">Aluminum Rolls,</span></i><span lang="EN-GB"> 2014) </span><span lang="EN-US">presents two large scale paintings imitating the aluminum rolls that secure the facades of the commercial stores. The artist makes a political comment on the boundaries and the borders that define the financial crisis which influence the social life of the contemporary society. The banned exterior of an edifice creates the sense of unfamiliarity to the viewer and defines a secret space between the work and the viewer. Mouzakitou provokes our thoughts about the side-effects of a society in a precarious condition.</span><b><span lang="EN-GB"> </span></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-GB">Alexandros Papathanasiou </span></b><span lang="EN-GB">(<i>Do</i></span><i><span lang="EN-US"> Not</span><span lang="EN-GB"> Worry About The Gover</span><span lang="EN-US">n</span><span lang="EN-GB">ment</span></i><span lang="EN-GB">, 2012 & <i>Intention,</i> 2012) focuses on found, invented and intervened objects that are brought together in arrangements that reveal and underline the process of making, by pointing out the moments of decision-making and affirming those of profound hesitation. An eccentric discourse and a conceptual panning between “what is” and “what might be” that renders tangible the space between the object and the art-object; </span><span lang="EN-US">namely the blind spot of society’s vision</span><span lang="EN-GB">, where Art manifests itself by encountering its own existence. </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-GB">Theo Prodromidis’</span></b><span lang="EN-GB"> (<i>Goodbye...etc</i>, 2013 & <i>Element For The Support Of New Structures Bronze</i>, 2014) <span style="color: #333333;">latest works formulate a critique of the political sign and deal with a number of issues: formal, social and historical. The artist collaborated with Aggeliki Papoulia, actress and founding member of blitz theatre group, and together produced 524 new sentences by using the method of Tristan Tzara on a collection of 524 books. The books were given to the artists as a response to their call for printed material that is relevant in formulating the discourse of the Left. One of the outcomes of this process is the publication of a handbound book limited to an edition of 16, after a 16-hour long performance that lasted two days.</span></span></span></div>
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<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif;">The works of <b>Kostas Sahpazis</b> (<i>Carried in Pockets</i>, 2012 & <i>Untitled</i>, 2012) suggests an imaginary stage which is activated by materials stacked together, layered one on top of the other, or organized through their form. The central narrative unfolds around the simultaneous holding of two contradictory positions: that of materiality and that of unconscious space. At the end the viewer can recognize that the objects have been arranged by an instinctive mechanism of decision as well as by a sudden intrusion of an alien idea. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">The film of <b>Eva Stefani</b> (<i>Ill </i></span><i><span lang="EN-GB">Not Ill, Athens</span></i><span lang="EN-GB">, 2011) explores a day in the life of a Greek hospital in central Athens. By following various incidents that occur during the day between staff and patients, the documentary attempts to offer a surreal portrait of what it is to live in Greece right now. The film constitutes a documentation regarding Greek-society’s welfare status.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In <i>Texas</i>, <b>Dimitris Tsoublekas’</b> photographic series, one recognizes the infinite freedom of vision. What the artist initially saw and which we now also see - landscapes, human figures, interiors - always seems to result from a battle with time, a battle with himself. Abandoned buildings, rooms with collapsed walls or natural barriers, people who are shadows of themselves in front of their glasses, demonic children, lonely men looking elsewhere are the evidence of a desire for freedom verging on destruction.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">The work of<b> Kostis Velonis</b> (<i>At the end of Demonstration Day</i>, 2009) offers an image of loneliness, anxiety and fear. </span>At the end of the day, after protesting and rallying, the demonstrator is left alone with a feeling of sorrow, loss and contemplation. <span lang="EN-GB">The poetic strength of this tender work rests on the psychological and emotive human condition suggested by the isolated stool</span><span lang="EN-US">.</span></span><br />
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theo prohttp://www.blogger.com/profile/12259951441093079391noreply@blogger.com1tag:blogger.com,1999:blog-8570807736140098829.post-10570344406412445542013-11-13T14:22:00.001+02:002013-11-13T14:22:22.007+02:00Towards the Bank of the Future, 2013 at Visual Dialogues 2013<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: 16px;">Theo Prodromidis</span><br style="font-size: 16px;" /><span style="font-size: 16px;">Towards the Bank of the Future</span><br style="font-size: 16px;" /><span style="font-size: 16px;">2K, stereo, 7'30"</span></div>
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<span style="font-size: 16px;">2013</span></div>
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<span style="font-size: 16px;">© courtesy of the artist 2013</span></div>
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<!--StartFragment--><span lang="EN-US" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: Arial; mso-fareast-language: EN-US;">"Towards the Bank of the Future" observes
and engages with two conceptual axes.</span>
<br />
<div class="MsoNormal">
<br /></div>
<span lang="EN-US" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: Arial; mso-fareast-language: EN-US;">The
first axis derives from the analysis of Aristotle in the Nicomachean Ethics,
where Aristotle presents the problematic of a definition of the "work of
man". As the Italian philosopher Giorgio Agamben comments "the aim of
such a definition is the designation of the ultimate good (<i>Agathon</i>) as a subject of political science, in relation to which
the engagement with ethics, operates as a form of introduction. This ultimate
good is happiness".</span>
<div class="MsoNormal">
<br /></div>
<span lang="EN-US" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: Arial; mso-fareast-language: EN-US;">In
Cavafy's work, one can locate this engagement, between the ethical and
aesthetic operation of man and specifically of the creator of work.</span>
<div class="MsoNormal">
<br /></div>
<span lang="EN-US" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: Arial; mso-fareast-language: EN-US;">In
the same way that Aristotle sets the work of man in motion, this form of a life
that is activated by the operation of <i>Logos,</i>
Cavafys repositions life, or a form of life at least, in the sphere of History,
a history of action, an action beyond a simple livelihood (<i>ζῆν</i>). </span>
<div class="MsoNormal">
<br /></div>
<span lang="EN-US" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: Arial; mso-fareast-language: EN-US;">Cavafys
in a way that is essentially modern, and with modernity being clearly visible
in the formal qualities of his body of work, describes, and thus positions in
the sphere of aesthetics, actions and events taken from both the historical and
the everyday, and thus elevates them in forms that while they are located in
the common, they are set in motion by the sublime.</span>
<div class="MsoNormal">
<br /></div>
<span lang="EN-US" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: Arial; mso-fareast-language: EN-US;">At
this exact point, the work "Towards the Bank of the Future" focuses
on the second axis, on the concept of historicity, thus the specific position
and use of History in the work of Cavafys. The poet frequently narrates in his
works, of a man who is historically located either in the classical or the
modern times.</span>
<div class="MsoNormal">
<br /></div>
<span lang="EN-US" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: Arial; mso-fareast-language: EN-US;">What
is always underlying and gives the work its characteristic force, are these
historical moments that one can come in relation to in Cavafy's poetry, moments
that usually overturn established political and social orders. And while the
narration revolves around the tangible and the everyday, the historical
position is always a key element for both the semiotic and experiential
engagement with the poem.</span>
<div class="MsoNormal">
<br /></div>
<span lang="EN-US" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: Arial; mso-fareast-language: EN-US;">The
above element is the one that transforms the work of Cavafys to a significant
moment of modernity in poetry. The displaced historicity of the form, where the
atemporal collides with the historical.</span>
<div class="MsoNormal">
<br /></div>
<br />
<a href="http://www.sgt.gr/en/programme/event/1352" target="_blank">http://www.sgt.gr/en/programme/event/1352</a></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-53590545225894504782013-11-07T14:14:00.000+02:002013-11-13T14:25:53.204+02:00Visual Dialogues 2013 at Plato's Academy, Athens, organised by Onassis Cultural Centre<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
Visual Dialogues 2013<br />
<br />
November 7th, 2013 – January 7th, 2014<br />
<br />
Visual Dialogues 2013 leave the confines of the OCC to transform Plato’s Academy Leisure Park into an ideal space for exhibiting works inspired by the great Greek poet, C.P. Cavafy.<br />
Visual Dialogues 2013 is a project, organized for the third time by the Onassis Cultural Centre, with the purpose to build a communication bridge with the audience in public spaces of Athens, suggesting to Athenians a different viewpoint of their city through art.<br />
<br />
On the occasion of the celebrating year 2013, which marks both the 150th anniversary of C.P. Cavafy’s birth and the 80th anniversary of his death, Visual Dialogues 2013 aspire to constitute a reflection on how the great poet deals with, interprets, evaluates and “transfers” the Ancient Greek Thought’s heritage in his era.<br />
<br />
Within this framework, 10 contemporary, young artists, who work with digital image, were invited to approach through their artistic language C.P. Cavafy’s oeuvre by creating completely new, original works produced with new media technologies (video, animation, etc.).<br />
<br />
In the attempt to create a dialogue between Greek and foreign artists, and as an hommage to the cosmopolitan character of C.P. Cavafy’s life and work, among this<br />
year’s participations there are three foreign artists and a large number of Greeks, permanently living and working abroad.<br />
<br />
The ten, in total, digital artworks are shown inside self-contained architectural structures standing in the Plato’s Academy Leisure Park, designed especially to fit in with the Park’s natural surroundings.<br />
<br />
The presented artworks will be the following:<br />
<br />
Athanasios Argianas<br />
Pinna, 2013<br />
Marianna Christofides<br />
Here let me stand, 2013<br />
Joana Hadjithomas – Khalil Joreige<br />
I stared at beauty so much..., 2013<br />
Rick Myers<br />
An Excavation / A Reading (Before the Statue of Endymion)<br />
Theo Prodromidis<br />
Towards the Bank of the Future, 2013<br />
Bill Psarras<br />
Urban Halo, 2013<br />
Erica Scourti<br />
Out of Time, 2013<br />
Yorgos Taxiarchopoulos<br />
Oracle, 2013<br />
Yiannis Theodoropoulos<br />
Antioch, 2013<br />
Maria Varela<br />
And so much intensity in Greek phraseology, 2013<br />
<br />
Plato’s Academy Leisure Park<br />
Exhibition curator: Marilena V. Karra<br />
Exhibition’s Duration: November 7th, 2013 – January 7th, 2014<br />
Opening Hours: Mon – Sun 12.00-18.00<br />
Free Admission<br />
<br />
It is worth noting, that the work by Katerina Athanasopoulou, “Apodemy”, which was commissioned by OCC and was first presented at Visual Dialogues 2012 at Plato’s Academy Leisure Park, was awarded with the internationally acclaimed Lumen Prize on October 8, 2013. This prize is awarded annually and it aims to bring out the best digital works internationally.<br />
<br />
“Visual Dialogues” are implemented in the framework of the project “Greek Cogitation Colloquia: Experiential Learning Programs” as part of the action “Academy of Plato – The city and the citizen”. The project "Greek Cogitation Colloquia: Experiential Learning Programs" has been designed by the Onassis Cultural Centre – Non Profit Organization and is implemented in collaboration with the National University of Athens. The project is co-financed by European Social Fund and National funds through the Operational Programme Education and Lifelong Learning.<br />
<br />
This project, focused on Education and Lifelong Learning for people of all ages, aspires to open up new avenues of thought on issues of global and diachronic interest through a wide range of experiential activities, focusing on the Greek way of thinking and the "Academy of Plato". Leading thinkers, scholars, scientists, artists and intellectuals from around the world are participating in public debates, educational programs, workshops and experiential learning programs targeted to the Hellenism, the City and the Citizen.<br />
<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-13460115939449375632013-10-08T22:39:00.002+03:002013-10-08T23:46:03.267+03:00info and installation shots of Towards the production of Dialogues On The Market Of Bronze and Other Precious Materials, 2013 from AGORA, 4th Athens Biennale<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #333333; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="line-height: 14px; white-space: pre-wrap;">AGORA Guide text:</span></span><br />
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The video installation “Towards the production of Dialogues On The Market Of Bronze and Other Precious Materials” has as a starting point of reference Bertolt Brecht's The Messingkauf Dialogues, a theoretical work in a dialectical form that dates back to 1939 and was written in four different versions in a period of four years but remained incomplete.The work situates a re-interpreted version of Brecht’s work, connected to the socio-economic circumstances regarding contemporary society and the implications that these may cause, in the structures of a monetary policy, and its reverberations in the cultural sphere.</span></span><br />
<span style="color: #333333; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="line-height: 14px; white-space: pre-wrap;">Based on Brecht’s four nights’ structure the artist aims to provoke correlations regarding two structures, the structure of politics and the structure of finance using their architectural form and specificities as a visual starting point. The work motivates the viewer to contemplate all the above elements in a manner that the aesthetic experience of viewing it produces a platform for the critical engagement of the spectator with the socio-political signifiers that are presented.</span></span><br />
<span style="color: #333333; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="line-height: 14px; white-space: pre-wrap;">Theo Prodromidis’s video installation has a specific social context, to collective and private experiences as a consequence of politico-economic and political-cultural locations that are densified in a narrativized, critical and poetic process.</span></span><br />
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<span style="color: #333333; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="line-height: 14px; white-space: pre-wrap;">
-Katerina Nikou</span></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">© courtesy of the artist and Ileana Tounta Contemporary Art Centre, 2013</span></div>
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<br />
Theo Prodromidis<br />
Towards the production of Dialogues On The Market Of Bronze and Other Precious Materials<br />
2013<br />
4 screen synchronised HD video installation, surround sound, 16min.<br />
copper, metal, wood.<br />
<br />
actress PINELOPI TSILIKA<br />
actor ANDREAS KONSTANTINOU<br />
dramaturg NIKOLAS HANAKOULAS<br />
philosopher SPYROS TEGOS As Himself<br />
electrician ALEXANDROS MAVROPOULOS<br />
<br />
writer-director THEO PRODROMIDIS<br />
director of photography KONSTANTINOS KOUKOULIOS<br />
editor ARTEMIS ANASTASIADOU<br />
sound supervisor NIKOLAS KONSTANTINOU<br />
sound recordists CHRISTOS PAPADOPOULOS NIKOLAS KONSTANTINOU<br />
first assistant director MARIA LAINAS<br />
second assistant director ALKI POLITI<br />
associate producer KATERINA NIKOU<br />
producer THEO PRODROMIDIS<br />
production manager CHRYSOSTOMOS THEODOROUDIS<br />
1st assistant camera STAMATIS KOUROS<br />
set designer-costume designer KATERINA TSAKOTA<br />
hair and makeup IOANNA LYGIZOU<br />
set photographer PETROS NIKOLTSOS<br />
production assistants DIMITRIS OMORFOS SAVVAS PARASKEVAS<br />
LEFTERIS STEFANIDIS LEFTERIS THEODOROUDIS<br />
audio post-production NIKOLAS KONSTANTINOU<br />
post-production AUTHORWAVE<br />
post-production manager PANOS BISDAS<br />
colorist ALEXANDROS KAPIDAKIS<br />
subtitles PANAGIOTIS KARAHALIOS<br />
camera BLACK MAGIC CINEMA CAMERA<br />
lenses CARL ZEISS COMPACT PRIMES<br />
<br />
original score composer THOMAS BAKALAKOS<br />
"After Our Darkness" 2013<br />
Inspired by Anne Clarke's "Our Darkness" and Bertolt Brecht's "The Messingkauf Dialogues"<br />
a study in brass sound by THOMAS BAKALAKOS for a brass octet, 2 bassoon, drums and percussion<br />
arrangement for concert band DIMITRIS MICHAS<br />
lyrics adaptation THEO PRODROMIDIS<br />
performed by PINELOPI TSILIKA and recorded at TONE STUDIO ATHENS<br />
score performed by ATHENS MUNICIPALITY PHILHARMONIC ORCHESTRA<br />
conductor DIMITRIS MICHAS<br />
recorded by VASILIS EFRAIMIDIS<br />
<br />
shot in location at<br />
COMMUNIST PARTY OF GREECE<br />
ATHENS STOCK EXCHANGE<br />
NATIONAL BANK OF GREECE BUILDINGS AT SOFOKLEOUS AND PESMATZOGLOU<br />
EMPOROCHALKO<br />
COLOMBOS METALS<br />
BIOS<br />
<br />
co-produced by<br />
THEO PRODROMIDIS STUDIO<br />
PARASOL PRODUCTIONS<br />
AUTHORWAVE<br />
<br />
© THEO PRODROMIDIS / THEO PRODROMIDIS STUDIO 2013<br />
<br />
installation design and supervision MARIA MANETA<br />
artist's assistant KONSTANTINOS KOTSIS<br />
<br />
many thanks to<br />
GIANNIS ANAGNOSTOU, KLIMIS ASIKOGLOU, YIORGOS BAKALAKOS, DR. RUDIGER BOLZ, VASILIS CHARALAMPIDIS, KOSTIS CHRISTOPOULOS, YIANNIS EXINTARIS, NIKOLETA FILOSOGLOU, ANGELOS FRANTZIS, BABIS GALIATSATOS, SOFIA GEORGOVASSILI, ALKISTIS GIANNAKOURA, KATIA GOULIONI, AKIS GOURZOULIDIS, ALEXANDRA GRISPOU, ANJA KIRSCHNER, ELINA KOUNTOURI, KOSTAS KOUTSOSPYROS, AMANDA LIVANOU, KOSTAS MAGLARAS, SOFIA MOYSIDOU, DAVID PANOS, NELLY PAPACHELA, EVGENIA PAPAPANOU, KATERINA PERRATI, ARIS PRODROMIDIS, STAVROS RAPTIS, STRATOS SARANTIDIS, VAIA SKANDALI, KOSTAS STAMATOPOULOS, GIORGOS SYMEONIDIS, MARIANNA THEODORIDOU, ILEANA TOUNTA, KATERINA TSELOU, NIKOS VAVOURIS, NIKOLAOS VERGOPOULOS, MARIA VERGOPOULOU, CHRYSA VLACHOPOULOU, ALEX ZIKA, MARIA ZOURARI-BOLZ.<br />
<br />
dedicated to the work and in memory of DR JACKIE HATFIELD<br />
<br />
with the support of<br />
OUTSET. GREECE<br />
<br />
with the contribution of<br />
HELLENIC COPPER DEVELOPMENT INSTITUTE, COPPER ALLIANCE<br />
and SOFIA MED<br />
<br />
in cooperation with<br />
ATHENS MUNICIPALITY PHILHARMONIC ORCHESTRA<br />
and OPAN (ATHENS MUNICIPALITY CULTURAL, SPORTS AND YOUTH ORGANIZATION)<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-46931538296595074782013-10-08T00:42:00.002+03:002013-10-08T00:46:46.013+03:00Towards the production of Dialogues On The Market Of Bronze and Other Precious Materials, 2013 is kindly supported by Outset Greece<div dir="ltr" style="text-align: left;" trbidi="on">
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-23696563355136492412013-10-03T17:09:00.001+03:002013-10-23T13:14:43.922+03:00New work for AGORA, 4th Athens Biennale, 29.09.13 - 01.12.13<div dir="ltr" style="text-align: left;" trbidi="on">
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float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLTFzZO6-QfWJCFFOBIUwq1RQtrvwhIXmUvoWuPQxogCMLu_uz-pVwlf5W_wg3ONiBKLJXPGoMOHx0cYCVlkriJbxHqixwUDlcWM5ZpF8fkiZzPlvVpURn8OYXePCuASSpxGVeRVHT2aOb/s1600/Prodromidis-Towards_Dialogues_Bronze-TXT-web2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLTFzZO6-QfWJCFFOBIUwq1RQtrvwhIXmUvoWuPQxogCMLu_uz-pVwlf5W_wg3ONiBKLJXPGoMOHx0cYCVlkriJbxHqixwUDlcWM5ZpF8fkiZzPlvVpURn8OYXePCuASSpxGVeRVHT2aOb/s1600/Prodromidis-Towards_Dialogues_Bronze-TXT-web2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLTFzZO6-QfWJCFFOBIUwq1RQtrvwhIXmUvoWuPQxogCMLu_uz-pVwlf5W_wg3ONiBKLJXPGoMOHx0cYCVlkriJbxHqixwUDlcWM5ZpF8fkiZzPlvVpURn8OYXePCuASSpxGVeRVHT2aOb/s1600/Prodromidis-Towards_Dialogues_Bronze-TXT-web2.jpg" imageanchor="1" style="clear: left; 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<span style="background-color: white; font-size: 20px; line-height: 26px;">Now what?</span><br />
Modeled on the ancient agora, a place of assembly, conciliation and a collaborative production of political and social work, the 4th Athens Biennale aspires to be a breeding ground for discourse at the same time that it tackles an array of common concerns and probes both the possibilities and limitations of participation and collectivity.</div>
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The curatorial team of AGORA welcomes in this experiment the participating artists, professionals of different disciplines, collaborative initiatives and civic groups and invites the public to meet them and join them at the 4th Athens Biennale 2013 AGORA.</div>
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A Whale‘s Architects, Abbas Akhavan, ABROAD, Activist group of the Theatre of the Oppressed, David Adler, AGORA Kyklos, Ianna Andreadis, Dimitris Antoniou, Arbit City Group, Art & Economics Group (Tanja Ostojic, Dimitri Kleiner, David Rych), Art as a Change Maker, Artbank, Anestis Azas, Manolis Baboussis, Bertille Bak, Erica Baum, Bernd & Hilla Becher, Dave Beech, Matei Bejenaru, Blitz, Iain Boal, Irina Botea, Tania Bruguera, Campus Novel, Charley Case, Center for Research and Dissemination of Music Scheming, Giuseppe Chico & Barbara Matijević, Katerina Christidi, Creative alternatives to the state of bankruptcy, Neil Cummings, Dashndem, Anthony Davies, Design 99, Dimitris Dokatzis, Sam Durant, Economic Forum, Erect like a Country, Charles Esche, Event as Process, Fallen Fruit, Heiner Flessbeck, FYTA, Rainer Ganahl, Nikolaus Gansterer & Emma Cocker, Fernando Garcia–Dory, Bruce Gilbert and BAW, Fotini Gouseti & Taxideftes Politismou, Grupo Etcetera, Nuria Guell, Severin Guelpa, Jan Peter Hammer, Paul Handley, George Harvalias, David Harvey, Constantinos Hadzinikolaou, Yota Ioannidou, It Takes Two to Tango, Nazima Kadir, Yannis Kalaitzis, Valentina Karga & Pieterjan Grandry, Gareth Kennedy & Sarah Browne, Soo–Young Kim, Anja Kirschner & David Panos, Anna Kleberg, Ika Knezevic, Maria Konti, Zissis Kotionis, Chrysanthi Koumianaki, Gabriel Kuri, Kyklos Ensemble, Mara Maglione, Gosalyn Mallard, Paolo Manasse, Jenny Marketou, Gabriel Mascaro, Konstantinos Mihos, Never the Same, The New Parthenon, Vladimir Nikolic, Nomadic Kitchen / Shedia, The Non–Serious Lectures, Navid Nuur, OKK Actiongroup, Boris Ondreicka, Geof Oppenheimer, Georgia Paizi, Leda Papaconstantinou, Yorgos Papadakis, Panos Papadopoulos, Elias Papaioannou, Ester Partegas, The 'peculiarity' of the Greek case vis–a–vis European 'normality', Pil & Galia Kollectiv, Adrian Piper, Antonis Pittas, Vito Polito, Sally Potter, Thomas Poulsen/FOS,! Pre – Institutional Critique Workshop, Theo Prodromidis, Anja Puntari, Qualia, Radio Materiality, Gene Ray, Raymondos, Lucrezia Reichlin, Steve Reinke, Oliver Ressler, Juan Carlos Romero, Romvos, Frances Ruane, Salinas / Bergman, Salon de Vortex, Marinella Senatore, Roman Signer, Laurie Simmons, Deb Sokolow, Aspa Stassinopoulou, Yannis Stavrakakis, Hito Steyerl, Subversive affirmation and overidentification, Superstudio, Amund Sjolie Sveen, Petros Touloudis, Nikos Tranos, Kostas Tsolis, Loukas Tsoukalis, Value, Vital Space, Vassilis Vlastaras, Peter Watkins, Wooloo, Zafos Xagoraris, Mi You & Lisa Bensel.</div>
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29.09.13 - 01.12.13</div>
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OPENING HOURS</span></h2>
National Bank of Greece Building, 8–10 Sofokleous str.<br />
CAMP Contemporary Art Meeting Point, 4 Eupolidos & 2 Apellou str.<br />
Tuesday–Friday: 12.00–21.00<br />
Saturday & Sunday: 10.00–22.00<br />
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<a href="http://athensbiennale.org/en/agora_en/">http://athensbiennale.org/en/agora_en/</a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-52773225013144974392013-09-26T23:41:00.003+03:002013-09-26T23:41:36.458+03:00Thrills and Chills, CAN gallery, 19.09.13 - 19.10.13<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td><span style="font-family: Courier New;">"Thrills and Chills", Group exhibition, Curated by: Christina Androulidaki and Daily Lazy Projects, September 19 - October 19, 2013<br /><br /><br /></span><div>
<span class="Apple-style-span" style="border-spacing: 2px; font-family: 'Courier New', monospace; font-size: 13px;">CAN CHRISTINA ANDROULIDAKI GALLERY</span></div>
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<span class="Apple-style-span" style="border-spacing: 2px; font-family: 'Courier New', monospace; font-size: 13px;">42 ANAGNOSTOPOULOU STR<br />10673 Athens GR<br />T/F +30.210.3390833<br /><a href="mailto:info@can-gallery.com">info@can-gallery.com</a><span class="Apple-tab-span" style="white-space: pre;"> </span></span></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', monospace;"><span class="Apple-style-span" style="border-spacing: 2px; font-size: 13px;"><a href="http://www.can-gallery.com/">www.can-gallery.com</a></span></span></div>
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</span><span class="Apple-style-span" style="font-family: ATTriumvirate;"><span style="font-family: 'Courier New', monospace; font-size: 13px; text-align: right;">OPENING HOURS:</span></span><span class="Apple-style-span" style="font-family: ATTriumvirate;"><br style="font-family: 'Courier New', monospace; font-size: 13px; text-align: right;" /></span><span class="Apple-style-span" style="font-family: ATTriumvirate;"><span style="font-family: 'Courier New', monospace; font-size: 13px; text-align: right;">Tuesday - Friday: 11am - 3pm / 5pm - 8pm</span></span><span class="Apple-style-span" style="font-family: ATTriumvirate;"><br style="font-family: 'Courier New', monospace; font-size: 13px; text-align: right;" /></span><span class="Apple-style-span" style="font-family: ATTriumvirate;"><span style="font-family: 'Courier New', monospace; font-size: 13px; text-align: right;">Saturday: 11am - 4pm</span></span></td></tr>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-74703587300274103582013-09-12T09:06:00.001+03:002013-09-12T09:49:00.025+03:00Vox pop and nothing more, 2009 at An Urban Film Map, ReMap 4, Athens <div dir="ltr" style="text-align: left;" trbidi="on">
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-12108089764393467062013-09-12T09:02:00.002+03:002013-09-12T09:57:06.613+03:00A performance for a meteorite state (after Collapsing New People), 2013 at Expanding Foam And Intellectuals, ReMap 4, Athens<div dir="ltr" style="text-align: left;" trbidi="on">
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-40193612703913670442013-09-01T14:22:00.000+03:002013-10-10T14:30:14.483+03:00considering value, off-value and some alchemy<div dir="ltr" style="text-align: left;" trbidi="on">
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-23411285104949404192013-07-29T00:54:00.003+03:002013-07-29T00:54:48.204+03:00ghent, 2006<div dir="ltr" style="text-align: left;" trbidi="on">
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-54104697941736423792013-06-30T17:52:00.000+03:002013-06-30T17:58:00.096+03:00The Magnificent Capital, 2007 at 1,2,3,b4 at Contemporary Art Centre Thessaloniki<div dir="ltr" style="text-align: left;" trbidi="on">
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<h3 class="event_title" style="color: #ff0099; font-family: Verdana, Arial, sans-serif; font-size: 14px; font-weight: normal; line-height: 1.2em; margin: 0px; padding: 8px 0px 6px; text-align: justify;">
<a href="http://www.cact.gr/events/123b4&type=current" style="background-color: white; color: #ff0099; margin: 0px; outline: none; padding: 0px; text-decoration: none;" title="1, 2, 3, b4">1, 2, 3, b4</a></h3>
<span style="background-color: white;"><br /><span class="dates_happen_dates" style="color: #636363; font-family: Verdana, Arial, sans-serif; font-size: 11px; font-style: italic; line-height: 20px; margin: 0px; padding: 0px; text-align: justify;">18/06/2013- 04/09/2013</span><span style="color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 11px; line-height: 18px; text-align: justify;"></span></span><br />
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<strong style="background-color: white; margin: 0px; padding: 0px;">Exhibition “1,2,3, b4”<br style="margin: 0px; padding: 0px;" />Contemporary Art Center of Thessaloniki (Warehouse B1)-SMCA<br style="margin: 0px; padding: 0px;" />June 18 – September 4, 2013<br style="margin: 0px; padding: 0px;" /><em style="margin: 0px; padding: 0px;">Opening: Tuesday, June 18, 2013, 20:30</em></strong></div>
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<span style="background-color: white;">On the occasion of the upcoming 4th Thessaloniki Biennale of Contemporary Art, the exhibition <strong style="margin: 0px; padding: 0px;">“1,2,3, b4”</strong> comes as a precursor of the 4<sup style="margin: 0px; padding: 0px;">th</sup> Thessaloniki Biennale program. The exhibition opens on <strong style="margin: 0px; padding: 0px;">June 18 and lasts until the 4<sup style="margin: 0px; padding: 0px;">th</sup> of September 2013, at the Contemporary Art Center </strong><strong style="margin: 0px; padding: 0px;">of</strong><strong style="margin: 0px; padding: 0px;"> Thessaloniki - State Museum of Contemporary Art, in Warehouse B1, Thessaloniki port</strong> area. <strong style="margin: 0px; padding: 0px;"><em style="margin: 0px; padding: 0px;">[Opening: Tuesday, 18 June 2013, 20:30. Opening hours Tuesday, Wednesday, Friday, Saturday, Sunday 10:00-18:00, Thursday 10:00-21:00]</em></strong></span></div>
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<span style="background-color: white;">The title of the exhibition refers to the Biennales that took place in the city of Thessaloniki in 2007, 2009 and 2011, while the pun b4 (= before) refers to the upcoming 4th Biennale of Contemporary Art, which will be hosted in the city by September 18<sup style="margin: 0px; padding: 0px;">th</sup>, 2013 at various venues with numerous exhibitions and events.</span></div>
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<strong style="background-color: white; margin: 0px; padding: 0px;">The exhibition</strong></div>
<div style="color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 11px; line-height: 18px; padding: 4px; text-align: justify;">
<span style="background-color: white;">The artworks presented in the exhibition are productions of the previous Central and Parallel Programs (namely the three International Young Artists’ Workshops, as well as the last Performance Festival and the Public Screen Project) of the previous Thessaloniki Biennale of Contemporary Art in 2007, 2009,. 2011 The works are donations from the artists to the collection of the State Museum of Contemporary Art and to the city of Thessaloniki</span></div>
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<span style="background-color: white;">The artworks selected and included in the exhibition now get into a completely new context and they are connected in a different exhibition scenography.</span></div>
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<span style="background-color: white;">Artists from different countries and backgrounds coexist in a project preparing the ground for this year's fourth edition of the Thessaloniki Biennale of Contemporary Art.</span></div>
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<span style="background-color: white;">All works/projects reflect the ideological content of the previous Biennials, apart from reflecting individual and sociopolitical, international and local ideas and concepts.<br style="margin: 0px; padding: 0px;" />Abandoned places-“heterotopias”, social and labor inequalities, images of modern Greece and the Mediterranean region, symbols of oppression, ecological disasters, gender and identity issues are few of the ideas that coexist and interact.<br style="margin: 0px; padding: 0px;" />The exhibition, apart from summing up all the previous events, is in addition the documentation of an important project that is closely linked to Thessaloniki, continuing to contribute to the city’s life and cultural wealth, as well as important international coverage.<br style="margin: 0px; padding: 0px;" /><br style="margin: 0px; padding: 0px;" /><strong style="margin: 0px; padding: 0px;">The artists and projects included:</strong></span></div>
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<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Dimitris Ameladiotis</strong>, <em style="margin: 0px; padding: 0px;">Untitled,</em> installation, 2011</span></div>
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<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Elina Ioannou</strong>, <em style="margin: 0px; padding: 0px;">Composition with fence and plastic bags</em>, installation, 2011</span></div>
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<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Helen Mouzakiti</strong>, <em style="margin: 0px; padding: 0px;">Untitled,</em> photographic series, 2005-7</span></div>
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<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Theo Prodromidis</strong>, <em style="margin: 0px; padding: 0px;">The Magnificent Capital</em>, video, 2007</span></div>
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<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Chryse Tsiota</strong>, <em style="margin: 0px; padding: 0px;">Locus Suspectus</em>, video installation and photographs, 2007</span></div>
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<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Vahram Aghasyan</strong>, <em style="margin: 0px; padding: 0px;">Ghost Town</em>, photographic series, 2005</span></div>
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<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Tursun Ali</strong>, <em style="margin: 0px; padding: 0px;">Life in Aral</em>, photograph, 2006</span></div>
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<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Victor An</strong>, <em style="margin: 0px; padding: 0px;">Requiem</em>, photograph, 1989</span></div>
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<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Nadia Ayari</strong>, <em style="margin: 0px; padding: 0px;">Without Walls: The new paintings of Thessaloniki</em>, portable murals pasted on wood and photographs 2011</span></div>
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<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Nezaket Ekici</strong><strong style="margin: 0px; padding: 0px;">, </strong>performance, <span style="margin: 0px; padding: 0px;">Selection of documented performances from </span>the Thessaloniki Performance Festival, 2011</span></div>
<div style="color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 11px; line-height: 18px; padding: 4px; text-align: justify;">
<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Andrei Filippov</strong>, <em style="margin: 0px; padding: 0px;">Saw, </em>photomontage, 2006</span></div>
<div style="color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 11px; line-height: 18px; padding: 4px; text-align: justify;">
<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Luigi Presicce,</strong> performance, <span style="margin: 0px; padding: 0px;">Selection of documented performances from</span> the Thessaloniki Performance Festival, 2011</span></div>
<div style="color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 11px; line-height: 18px; padding: 4px; text-align: justify;">
<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Kira O’ Reilly,</strong> performance, <span style="margin: 0px; padding: 0px;">Selection of documented performances from </span>the Thessaloniki Performance Festival, 2011</span></div>
<div style="color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 11px; line-height: 18px; padding: 4px; text-align: justify;">
<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Omid Salehi</strong>, <em style="margin: 0px; padding: 0px;">Cane Land</em>, photographic series, 2003</span></div>
<div style="color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 11px; line-height: 18px; padding: 4px; text-align: justify;">
<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Azat Sargsyan</strong>, <em style="margin: 0px; padding: 0px;">Public Constructivism</em>, photographic series, 2008</span></div>
<div style="color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 11px; line-height: 18px; padding: 4px; text-align: justify;">
<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Guram Tsibakhasvili</strong>, <em style="margin: 0px; padding: 0px;">Interiors, </em>photographic series, 2000</span></div>
<div style="color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 11px; line-height: 18px; padding: 4px; text-align: justify;">
<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Yang Yongliang</strong>, <em style="margin: 0px; padding: 0px;">Untitled, </em>photographic series, 2009</span></div>
<div style="color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 11px; line-height: 18px; padding: 4px; text-align: justify;">
<span style="background-color: white;">The project <strong style="margin: 0px; padding: 0px;">Public Screen</strong>, 2007<strong style="margin: 0px; padding: 0px;"> </strong></span></div>
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<strong style="background-color: white; margin: 0px; padding: 0px;"><br style="margin: 0px; padding: 0px;" /></strong></div>
<div style="color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 11px; line-height: 18px; padding: 4px; text-align: justify;">
<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Curators</strong><strong style="margin: 0px; padding: 0px;">:</strong> Areti Leopoulou, Thodoris Markoglou, At Historians & Curators SMCA/ CACT</span></div>
<div style="color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 11px; line-height: 18px; padding: 4px; text-align: justify;">
<span style="background-color: white;"><strong style="margin: 0px; padding: 0px;">Museographer</strong><strong style="margin: 0px; padding: 0px;">:</strong> Gianna Stavroulaki, Architect</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-6682824361721540392013-02-12T04:21:00.003+02:002013-02-12T05:16:16.222+02:00documentation of Towards those days that had been realized, 2013<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US" style="color: #262626; font-family: 'Lucida Grande'; font-size: 13pt;"><br /></span>
<span lang="EN-US" style="color: #262626; font-family: 'Lucida Grande'; font-size: 13pt;">Towards those days that had been realized, 2013</span></div>
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<span lang="EN-US" style="color: #262626; font-family: 'Lucida Grande'; font-size: 13pt;">performance, duration 30'</span></div>
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<span lang="EN-US" style="color: #262626; font-family: 'Lucida Grande'; font-size: 13pt;">2 actors, 2 slide projectors</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-91332056284891106602013-02-06T15:58:00.001+02:002013-10-11T03:51:41.762+03:00Towards those days that had been realized<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US" style="color: #262626; font-family: "Lucida Grande"; font-size: 13.0pt;">Towards those days that had been realized, 2013</span></div>
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<span lang="EN-US" style="color: #262626; font-family: "Lucida Grande"; font-size: 13.0pt;">performance, duration 30'</span></div>
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<span lang="EN-US" style="color: #262626; font-family: "Lucida Grande"; font-size: 13.0pt;">2 actors, 2 slide projectors</span></div>
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<span lang="EN-US" style="color: #262626; font-family: "Lucida Grande"; font-size: 13.0pt;">Τετάρτη 6/02 – Θέατρο Εμπρός<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #262626; font-family: "Lucida Grande"; font-size: 13.0pt;">22.30 ΜΑΝΙΦΕΣΤΑ:<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #262626; font-family: "Lucida Grande"; font-size: 13.0pt;">Θοδωρής Προδρομίδης<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #262626; font-family: "Lucida Grande"; font-size: 13.0pt;">συμμετέχουν: Σοφία Γεωργοβασίλη & Γιώργος Βουρδαμής<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="color: #262626; font-family: "Lucida Grande"; font-size: 13.0pt;">Wednesday 6/02 – Empros Theater<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #262626; font-family: "Lucida Grande"; font-size: 13.0pt;">22.30 MANIFESTA : <o:p></o:p></span></div>
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<span style="color: #2d4486; font-family: Lucida Grande;"><span style="font-size: 17px;">Theo Prodromidis</span></span></div>
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<span lang="EN-US" style="color: #262626; font-family: "Lucida Grande"; font-size: 13.0pt;">”Towards those days that had been realized’’<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #262626; font-family: "Lucida Grande"; font-size: 13.0pt;">participating: Sofia Georgovassili & Giorgos Vourdamis</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #262626; font-family: "Lucida Grande"; font-size: 13.0pt;"><br /></span></div>
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<span lang="EN-US" style="color: #262626; font-family: "Lucida Grande"; font-size: 13.0pt;">Manifesta part of:</span></div>
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<h1 style="background-color: white; border: 0px; clear: both; color: #111111; font-family: Helvetica, Arial, 'Lucida Grande', Verdana, sans-serif; font-size: 3em; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">
<strong style="border: 0px; font-family: inherit; font-size: 36px; font-style: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Where are we now</strong><span class="Apple-style-span" style="border: 0px; color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 12px; font-style: inherit; line-height: 18px; margin: 0px; padding: 0px; vertical-align: baseline;"><img alt="Κολεκτίβα Ομόνοια" class="profilePic img alignright" id="u_jsonp_5_b" scale="0" src="https://fbcdn-profile-a.akamaihd.net/hprofile-ak-prn1/c62.62.774.774/s160x160/154158_259195494213497_1838492171_n.jpg" style="border: 0px; float: right; font-family: inherit; font-style: inherit; margin: 0px 0px 10px 14px; padding: 0px; vertical-align: baseline;" /></span></h1>
<div style="background-color: white; border: 0px; color: #333333; font-family: Helvetica, Arial, 'Lucida Grande', Verdana, sans-serif; font-size: 12px; line-height: 18px; margin-bottom: 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;">
<span style="border: 0px; color: #ff6600; font-family: inherit; font-style: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">1-10 February 2013 – Theatre EMPROS</span></div>
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A 10 day program, 14 months after the re-activation of the abandoned theatre Empros, that practically explores the ‘here and now’ of performed futurity through ephemeral and unpredictable cultural praxes. The program offers a participatory reconfiguring of the ‘common’ in Athens today.</div>
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<b>Kolektiva Omonoia– </b>an open group of theorists and artists from different fields</div>
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http://kolektivaomonia.wordpress.com</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-19315822259082280632012-09-09T05:01:00.000+03:002013-02-12T05:18:18.442+02:00documentation of Vanishing Point, Action Field Kodra, 2012<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: ArialMT;">Installation views of</span></div>
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<span style="font-family: ArialMT;">Je mehr es hervordringt, 2008-2012</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-13076123371174460042012-09-06T04:39:00.000+03:002013-02-12T04:43:36.936+02:00Vanishing Point, Action Field Kodra, 2012<div dir="ltr" style="text-align: left;" trbidi="on">
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<strong style="margin: 0px; padding: 0px;">Action Field Kodra 2012<br style="margin: 0px; padding: 0px;" />Friday 7<sup style="bottom: 1ex; font-size: 10px; height: 0px; line-height: 1; margin: 0px; padding: 0px; position: relative; vertical-align: baseline;">th</sup> September to Tuesday 18<sup style="bottom: 1ex; font-size: 10px; height: 0px; line-height: 1; margin: 0px; padding: 0px; position: relative; vertical-align: baseline;">th</sup><br style="margin: 0px; padding: 0px;" />Ex military camp Kodra</strong>Kalamaria, Salonica, Greece<strong style="margin: 0px; padding: 0px;"><br style="margin: 0px; padding: 0px;" /></strong></div>
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<strong style="margin: 0px; padding: 0px;">Exhibition Hours:<br style="margin: 0px; padding: 0px;" />Sun - Thu: 20.00-23.00<br style="margin: 0px; padding: 0px;" />Fri - Sat: 20.00-24.00</strong></div>
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The annual <strong style="margin: 0px; padding: 0px;">Action Field Kodra Visual-Arts Festival</strong><strong style="margin: 0px; padding: 0px;"> </strong>has been running since 2001 and it focused from its very beginning on experimental creativity and young artists. Each year, <strong style="margin: 0px; padding: 0px;">it</strong><strong style="margin: 0px; padding: 0px;"> </strong>grows up in content and has an increasing regional and national profile for producing a novel and high-quality visual arts event. Over its history Action Field Kodra has presented the whole new generation of Greek artists, theorists and curators. Today, it consists one of the most important non-museum institutions in the country as it has contributed through its activity to the formation of the Greek contemporary art scenery and at the same time, it has developed into an amazing international art-experience featuring highly respected international artists.</div>
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This year <strong style="margin: 0px; padding: 0px;">Action Field Kodra</strong>, has a central theme, geared toward Salonica’s last century. All seven exhibitions and performances of <strong style="margin: 0px; padding: 0px;">Action Field Kodra 2012</strong> are organized around a central concept, which is based on the idea that within these hundred years the city has developed a modernity in which contemporary visual arts can find a distinguished and lost ancestor. <strong style="margin: 0px; padding: 0px;">Action Field Kodra 2012</strong> will attempt to investigate whether a dialogue – even a fictional one- between the urban, modern literature scene of Salonica and the contemporary artistic creation is not only possible, but able to light aspects of both art forms. A complete exhibition program is therefore organized, with the main focus on the different aspects of this matter. It includes seven exhibitions, two performances in public space, and an international conference.</div>
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<a href="http://www.actionfieldkodra.gr/">http://www.actionfieldkodra.gr</a></div>
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Vanishing Point</div>
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Artists: Bassanos Kostas, Bofiliou Margarita, Efstathiou Eirene, Fasouli Maro, Gaitanidou Zoi, Gerodimos Vassilis, Greece is for Lovers, Hatziyannaki Zoe, Karastergiou Apostolos, Kassapis Andreas, Koulouras Panayiotis, Laios Alexandros, Loukas Panayiotis, Marinis Nikos, Moraki Elisavet, Moris Petros, Pantazopoulou Ioanna, Papadopoulos Panos, Petridis & Sakis Serefas, Prodromidis Theo, Sepetzoglou Nikos, Stamokopoulos Yorgos, Varveri Ersi, Versaweiss</div>
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Today’s transitional circumstances, the emotions surfaced by them, the memories that come to mind, and the perspectives that are highlighted through the work of the modern artists of Greece. Starting point for all that is the multiple rearrangements that characterized the pass from the 19<sup style="bottom: 1ex; font-size: 10px; height: 0px; line-height: 1; margin: 0px; padding: 0px; position: relative; vertical-align: baseline;">th</sup> to the 20<sup style="bottom: 1ex; font-size: 10px; height: 0px; line-height: 1; margin: 0px; padding: 0px; position: relative; vertical-align: baseline;">th</sup> century, namely <em style="margin: 0px; padding: 0px;">fin de siècle</em>.</div>
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<span style="margin: 0px; padding: 0px; text-decoration: underline;">Curators:</span> Katerina Nikou, Galini Notti, Evita Tsokanta</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-72031753232910101562012-03-15T20:35:00.003+02:002012-03-25T05:35:23.416+03:00Je mehr es hervordringt at the Sofia Film Festival, 17th March 2012<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div class="p1"></div><div class="p1"></div><div class="p1"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLbfdHbNULjsdPRup59dFC_SAvI6XSNjJJpvZmhKTeoe3JdBODV42nQccPHW8P-S1PZ1SKfqKAgrkgdbotDLoo4Oeo4nOJbmnU6b6s8HIQu74CnE1UKzeSyT_WtHFUdG9AqXRb6GdaidsI/s1600/68+-+Jemehres+hervordringt5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLbfdHbNULjsdPRup59dFC_SAvI6XSNjJJpvZmhKTeoe3JdBODV42nQccPHW8P-S1PZ1SKfqKAgrkgdbotDLoo4Oeo4nOJbmnU6b6s8HIQu74CnE1UKzeSyT_WtHFUdG9AqXRb6GdaidsI/s400/68+-+Jemehres+hervordringt5.jpg" width="400" /></a></div><div class="p1"><span class="s1"><b><br />
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</b></span></div><div class="p1"><span class="s1"><b>Past Entangled Tense / </b></span><b>Cityscapes</b><br />
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</b></div><div class="p1"><span class="s1"><b>one day of video art </b></span></div><div class="p2"><span class="s1"><b>on the occasion of:</b></span><br />
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</b></span></div><div class="p2"><span class="s1"><b>the UNESCO Forum Balkan Visions: Creativity for the Future in South-East Europe </b></span></div><div class="p2"><span class="s1"><b>and Sofia International Film Festival</b></span><br />
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</b></span></div><div class="p2"><span class="s1"><b>17</b></span><span class="s2"><b><sup>th</sup></b></span><span class="s1"><b> March 2012, Saturday</b></span></div><div class="p2"><span class="s1"><b>Central Army Club, Sofia</b></span></div><div class="p2"><span class="s1"><b>Tzar Osvoboditel Blvd 7, Sofia</b></span><br />
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</b></span></div><div class="p2"><span class="s1"><b>the video programme runs throughout the day, from 9.30 to 18.30</b></span><br />
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<div style="background-color: white; border-bottom-width: 0px; border-color: initial; border-image: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; line-height: 28px; margin-bottom: 1.154em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto; vertical-align: baseline;"><div style="text-align: left;"><span class="s1" style="font-family: Arial, Helvetica, sans-serif;">Artists: Marko Kovačić, Adela Jušić, kuda.org, Hristina Ivanovska, Calin Dan,</span></div><div style="text-align: left;"><span class="s1" style="font-family: Arial, Helvetica, sans-serif;">Adrian Paci, David Maljković, Theo Prodromidis, Aleksandar Spasoski, Mariana Vassileva</span></div><div style="text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;"><span class="s1"><br />
</span><span class="s1">Selected by Margarita Dorovska</span></span></div></div><br />
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</b></span></div><div class="p3"><span class="s1"></span></div><div class="p4"><span class="s1"></span></div><div class="p4"><span class="s1"></span></div><div class="p5"><span class="s1"><b>Past Entangled Tense </b>and <b>Citiscapes</b> are screening programmes, including video works from the Transitland archive. All works in the two screening programmes are by artists from South East Europe.</span></div><div class="p5"><span class="s1"><b>Transitland. Video Art from Central and Eastern Europe 1989 - 2009</b> is a collaborative research and archiving project initiated on the occasion of the 20th anniversary of the Fall of the Berlin Wall. Its main outcome is a selection of 100 single-channel video works, produced in the period 1989-2009 and reflecting the transformations in post-socialist Central and Eastern Europe. Transitland is not only the widest-spanning presentation of video art from Central and Eastern Europe but also a unique attempt to address and reflect upon an extensive period of complex transformation and changes. </span></div><div class="p5"><span class="s1">The project was realized by InterSpace Association Sofia, Ludwig Museum of Contemporary Art Budapest and transmediale festival for digital culture Berlin.</span></div><div class="p6"><span class="s3"><a href="http://www.transitland.eu/">www.transitland.eu</a></span></div><div class="p7"><span class="s1"></span></div><div class="p8"><b><br />
</b></div><div class="p9"><span class="s1"><b></b></span></div><div class="p10"><span class="s1"><b>Past Entangled Tense </b></span></div><div class="p11"><span class="s1">tense [noun] - a set of forms taken by a verb to indicate the time (and sometimes also the continuance or completeness) of the action in relation to the time of the utterance</span></div><div class="p11"><span class="s1">screening programme selected by Margarita Dorovska</span></div><div class="p12"><b><br />
</b></div><div class="p13"><span class="s1"></span></div><div class="p13"><span class="s1"></span></div><div class="p11"><span class="s1"><b>No More Heroes Anymore, 1992, 18’15’’</b></span></div><div class="p11"><span class="s1">A grotesque on the subject of war in Bosnia. A game of chess as a symbolic and performative practice is the core of this video that is intrinsically defined by small mise-en-scenes, transformed mechanical figurines, and the performance of the main protagonists. </span></div><div class="p11"><span class="s1">Marko Kovacic was b</span><span class="s4">orn in 1956 in Ljubljana, Slovenia, former Yugoslavia, and lives and works in Ljubljana, Slovenia.</span></div><div class="p12"><br />
</div><div class="p13"><span class="s1"></span></div><div class="p11"><span class="s1"><b>The Sniper, 2007, 4’11’’</b></span></div><div class="p11"><span class="s1">This piece originates from the artist's attempt to face her wartime childhood and the experience of losing her father by a sniper's deadly shot. </span></div><div class="p11"><span class="s4">Adela Jusic was born in 1982 in Sarajevo, Bosnia and Herzegovina, former Yugoslavia, and lives and works in Sarajevo, Bosnia and Herzegovina.</span></div><div class="p11"><span class="s4"><br />
</span></div><div class="p13"><span class="s1"></span></div><div class="p11"><span class="s1"><b>Safe distance, 1999, 21’</b></span></div><div class="p11"><span class="s1">This videotape was recorded during NATO air strikes against the Federal Republic of Yugoslavia and shows the electronic cockpit of a U.S. Air Force plane with basic graphical interface and voice communication between pilots. This tape presents the last moments before the plane crashed shot after completing of its mission to bomb targets around the city of Novi Sad.</span></div><div class="p11"><span class="s1">kuda.org was f</span><span class="s4">ounded in 2000 in Novi Sad, Serbia.</span></div><div class="p12"><br />
</div><div class="p13"><span class="s1"><b></b></span></div><div class="p10"><span class="s1"><b>Citiscapes</b></span></div><div class="p11"><span class="s1">-scape [comb. form] - denoting a specified type of scene </span></div><div class="p11"><span class="s1">screening programme selected by Margarita Dorovska</span></div><div class="p12"><b><br />
</b></div><div class="p13"><span class="s1"></span></div><div class="p11"><span class="s1"><b>Naming of the Bridge: Rosa Plaveva and Nakie Bajram, 2006, 13'08''</b></span></div><div class="p11"><span class="s1">This research-based project presents the artist's experience with the local authorities of the city of Skopje after submitting a proposal for naming the newly built bridge after the names of two women protesters and fellow citizens. </span></div><div class="p11"><span class="s4">Hristina Ivanoska was born in 1974 in Skopje, Macedonia, former Yugoslavia. Lives and works in Skopje, Macedonia.</span></div><div class="p12"><br />
</div><div class="p11"><span class="s1"><b>Sample City, 2003, 11'29''</b></span></div><div class="p11"><span class="s1">With sampled image and sound sequences, referring to one another in a precisely calculated rhythmic alternation in four screen frames, Calin Dan draws a portrait of the city of Bucharest. Dilapidated tower blocks next to estates of terraced houses, Roma families camping with their horses and carts in the wastelands in the midst of the city, broken streets and new shopping paradises – the video presents the former communist Bucharest as a city in upheaval, full of social contradictions and oppositions.</span></div><div class="p11"><span class="s1">Calin Dan was b</span><span class="s4">orn in 1955 in Arad, Romania and lives and works in Amsterdam, The Netherlands.</span></div><div class="p12"><br />
</div><div class="p13"><span class="s1"></span></div><div class="p11"><span class="s1"><b>Turn on, 2004, 3'30’’</b></span></div><div class="p11"><span class="s1">It presents an exhausting feeling of anticipation that derives from unresolved expectation. In the video a score of unemployed men who, in typical Mediterranean fashion, assemble on the steps of a square in Shkoder every day in the hope that someone will employ them. The initial silence gives way to a noise that gradually becomes deafening. Touching in its symbolical beauty, the last frame depicts each man holding a large light bulb which, fed by the generators, irradiates light and energy around them.</span></div><div class="p11"><span class="s4">Adrian Paci was born in 1969 in Shkoder, Albania. Lives and works in Milan, Italy.</span></div><div class="p12"><br />
</div><div class="p13"><span class="s1"></span></div><div class="p11"><span class="s1"><b>Scene for New Heritage, 2004, 4'33’‘</b></span></div><div class="p11"><span class="s1">This work is the first part of the Scene for New Heritage trilogy which presents a futuristic world set in the year 2045. A group of people set off on a search for their heritage after a collective amnesia. They arrived to, for them, an unknown place of powerful historical character marked by the death of the last Croatian king, World War II, the partisan hospital there, to which a monument was dedicated, and then again the war in the 90's . But all this was no longer visible to them, only the monumentality of the place puzzled them. It seemed that the question of heritage is going to remain unsolved and that their moment is their heritage.</span></div><div class="p11"><span class="s1">David Maljkovic was b</span><span class="s4">orn in 1973 in Rijeka, Croatia, former Yugoslavia, and lives in Zagreb, Croatia.</span></div><div class="p12"><br />
</div><div class="p13"><br />
<span class="s1"></span></div><div class="p13"><span class="s1"></span></div><div class="p11"><span class="s1"><b>Je mehr es hervordringt*, 2008, 20’00”</b></span></div><div class="p11"><span class="s1">The work has as its main subject the production of commercial architectural structures (Mall of Sofa, Sofia Business Park, Europe Park Sofia) in present day Sofia. Those three locations of the film produce an axis of movement inside the city that is interrupted by sites of expected critical production such as the artist’s studio and the theatre, spaces that are traditionally located inside the fabric of a city and a society. The “object” of the proposed building plan of Europe Park Sofia is being transformed into a stage set and later, to a musical score and is finally being performed to another structure. It undergoes a circle between materiality and immateriality, a shifting state that could describe the cultural object as such, but also the aspirations and investments in such a building/object. </span></div><div class="p11"><span class="s1">Theo Prodromidis was born in 1979 in Thessaloniki and lives and works in Athens, Greece.</span></div><div class="p11"><span class="s1">* Je mehr es hervordingt was produced in the framework of EMARE 2008, Sofia. It is not part of the Transitland archive.</span></div><div class="p12"><br />
</div><div class="p13"><span class="s1"></span></div><div class="p11"><span class="s1"><b>Voyeur, 2008, 5'20''</b></span></div><div class="p11"><span class="s1">As stated by Mimi Wehr: “The quintessence of the work is not a mere reporting, but the intuitive experience of a voyeur. [...] He makes use of existent film material and increases its effect by adding his own sequences and composing them anew. Out of his personal experience, he thereby shows scenes of someone wandering the streets at night, of alien cities and gazing into stranger’s windows, into stranger’s lives. ”</span></div><div class="p11"><span class="s1">Aleksandar Spasoski was b</span><span class="s4">orn in 1974 in Tetovo, Macedonia, former Yugoslavia. Lives and works in Munich and Berlin, Germany, and Skopje, Macedonia.</span></div><div class="p12"><br />
</div><div class="p13"><span class="s1"></span></div><div class="p11"><span class="s1"><b>Journal, 2005, 12'</b></span></div><div class="p11"><span class="s1">Mariana Vassileva feels her way past various locations led by different destinations. She is both adult and child at the same time. This is a method not just of feeling, but also of transforming the contour of the self. Our skin is border crossing.</span></div><div class="p11"><span class="s1">Mariana Vassileva was b</span><span class="s4">orn in 1964 in Antonovo, Bulgaria. Lives and works in Berlin, Germany.</span></div><div class="p12"><br />
</div><br />
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8570807736140098829.post-12095693573855205712012-02-15T18:32:00.000+02:002012-02-23T18:42:51.834+02:00Public Domain, with Loandbehold at Supermarket 2012, Stockholm Independent Art Fair<div dir="ltr" style="text-align: left;" trbidi="on"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><div class="separator" style="clear: both; font-size: medium; text-align: center;"><span style="text-align: left;">Towards the performance of politics by a Harvard Professor (Fire, March, Freedom, Solidarity) 2011</span></div><div class="p1" style="font-size: medium; text-align: center;">14/12/2011</div><div class="p1" style="font-size: medium; text-align: center;">5am</div><div class="p2" style="font-size: medium; text-align: center;">Tzavella k Mesologgiou, Exarcheia, Athens</div><div><br />
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</div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">16 – 19 February 2012</span></div><span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;"><br />
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<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">Lo and Behold will participate in Supermarket Art Fair 2012 with the project “Public Domain” </span><br />
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<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">The project includes 25 artists / 25 site specifics located in 13 cities </span><br />
<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">and it is curated by Artemis Potamianou and Giorgos Papadatos. </span><br />
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<span class="text_exposed_show" style="background-color: white; color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;"><a href="http://www.supermarketartfair.com/" rel="nofollow nofollow" style="color: #3b5998; cursor: pointer; text-decoration: none;" target="_blank">www.supermarketartfair.com</a><br />
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<a href="http://www.facebook.com/pages/Supermarket-Stockholm-Independent-Art-Fair/175165532557826?ref=ts" rel="nofollow" style="color: #3b5998; cursor: pointer; text-decoration: none;" target="_blank">http://www.facebook.com/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>pages/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>Supermarket-Stockholm-Indep<wbr></wbr><span class="word_break" style="display: inline-block;"></span>endent-Art-Fair/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>175165532557826?ref=ts</a><br />
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“Public Domain” is a call for artists to create within the bounds of the urban landscape, and uses as an index, the unique nature of an artist’s approach in an environment which is globalized, featuring similar problems and circumstances.<br />
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The participating artists follow a specific working process both in terms of method and end result. They are asked to imagine and to realize an intervention on a public site in the city where they live. Afterwards they are to photograph the intervention and submit it in the form of a poster. These posters will be exhibited at Lo and Behold’s booth at Supermarket.<br />
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The end result is a patchwork of a number of site-specific works which signify the artists’ varying investigations and concerns and at the same time serve as an intervention in the urban environment. An intervention which walks the fine line between legitimacy and illegitimacy, since viewing the art object is not chosen rather it is imposed upon the viewer. Concurrently, the artist is exposed in a way and on a scale in which not just his/her practice is externalized but individual ideas, feelings and attitudes are also freely expressed, following an internal negotiation where the personal is transformed into the public.<br />
In this manner, a record is kept, a visual diary, but also a process of dialogue is activated which exceeds the boundaries of personal investigation.<br />
This dialectic collage is acutely political in that it documents the pulse and the concerns of different artists who, not only reflect the culturally, politically and economically different societies which they are a part of, but in the end are also representative of contemporary art production of their time.<br />
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Participating artists<br />
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Guillaume Durand/Sanna Marander/Vasileia Stylianidou/Stephen Lee<br />
Magnus Thierfelder/Nikos Tranos/Common Culture<br />
Theo Prodromidis/Guerilla Girls/Eugenio Tibaldi /Luke Ralphs<br />
Dimitris Christidis /Internationale Surplace /Andreas Voussouras<br />
Bianco – Valente /Thanos Klonaris /Emma Hammarén<br />
Société Réaliste/ Dimitra Marouda/Maria Lianou /Erika Rothenberg<br />
Eva Marathaki /Lilli Kinnunen /Yorgos Taxiarchpoulos /Tanja Ostojic<br />
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<a href="http://www.loandbehold.gr/" rel="nofollow nofollow" style="color: #3b5998; cursor: pointer; text-decoration: none;" target="_blank">www.loandbehold.gr</a></span></div>Unknownnoreply@blogger.com0