documentation of PLACEMENTS – REPLACEMENTS – MISPLACEMENTS: TOWARDS A NEW REMAPPING

Theo Prodromidis
in collaboration with Zaira Falirea
Untitled (stage design for the performance of a play for a meteorite state, after Antonas),
2011, wood, 400cmx250cm

Theo Prodromidis
Notes for the performance of a play for a meteorite state (Miss Bikini Greece 2011 balancing act)
2011, inkjet print, 100cmx70cm

Theo Prodromidis
An everyday exchange inside the future state of a meteorite unit
HD video, 2011
a video based on a script by Theo Prodromidis and Makis Malafekas
to be shot in the exhibition
will be online on the 5th of November 2011

http://vimeo.com/theopro/future-meteorite

Invitation to A Serenade (From a Gallery to a Street, Rebecca Camhi, Athens) for REMAP 3

Theo Prodromidis,
Invitation to A Serenade (From a Gallery to a Street, Rebecca Camhi, Athens)
2011, performance, duration variable.

The invitation to six athens-based bands to perform a disruption of the everyday aesthetic experience of this street in Kerameikos, on the facarde of a neoclassical house turned into a gallery, introduces an action bound with Mediterranean traditions and mythical love stories, that of the serenade, but reversed in its dynamic, from the balcony to the street.

For the opening act, on 12/09 Nalyssa Green performed a serenade unplugged, offering a baroque vocal and lyrical performance to the audience of the private view of Remap 3, intercepted by the passing traffic of Leonidou.



http://www.nalyssagreen.com/

On the Balcony, curated by Iliana Fokianaki for Remap 3

iLiana Fokianaki and Art Hub Athens are pleased to present…



ON THE BALCONY



12th of September - 30 October 2011
for opening hours please visit www.remapkm.org

Dafni Barbageorgopoulou, Doug Fishbone, Assaf Gruber, Katerina Kana, Theo Prodromidis, Alexandros Psychoulis.

Balconies are an outdoors extension of a floor. They are normally closed up to a certain hight and made of a solid or see-through surface. Their origin is found as early as ancient Greece and Italy, but there is a flourish of their use throughout the centuries in Europe and Asia.

Six artists are invited to present, display, address and demonstrate their view on the balcony either it is through sculpture, poetry, photography, installation or...serenades.

The global use of the balcony is the first attractive element that is inspiring for this group exhibition, especially in relation to the globality of the neighbourhood of KM, that is inhabited by several nationalities.

Another very interesting aspect of the use of balconies is their use as an area for its owner to display its position or viewpoint. In villages in the period of Easter, housewives displayed a red cloth to inform passer-by’s they are dying eggs. In national holidays Greeks display the Greek flag to show their national pride, and in football matches their team's flag to show their joy for the win. In the greek language "i am standing on a balcony" translates to i am running for a candidate in politics.
In this year's Remap -that is in its own right a walk in the historical centre of Athens- the viewer is asked to walk through the area in order to discover and track works of art displayed in balconies or windows of buildings, all around the area of KM. The works that are placed above the eye level, are "displayed" in a balcony to be "exhibited" to their audience, to "address" their audience, therefore due to their position, they obtains a somewhat "godlike" status. The position of the viewer on street level and that of the work of art a few metres above ground, is possibly creating what Kant called the sublime.
Especially during this time that Greece is in an intense political and economical situation, the notions of "display", "exhibition" "position" that the balcony offers, are even more relevant. What do we choose to "exhibit" "display" or "support" today? Possibly works of art are one of the few that are left. 

Locations:

PERFORMANCE times and locations

Leonidou 9 (Rebecca Camhi Gallery) Theo Prodromidis performance opening night performance Nalyssa Green at 8pm (for further performance dates and times please visit www.remapkm.org)

The invitation to six athens-based bands to perform a disruption of the everyday aesthetic experience of this street in Kerameikos, on the facarde of a neoclassical house turned into a gallery, introduces an action bound with Mediterranean traditions and mythical love stories, that of the serenade, but reversed in its dynamic, from the balcony to the street.


Katerina Kana's poem recited by actress Calliopi Simou every half an hour from 17.30 onwards - Leonidou 25 4th floor window.

Our other locations are at the following balconies-

Dafni Eleonora Barbageorgopoulou - installation - Iassonos 26
Doug Fishbone - photograph - Giatrakou 28
Assaf Gruber -sculpture - balcony at Leonidou 38 (former Galini hotel)
Alexandros Psychoulis - sculptures - Leonidou 15 1st floor balcony facing Leonidou street

The exhibition is curated by Iliana Fokianaki
For more information on the show and Art Hub Athens as well as images please contact:
arthubathens@gmail.com or ilianafokianaki@gmail.com, +306945472694
www.ilianafokianaki.com
www.arthubathens.blogspot.com

PLACEMENTS – REPLACEMENTS – MISPLACEMENTS: TOWARDS A NEW REMAPPING, REMAP 3, AD GALLERY, ATHENS

AD Gallery presents:
PLACEMENTS – REPLACEMENTS – MISPLACEMENTS: TOWARDS A NEW REMAPPING


part of REMAP 3
At Thermopylon str. 27, Metaxourgeion, Athens


Curator:
Christina Androulidaki


Participating Artists:
Augusta Atla
Maro Fassouli
Dimitris Foutris
Alana Kakoyiannis
Alexandros Laios
Maria Polyzoidou
Theo Prodromidis
Anastassis Stratakis


ReMap Address:
27 Thermopylon,
Metaxourgeio



The show PLACEMENTS – REPLACEMENTS – MISPLACEMENTS: Towards a New Remapping deals with the idea of relocation (social, national, economic, political) and focuses on the exploration of this notion through the works of 8 emerging Greek and international artists. The Remap project and the location of the exhibition in Metaxourgeio, one of the most historic, diverse, arresting and yet deprived, areas of Athens functions as a case study in itself demonstrating through the works of visual artists the dynamics and problematics of such a remapping. The works bring up issues of emigration, immigration, warfare, human rights abuse, social exclusion, inequality, marginalization,xenophobia, as well as utopian dreaming, multiculturalism, diversity, hope and rebirth.



The artists work on a variety of media such as sculpture, painting, drawing, photography, video and performance. Augusta Atla’s photographic collages combine elements from her performances, popular magazines, anatomic books and folkloric Greek costumes to create peculiar works that touch on issues of femininity, motherhood and the suffering female body. Maro Fassouli’s sculptures draw attention to issues of encapsulation and social exclusion, exploring ideas of the hidden and the visible, inner and outer space, the familiar and the foreign. Alana Kakoyiannis’ poetic documentary film reflects on the notion of home through the lens of Greek Cypriot and Turkish Cypriotdisplacement on the divided island of Cyprus and captures the potency of the political conflict through personal perspectives. Alexandros Laios’ works comment on the inability of the west to accommodate and effort to accumulate immigrants into the states and societies, as well as the permanent state of“transit” those people are forced to stay. Maria Polyzoidou paints an imaginary world, a picturesque landscape that falls apart, like a miniature of the world we have dreamt of. Theo Prodromidis envisages a utopian structure upon the remains of an architectural plan that was never built, Dimitris Foutris intervenes on the exterior of the building to observe on its use, function and history within society and finally, Anastassis Stratakis presents a segment of his photographic series Strange Fruit to comment on the way history repeats itself by the use of violence, obscurantism and exclusion from the time when witch hunting was performed, up to the assaults triggered by xenophobia performed in the present day.


AD gallery
3, Pallados str.
Psirri 105 54
Athens, Greece
Tel. +30 210 322 8785
E-mail: ad@otenet.gr
www.adgallery.gr

meteorite unit research

http://antonas.blogspot.com/2011/03/meteorite-unit.htmlhttp://antonas.blogspot.com/2011/03/meteorite-unit.html

PLEASURE, curated by Margarita Kataga at ABOUT:

PLEASURE

Thursday 16th of June - 9th of July 2011 

at

ABOUT: 

www.about-art.gr

Participants

Yannis Malegiannakis // Nikos Papadopoulos // Tereza Papamichali // Lila Polenaki // Theo Prodromidis // Daphni Rokou // Vassileia Stylianidou

Opening: Thursday, 16th of June 2011, at 20.00
Opening hours: Wednesday – Friday 17.00 – 21.00, Saturday 12.00 – 16.00

Curator: Margarita Kataga

An essay by the Italian philosopher Giacomo Leopardi (1798-1837), entitled The Theory of Pleasure, inspired the idea of a project for recording and studying the concept of “pleasure”, which for many centuries was a central issue for the human psyche. However, the excesses related to pleasure and its two-fold nature may turn it into a trap for human nature.

Leopardi writes with a prophetic pen, raising issues that are still of interest:
“In this life, the most certain pleasure is the futile pleasure of illusions”. And in another passage he states: “Illusions, though degraded and denounced by reason, still exist in this world and constitute the biggest part of life”.

Since in today’s consumerist society reality is defined by simulacra –described by French philosopher, J.Baudrillard, as the conjunction of reality and its image- how real can pleasure be? How is it defined? And in which degree can subjectivity support its manifestations?

Seven visual artists present and critically review the “masks” of pleasure and the boundaries between its essential meaning and the theatricality that sometimes accompanies its manifestations.

At the same time, drawing from humans’ relation to nature and the notion of collectivity within a societal context, the artists juxtapose their counter-suggestions regarding pleasure’s fake existence.

The associations and interrelations created among the presented works, raise important issues regarding enjoyment and the subjective dimension of pleasure.

installation views of

SERENADE TO SPECTACLE, 2006,16mm to DVCAM,stereo,6’30”

Farewell at Kunsthalle Athena documentation

524 books on the Left
524 new sentences produced
a collaboration between Aggeliki Papoulia and Theo Prodromidis 

ΑΓΓΕΛΙΚΗ ΠΑΠΟΥΛΙΑ
ΘΟΔΩΡΗΣ ΠΡΟΔΡΟΜΙΔΗΣ
AGGELIKI PAPOULIA
THEO PRODROMIDIS

Goodbye Mr. Socialism,
Έτσι μεγάλωσα και έγινα κομμουνιστής
Qu’ est-ce que le communisme?
Μεγάλη Σοβιετική Εγκυκλοπαίδεια
Το Κεφάλαιο
Σύντομο Κοινωνικοπολιτικό Λεξικό
Ανατομία του Κομμουνισμού
Η Ρωσία όπως την έιδα
Ο «Αριστερισμός» παιδική αρρώστια του κομμουνισμού
Big History and the future of humanity
Το λυκόφως των κοινωνικών θεών
Περί του ορισμού της τρομοκρατίας
Ένα  βήμα μπρός, δύο βήματα πίσω
Το επαναστατικό πρόβλημα σήμερα
Για την ορθή λύση των αντιθέσεων
Η εποχή των άκρων
First as tragedy, then as farce
Ο κόσμος που είδα ανατολικά
Η επανάσταση ως υποκείμενο και ως αναπαράσταση
Κριτική της “αντιαυταρχικής” αγωγής
,etc

2011
performance
books (variable amount), 5 actors, 1 slide projector, 1 overhead projector, 1 video projector, 1 laptop, 1 printer, sound, duration variable

above photos by Spyros Staveris

http://www.greekfestival.gr/en/event53-apoxairetismos---farewell.htm
http://www.kunsthalleathena.org/ehibitions-and-projects.php?id=167

TOWARDS AN EXIT FROM 508 at ROOMS2010 curated by Christina Androulidaki

Ο Θοδωρής Προδρομίδης θέτει ως βασική προϋπόθεση της καλλιτεχνικής δημιουργίας τον αναστοχασμό και σκηνοθετεί ένα site specific φιλμ μικρής διάρκειας βασισμένο στο έργο «Κεκλεισμένων των θυρών» (Huis Clos) του Ζαν-Πωλ Σαρτρ. Το υπαρξιστικό δράμα του Σαρτρ είναι δομημένο πάνω σε τρεις βασικούς χαρακτήρες οι οποίοι όντας εγκλωβισμένοι σε ένα δωμάτιο ξενοδοχείου συνειδητοποιούν ότι έχουν πεθάνει κι έχουν καταδικαστεί σε αιώνιο εγκλεισμό και αναγκαστική συμβίωση, η οποία θα αποδειχτεί εκρηκτική καθώς η πλοκή εξελίσσεται κι εκείνοι αναπτύσσουν μεταξύ τους μία επικίνδυνη σχέση αλληλεξάρτησης και εμπλοκής χωρίς ελπίδα διαφυγής.


Το έργο του Προδρομίδη πατάει πάνω στο κείμενο του Σαρτρ για να αφηγηθεί μία σύγχρονη ιστορία διαπλοκής, που λαμβάνει χώρα μέσα στο ξενοδοχείο Saint George Lycabettus. Με αυτόν τον τρόπο χρησιμοποιεί τον χώρο του ξενοδοχείου, ως ένα πολύσημο, ρευστό τόπο, χώρο δράσης των ηρώων του φιλμ, αλλά και των επισκεπτών. Ως τόπος δράσης, «εσωτερικής» και «εξωτερικής», το ξενοδοχείο χρησιμοποιείται έτσι ως σκηνικό για το έργο αλλά και ως φορέας της έκθεσης, μετατρέποντας τον θεατή από αμέτοχο παρατηρητή, σε ηθοποιό, κριτή, συνένοχο, κ.ο.κ., ενώ παράλληλα συμβάλλει στο να αναπτυχθεί ένα σχόλιο γύρω από την ιδιότητα του καλλιτέχνη ως σκηνοθέτη μίας συγκεκριμένης δράσης αλλά και ως συγγραφέα, φιλόσοφο, αρχιτέκτονα, «ενορχηστρωτή» του χώρου που μας περιβάλλει.


Την ίδια στιγμή, στο πέρασμα του από την θεατρική στη φιλμική αφήγηση, ο Προδρομίδης αποφεύγει οποιαδήποτε άμεση αναφορά στο κείμενο αυτό καθαυτό. Δεν χρησιμοποιεί τον λόγο, ούτε εστιάζει στην κορύφωση του δράματος, συνειδητά αποφεύγοντας τις εννοιολογικές φιλοδοξίες κινηματογραφικών έργων εμπνευσμένων από παρόμοια κείμενα κι εγκαταλείποντας μία τέτοια αφήγηση, για μία πιο «γνωμική», αποσπασματική αφήγηση που έχει στόχο να επανεξετάσει την αυτονομία του καλλιτεχνικού έργου, ως κάτι που απελευθερωμένο από «κανονιστικές» συμβάσεις μπορεί να ολοκληρωθεί και να ερμηνευτεί από τον θεατή.


Εκμεταλλευόμενος το γεγονός ότι οι θεατές αποφασίζουν πότε θα εισέλθουν στο δωμάτιο, πόση ώρα θα παραμείνουν και πότε θα φύγουν, η δομή του έργου εξυπηρετεί στο να μεταφέρει μία γενικότερη ατμόσφαιρα όμοια με τον αιώνιο κύκλο των ανεκπλήρωτων επιθυμιών στον οποίο είναι καταδικασμένοι οι ήρωες του Σαρτρ· Χωρίς αρχή, μέση και τέλος. Με αυτόν τον τρόπο, η ροή των σκηνών στο έργο δημιουργεί μία σειρά από submerged narratives[1] που όπως χαρακτηριστικά περιγράφει ο Tom Gunning «επιτρέπουν στην υπόθεση να ανακατευτεί ακριβώς κάτω από το όριο του αισθητού, σαν θάλασσα που φουσκώνει από υποσυνείδητες ιστορίες οι οποίες παρατάσσουν εικόνες σε μία σειρά γεμάτες νόημα αλλά συχνά ανεξιχνίαστες συνθέσεις.»[2]

[1] αφηγήσεις οι οποίες υποβόσκουν ή αφηγήσεις που δεν «αναδύονται» αυτόματα
[2] Tom Gunning, ‘Towards a minor Cinema: Fonoroff, Herwitz, Ahwesh, Lapore, Klahr and Solomon’, Motion Picture, vol. III, Winter 1989-90, p.4

 

ΚΕΙΜΕΝΟ ΚΑΤΑΛΟΓΟΥ ΤΗΣ ΧΡΙΣΤΙΝΑΣ ΑΝΔΡΟΥΛΙΔΑΚΗ

Theo Prodromidis, Je mehr es hervordringt, Documentation at Move, Halle, 2009

 excerpt of Theo Prodromidis's Je mehr es hervordringt.
published in the DVD : Move - new european media art, documentation of the EMARE works 2008 - 2009 at the Weirkleitz Festival and .move exhibition.

9th -25th of October 2009 in Halle (Saale), Germany

Produced with the support of the European Union Culture 2007 programme and within the scope of the European Media Artists in Residence Exchange (EMARE) programme at the EMAN partner labs, Impakt (Netherlands), Interspace (Bulgaria), VIVID (Great Britain) and Weirkleitz (Germany)
© 2009 Weirkleitz

http://www.emare.eu/move

also check
(installation views in Halle and Exhibition info)
http://theo-prodromidis.blogspot.com/2009_10_01_archive.html
(catalogue text written by Pieternel Vermoortel)
http://theo-prodromidis.blogspot.com/2009/08/text-on-je-mehr-es-hervordringt-by.html
(installation views in Sofia and production stills)
http://theo-prodromidis.blogspot.com/2008_10_01_archive.html
(interview about the work and Sofia, in english for Edno Magazine)
http://theo-prodromidis.blogspot.com/2009/01/edno-magazine-bulgaria-interview-in.html

installation view of Untitled (Canary Wharf, towards the performance of an image) 2007 at Sensitivity Questioned, Ileana Tounta, Athens

Sensitivity Questioned, curated by Iliana Fokianaki, Ileana Tounta, Athens, Greece, 06/05 - 03/07 2010

SENSITIVITY QUESTIONED

Curated by : Iliana Fokianaki

06.05.2010 – 03.07.2010

The group show «Sensitivity Questioned» opens on Thursday 6th May 2010, at 19:30, at the Ileana Tounta Contemporary Art Center.


Participating artists:

Jean Luc Blanc, Gregory Crewdson, Jim Drain, Ryan McGinley, Michael Robinson, Daniel Silver, Daniel Subkoff, Stephen Sutcliffe, Scott Treleaven, Dimitrios Antonitsis, Christos Delidimos, Kostas Bassanos, Manolis Bitsakis, Vassilis Botoulas, Antonis Donef, Eftichis Patsourakis, Theo Prodromidis, Panos Tsangaris

What is sensitivity? Curator Iliana Fokianaki views sensitivity in connection with one of its most common associations: femininity.
Through research on websites created by ordinary people, she arrived at a new definition of sensitivity, invented new ways of associating the sensitive and the feminine and what the latter represents, and used these as a starting point for a presentation of works that reference, underscore and affirm various aspects of the two concepts.

Thus, the exhibition attempts to articulate a new view of the ‘feminine’ at the same time that it explores how the concept finds expression through art. The exhibition’s curator comes up with a selection of distinctly ‘sensitive’ or ‘feminine’ elements, but attempts to challenge their basic quality, give it a new twist and invest it with new possibilities. Furthermore, since the exhibition features an all-male participating artists’ list, it also seems to be addressing the issue of the feminine side of men and of how they tend to deal with it. 

Social assumptions that take sensitivity to be an exclusively female attribute are now being tackled in the visual arts arena. Works presented in this exhibition demonstrate either a choice on the part of participating male artists to approach their subject in ways that may perhaps strike the viewer as ‘feminine’, or a decision to offer an observer’s commentary of the notions of femininity and sensitivity. Viewers are therefore given the opportunity to rethink the meaning of femininity and to realize that such social boundaries are more in flux than they may have imagined.

Basically, the exhibition is a tribute to femininity in all the shapes and forms this may assume today. Through the works it includes, it hopes to cause a shift in the viewer’s perception of its stated subject.

Part of the exhibition’s proceeds will go to ActionAid Hellas to fund programs that support women in India, Cambodia and Haiti.

http://www.art-tounta.gr/files/exhibitionCurrent.html

read an interview with the curator here

The Greek Issue

my friend christina, send me this the other day.

The Greek issue is a global one.

It is a political agenda to weaken the Euro, a exercising American and City of London financial warfare to defend the dollar and Sterling pound. By attacking Greece, the smallest weak link in the eurozone chain and through eventually Euro and thus infecting all the sovereign debt in the world -government debt, sovereign state, local, provincial, of all a national state. An attempt to create a new world monetary crisis. These are based on facts and proofs and not conspiracy theories. The economy is turning into global dictatorship. Either nations will defend themselves against these predatory hedge-funds and zombie banks or the wolf packs of banks and hedge funds will attempt to attack and destroy the debt of sovereign states and that will more or less bring the system of modern states to an end and civilisation with it. 

quoting William Engdahl, Webster Tarpley and Max Keiser .