Show: Who’s Afraid of Komodo

Who: Margarita Bofiliou / Anastasia Douka / Petros Efstathiadis / Zoi Gaitanidou / Phaidonas Gialis / Dimitris Gketsis / Hyperkomf / Evi Kalogiropoulou / Theo Michael / Irini Miga / Ilias Papailiakis / Filippos Telesto / Theodoros Stamatogiannis / Valinia Svoronou / Nikos Tranos / Evgenia Vereli / Eleni Zervou

Curated by: Kostas Efstathiou / Evgenia Vereli

Where: Allouche Benias gallery, Kanari 1, Kolonaki, Athens

When: 10 September 2020, 11a.m. - 8p.m.

Opening hours: Tuesday, Wednesday, Saturday 12–5pm, Thursday, Friday 12-7pm

Website: https://www.allouchebenias.com


A decade after the greek recession and the devastating economic meltdown things in Greece were looking up and a general optimism was widespread in society. The country appeared healthy enough to enter a new era and ambitious plans were being widely discussed. Exactly at that time Efstathiadis seems unease and starts preparing for the next large disaster. Just a couple of months before the COVID-19 crisis the artist starts building the sculptural installations for the first six of his Escape Pods.

These new photographic works -prophetic as they are- they re-envision life right after a cataclysmic tragedy has struck the world. Set on the bottom of a dry Peloponnesian river the series nod at the environmental dangers we are facing and alarm the viewers about the threat of yet another state of emergency. Set in a rural environment reminiscent of an outwardly rocky backdrop of a far away planet as portrayed in a sci-fi Hollywood film Efstathiadis’ pods are composed by objects and materials found at the river banks, partly assembled in the studio and finally built and set on site. The artist is warning us about the inevitability of the urgency to escape. In his futuristic fantasy-thriller, when the evacuation bells of our planet will start ringing his tiny toy-like life-saving vessels will be there with their engines on fire, ready to board.




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Show: Dusk and Dawn look just the same

Who: Sanna Helena Berger / Bertrand Flanet / Flaka Haliti / Manolis D. Lemos / José Montealegre / Britta Thie / Simon Wienk-Borgert & Sophie Isabel Urban / Malte Zenses

Curated by: Layla Burger-Lichtenstein, Susanne Mierzwiak, Kerstin Renerig

Where: PiK – Projektraum im Kunstwerk e.V., Deutz-Mülheimer Str. 127, 51063 Cologne, Germany

When: 5-26 October 2019

Opening hours: Thursday 4–7pm, Saturday 3-7pm

Website: https://projektraumimkunstwerk.tumblr.com

The exhibition Dusk and Dawn look just the same embodies our present as an ambivalent momentum. Through a prism of melancholy, an atmospheric presence is dispersed throughout the works capturing an experience of floating, of directionless stasis as attitude towards the world around us. The genesis being the political and economic crises as well as the increasingly digital mediation of our daily experiences.

The shift of social responsibility to the individual seems to further the belief that we now have to face the challenges of our time on our own. The inability to respond to this demand and act immediately, however, causes resignation. What remains is an overburdened subject who conceives a present charged with longing, but one that can hardly be projected into the future. That moment of standstill, however, should not only be understood as a retreat into lethargy, but as a refuge of reflection that makes an uprising imaginable again.

The title of the exhibition is borrowed from the video work of the same name by the artist Manolis D. Lemos. Dusk and dawn, two terms that are uniformly translated as twilight in German, describe a moment of upheaval between the past and a new beginning that can be seen on the horizon.




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Show: Tomorrows, urban fictions for possible futures

Who: Constantinos A. Doxiadis / Stefania Strouza & The New Raw / Morehshin Allahyari & Daniel Rourke avec ARTEKLAB, Geraldine Juárez, Darlene Farris-LaBar et Antonio Esparza / Design Earth / Heba Amin / Aristide Antonas / Zissis Kotionis / Zenovia Toloudi – Studio Z / Liam Young / Point Supreme / Takis Ch. Zenetos / Kyriaki Goni / Loukia Alavanou / Petros Moris / Lina Theodorou / AREA – Architecture Research Athens / James Bridle / Adam Harvey / !Mediengruppe Bitnik / Lydia Kallipoliti & Andreas Theodoridis avec Xueping Li, Erica Vinson, Dakota Pace et Seraphim Le / Manolis D. Lemos / Pinar Yoldas

Curated by: Daphne Dragona, Panos Dragonas

Co-directed with the Onassis STEGI – Athens

Scenography: Panos Dragonas, Varvara Christopoulou

When: 27 March - 2 June 2019

Where: Le lieu unique, Quai Ferdinand-Favre, 44000 Nantes, France
Website: http://www.lelieuunique.com/en/evenement/tomorrows/


Tomorrows is a project for an exhibition developed in Athens examining the complexity of the future through the work of artists, architects and designers. Video installations, fictional stories, scale models, architectural blueprints, 3D prototypes… all of these tell us stories about tomorrow. Most of these scenarios concentrate on problems affecting the Mediterranean region – like the economic crisis, the effects of climate change and the mass displacements of populations.

Manolis D. Lemos is presenting the work Feral Remnants (Dog), a multimedia installation consisting of a metal tank filled with black oil and an HD video with an original music score. The video is a dreamy projection onto the future where a dog of the Samoyed breed is shot wandering in an empty industrial environment in slow motion.

The musical score (Medieval, 2016, composed by Ori, the artist’s rock trio) creates a certain dystopic heavy atmosphere, yet the screaming voice evokes a sense of riot. No human is to be seen. It is a poetic projection onto a further future with no human presence in sight. The dog is reversely projected onto the wall screen, and distortedly reflected on the petroleum which trembles according to the bass sequences of the music.
The work inevitably describes a future where the lonely dog runs loose in an environment where humans are extinct. Depending on the interpretation of the installation, the viewer is left with an ambivalent sense of melancholia or a certain spark of promise about the future.

The project was commissioned by the Onassis Cultural Center on the occasion of the exhibition Tomorrows, 2017 which took place at Diplareios school in Athens in parallel to documenta14.

Link to the video: https://vimeo.com//220736935
pass: feralremnantsdog2017 



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Show: Yannis Moralis, Master Teacher

Who: Dimitris Condos, Demosthenis Kokkinides, Yiannis Chaïnis, Marilena Aravantinou, Makis Theofylaktopoulos, Nestoras Papanikolopoulos, Olivia Michali, Chronis Botsoglou, Zacharias Arvanitis, Thanasis Makris, et.als.

Curated by: Spyros Moschonas & Konstantina Ntakolia

When: 13 February – 05 May 2019

Where: Benaki Museum of Greek Culture, 1 Koumbari St. & Vas. Sofias Ave., 106 74 Athens

Opening hours: Wed & Fri 10am–6pm, Thu & Sat 10am-midnight & Sun 10am-4pm

Website: https://www.benaki.gr

Yannis Moralis is known as being one of the greatest Greek artists of the twentieth century. Moralis, however, was more than just a painter, as his teaching influenced and shaped Greek art throughout his own life and over subsequent generations. The goal of the exhibition is to highlight how Moralis’ liberal teaching style shaped his students, leaving in his wake not simply followers but independent artists, students both male and female, who chose radically different paths. The exhibition displays paintings by only some of Moralis' many students: works that date either from their time as students or immediately following, juxtaposed with their mature creations in an attempt, on the one hand, to show how they evolved as artists away from their teacher’s shadow, and, on the other hand, to underscore the many different directions that these students actually took.

The exhibition includes works by Dimitris Condos, Demosthenis Kokkinides, Yiannis Chaïnis, Marilena Aravantinou, Makis Theofylaktopoulos, Nestoras Papanikolopoulos, Olivia Michali, Chronis Botsoglou, Zacharias Arvanitis, Thanasis Makris and many more. Finally, it also showcases archival and photographic material showing Moralis teaching at the Athens School of Fine Arts, which document the spirit in which he taught and the atmosphere in his studio.



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Petros Efstathiadis, Apache (Gold Rush series), 2016, Inkjet print on luster paper, 82x110cm

Show: The Ruralists

Who: Petros Efstathiadis, Manolis Zacharioudakis, Katerina Kana, Ioannis Koliopoulos, Zissis Kotionis, Margarita Myrogianni, Apostolos Ntelakos, Paola Palavidi, Alexios Papazacharias, Leda Papaconstantinou, Thanassis Totsikas, George Tsakiris, Alexandros Psychoulis

Curated by: Angeliki Antonopoulou and Alexios Papazacharias

When: 5 December 2018 – 19 January 2019

Where: a.antonopoulou.art, 20 Aristofanous str., Psyrri, 105 54 Athens

Opening hours: Wed - Fri 2–8pm & Sat 12-4pm

Website: www.aaart.gr

The exhibition presents 13 artists who live and work outside the major urban centres. The title The Ruralists does not imply a movement nor trend, and certainly not a coherent artistic movement, as in the case of the group Brotherhood of Ruralists, founded in 1975 around the pop artist Peter Blake, which suggested the restoration of a bucolic English landscape as central subject theme in paintings.

The artists of this show barely deal with landscape paintings, although the theme of open landscape runs the exhibition as a fact; however it is not present in every artwork. Away from the urban life and the suffocating dimension of the city, the horizon of the work and the artist are expanding in order to incorporate naturally the everyday practices, imagination, craftsmanship, inventiveness.

Paintings and sculptures, photographs and installations are created by a plethora of materials and techniques that are related to the environment. All the projects generally avoid the drama without lacking the drama. Time arises as the key question and as a primary value in this group exhibition of artists in Athens, aiming to resemble a sunny rural courtyard during a December day.




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Still from Manolis D. Lemos’ dusk and dawn look just the same (riot tourism), Video with sound, 3’ loop

Show: Screen Spaces, a geography of moving image in New York

Who: Constant Dullaart, Live Archiving, Sean Monahan, Analisa Teachworth, Shigeko Kubota, with exhibition design by Marlous Borm Co-curated by Agustin Schang, Devin Kenny, Rites Network, Angus Tarnawsky and Jan Bot with exhibition design by Koos Breen and Jeannette Slutter, JODI, Manolis D.Lemos, Naime Perrette, Tayyib Ali

Curated by: For The Record; Vere van Gool, Emma Macdonald

When: 1 - 7 December 2018

Where: Seward Educational Campus, 350 Grand St., New York

Website: https://fortherecord.hetnieuweinstituut.nl/en/activities/screen-spaces

Het Nieuwe Instituut launches the exhibition and lecture series. The program explores video and time-based media, including net art, set-design, animation, video, reportage, music videos, television, CCTV, and social media channels, as sites of reality production and circulation. By examining the material, spatial and political dimensions of the space of the screen and the territories it mediates, Screen Spaces aims to unveil the identities, ideologies and imaginaries that inform video culture today.

Responding to the relationship between video and the construction of the public sphere, Screen Spaces presents ten site-specific installations in Lower Manhattan. Free and open to the public, the program transforms its sites into temporal, urban viewing, recording and broadcasting stations, and nodes in a scrolling geography across the city. On December 1, 2018, the participating exhibtion sites open consecutively.

To celebrate the opening of Screen Spaces, a public program at Anthology Film Archives on 1 December will convene a group of cultural visionaries in the field of media, technology, design and video. Speakers will discuss the ways in which the production of reality is mediated by the architecture of the screen. The conversation will be documented and broadcasted by research and technology partner Are.na.

For the Record
Screen Spaces is part of For the Record, a live-research and exhibition project on the politics of contemporary video culture, launched by Het Nieuwe Instituut in 2018. The project will manifest in an exhibition at Het Nieuwe Instituut in Rotterdam in 2020.




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Alexis Vasilikos, #7287, 2016, Inkjet print on fine art paper, 30x42cm

Show: Photo-graphe, Between the Visual and the Literary

Who: Maria Antelman, Dimitra Dede, Yiannis Hadjiaslanis, Stratos Kalafatis, Kostas Kapsianis, Panos Kokkinias, Yiorgos Kordakis, Nikos Markou, Mari Masouridou, Yiorgos Mavropoulos, Maria Mavropoulou, Lia Nalbantidou, Margarita Nikitaki, Kamilo Nollas, Rea Papadopoulou, Paris Petridis, Ioanna Sakellaraki, Georges Salameh, Spyros Staveris, Eftihia Stefanidi, Angela Svoronou, Manolis Tsafos, Marinos Tsagkarakis, Dimitris Tsoublekas, Alexis Vasilikos, Lukas Vasilikos, Nikolas Ventourakis and Eirini Vourloumi

Curated by: Maria Nicolacopoulou on the occasion of the 50 years anniversary of Kastaniotis Editions

When: 29 November 2018 – 5 January 2019

Where: Benaki Museum, 138 Pireos str., Athens

Opening hours: Thu & Sun 10am–6pm, Fri & Sat 10am - 10pm

Website: https://www.benaki.gr

How can different artistic methodologies of interpretation merge into a unified language of communication able to represent multi-disciplinary narratives of fictional realities, embedded in visual truths? How can a static portrayal of ideas resurrect underlying relationships between forms of writing, imagination and personal history? Does the visual agency of the photograph override, enhance or merely complement its literary equivalent? Or are the two perhaps too antagonistic to co-exist?

From Foucault’s theories of vision as object of knowledge, to Ranciere’s re-evaluation of the viewer’s participation and experience in the knowledge-making procedure, historical and contemporary theories have attempted to analyse and explain the intricacies of knowledge interpretation, as that is manifested in artistic practices.

Photo-graphe, by employing literature and images as guides to one another, does not only evoke questions on the relationship between viewer, participant and storyteller, but is also able to consider those issues through the lens of inter-disciplinarity, via the interactive experience taking place, between the cross-sectioning of their interpretive capacities. From Italo Calvino’s Invisible Cities translated through Marino Tsagkaraki’s hospital interior of Valley 1, to Alexis Stamatis’ Bar Flaubert seen through the lens of Ioanna Sakellaraki’s, Belgian Chateau de la Foret, the visitor is invited to take an interactive journey, in a conversation between literature and photography, to explore the correlation between visual and literary narratives, while deciding on the potentiality and limitations of their relationship, in relation to knowledge, as well as each other.




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Installation View Municipal Art Gallery of Thessaloniki at Alaca Imaret
Marianna Ignataki, Darwin's Pride, 2018, watercolor, gouache, pencil and colored pencil on paper, 76x56cm
The Duck, 2018, Sculpture made of synthetic hair, fabric, thread, polyester fiber fill, 202x34x26cm
Le Parisien, 2018, Sculpture made of synthetic hair, fabric, thread, polyester fiber fill, metal, 190x20x20cm
The Blind Boy, 2018, Sculpture made of synthetic hair, fabric, thread, polyester fiber fill, metal, 215x23x26cm
Marianna Ignataki, Hairman, 2018, Sculpture made of synthetic hair, fabric, thread, polyester fiber fill and metal base, 185x20x20cm


Who: Marianna Ignataki

Solo Show: In a deep, dark forest they were braiding the beards of parrots in love

When: 29 November 2018 - 5 January 2019

Where: Municipal Art Gallery of Thessaloniki, Alaca Imaret, Kassandrou 91-93, Thessaloniki

Opening hours: Tue - Sat 11am - 6pm

Marianna Ignataki's exhibition at Alatza Imaret (Turkish: Alaca Imaret = “Colorful Mosque”) deals with issues of gender, identity, otherness and exclusion, through images and sculptures that seem both beautiful and grotesque. Figures that appear both dominant and dominating, that show no signs of vulnerability, that lie hidden or reveal themselves behind masks or hair, juxtapose alternating and coexisting concepts of both the terrible and the absurd.

Referencing Chinese philosophy and tradition, bearded ladies and hairmen, the circus and the opera, the artist introduces us to a world where “being different" is not only the subject of urban myths, cliches or carnival disguises, the subject of anthropological curiosity or ridicule but a new reality/regularity.

Issues of racism and race are placed side by side to issues of gender identity. According to Darwin's theories of sexual choice the beard of a white woman only casts doubt on her gender, while a beard in a black woman even disputes her origin as human. Similarly, instances where gender identity or gender expression differs from the assigned sex are treated as exotic birds. Ignataki’s works take us exactly there, into the deep, dark forest where there are parrots in love.

Bio. Marianna Ignataki was born in Thessaloniki in 1977 and she currently lives in Berlin. She begun her studies in architecture at the Technische Universitat in Vienna and then she moved to France where she studied Visual Arts at the School of Fine Arts of Saint-Etienne. Between 2010-2017 she lived and worked in Beijing, China. She has had six solo exhibitions to date, namely “Josie, the Armor and the Hairman” at CAN Christina Androulidaki gallery, Athens (2017), ”The End of Magic" at Outpost Project Space, Amsterdam (2012), the "Sphinx" in Fake Space gallery, Beijing (2011), "This Joke Ain’t Funny Anymore" curated by Apostolos Kalfopoulos in Zina Athanasiadou gallery, Thessaloniki (2009), "Coitus Interruptus" (double solo show) in Public Room Project Space, Skopje (2008), and one more show in cooperation with Lola Nikolaou at Fleming gallery, Thessaloniki (2004). She has participated in a number of group shows in Greece, China, Spain, Holland, France, Germany and the US. She is represented by CAN Christina Androulidaki gallery, Athens




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Celia Daskopoulou, Untitled, 1974, oil on canvas, 50x40cm
Celia Daskopoulou, Profession Real Estate, 1973, acrylic on canvas, 132x100cm
Celia Daskopoulou, Untitled, 1981, oil on canvas, 72x63cm
Celia Daskopoulou, Untitled, 1981, acrylic on canvas, 60x50cm
Celia Daskopoulou, Untitled, 1988, acrylic on canvas, 100x81cm

Who: Celia Daskopoulou, Augusta Atla Van Fogh, Varvara Liakounakou

When: 23 October 2018 – 29 December 2018

Where: CAN Christina Androulidaki gallery, P. Anagnostopoulou 42, Athens

Opening hours: Tue - Fri 12–3pm & 5-8pm, Sat 12 - 4pm

Website: https://www.can-gallery.com

Celia was born in 1936 in Thessaloniki. She grew up in Kilkis and moved to Athens with her family in 1945. She studied painting at the Athens School of Fine Arts on a greek state scholarship under Yannis Moralis. She graduated with distinction in 1960 and continued her studies at independent art academies in Paris. She started exhibiting in Nees Morfes gallery in 1962. At this stage her subjects were landscapes, exteriors of houses mostly, with extremely vivid colours. In 1966, she won the 2nd place in the Young Artists Contest of the Hellenic American Union.

In 1970 when she returned to Greece from Paris, her painting style had dramatically shifted; it had become anthropocentric with an emphasis on female figures, which are presented as portraits, reflecting either their conventional social roles or their emotional state. For nearly three decades she produced almost exclusively portraits of women. By the end of her life (Athens, 2006) she had created over 100 such portraits.

Her paintings are full of expressionistic gestural marks and facial expressions that are overstated in a deliberately ‘crude’ and mask-like anti-naturalistic style. She often uses ironic titles such as Baby Girl, Shy Woman Looking Down, Sex Pussies, The Rivals, etc. in order to reinforce the poignant critical voice of her paintings. In 1978 she titles her solo show at Nees Morfes gallery “After The Year of Woman” sarcastically referencing the United Nations’ proclamation that had named 1975 as International Women’s Year.

A few years later her work will take another unexpected turn. Her works depicting women with the unnatural mask of beauty that the male-dominated society has enforced through the various role-models are replaced by a series of increasingly dark portraits, that have a dramatic undertone and express her mood as a result of her personal experiences and her mental fluctuations. Works organised in an atmosphere between cult and decadence, portraits that look like “still lives" as Nikos Karouzos called them, make Celia Daskopoulou one of the leading painters of "psychogenic vertigo”.

Although she regularly presented her work in Nees Morfes gallery, she kept a low profile and participated only in a few selected group shows. During her lifetime, public, art collectors and critics appreciated her work, establishing her as a unique voice in greek painting. However, the last retrospective exhibition of her work was in 2000 and in the 18 years that followed, her work was scarcely exhibited and her name was completely forgotten and omitted from art history.

Through this large tribute to her work and the collaboration with the 6th edition of the ATHENS BIENNALE (where another 18 of her paintings are exhibited) CAN gallery aims to provide a better understanding, a new reading through a feminist viewpoint and a re-appreciation of Celia Daskopoulou as one of the most authentic female presences in contemporary painting.





Show: The Thirtieth Year
Who: :mentalKLINIK (Yasemin Baydar and Birol Demir) (TR), Monica Bonvicini (IT), Mircea Cantor (RO), LeandroErlich (AR), Gregor Hildebrandt (DE), Mika Rottenberg (AR)
Curated by:  Jérôme Sans
When: 14 September – 25 October 2018
Where: KRINZINGER PROJEKTE, Schottenfeldgasse 45, A-1070 Vienna, Austria
Opening hours: Mon - Fri 15 – 19pm & Sat 11 - 14pm
Website: www.galerie-Krinzinger.at/projekte

This exhibition revolves around a collection of short stories (The Thirtieth Year, 1961) by Ingeborg Bachmann, an Austrian poet and a leading female protagonist of Viennese culture in the post-war years. If poetry is a way of engaging with the world through the message it conveys, in Bachmann, this engagement is also expressed by her opposition to all forms of ideology and wars, to the history of imperialism and fascism and its continuation under new guises. Bachmann’s cosmopolitan life in different European cities offered her an early understanding of borders, which she crossed or transcended throughout her own life. She also became an icon of woman’s liberation and embodied this contemporary phenomenon of nomadism, which is so typical of the lives of cultural actors in a globalized world.

Thus the utopian desire to reshape the world through a new language, to cross borders and social norms is a thread that runs through all the seven, organically linked novellas of The Thirtieth Year, making us, the reader, constantly shift from one reality to another.

In the same way as Bachmann’s collection, the exhibition unfolds around the imagined stories and writings by the artists themselves. Their projects are displayed all around the different rooms of Krinzinger Projekte, like in a family apartment in which one discovers the unique universe of each figure all of whom stem from different cultures and contexts.

This edition of Curated by_ marks the 10th year of this series of exhibitions. The Thirtieth Year jumps through time in order to pay tribute to the historical heritage of the city, which has become a veritable cultural hub of history – and to the eminent figure of the writer Ingeborg Bachmann whose poems have always offered inspiration to scores of artists. The exhibition implicitly sketches this fragility of the contemporary world under the sway if the idea of a collective history constantly being reinvented...

Jérôme Sans (b. in 1960) is an independent curator, art critic and director of contemporary art institutions, he was the cofounder and former director of the acclaimed Palais de Tokyo in Paris until 2006. From 2006 to 2008 he was developing the BALTIC Center for Contemporary Art in Gateshead as the Director of Programming, later he became the director of the ground-breaking Ullens Center for Contemporary Art in Beijing (UCCA) and led it until 2012. He is currently the artistic director of one of the most important urban development projects in Europe, the Lyon Rives de Saône-River Movie, and co-founder of Perfect Crossovers ltd, a Beijing based cultural consultancy group. Between 2006 and 2013, Jérôme Sans was also the Global Cultural Curator for Le Méridien Hotels & Resorts and from 2012 to 2014 the creative director and editor-in-chief of the French cultural magazine L’Officiel Art.

Jérôme Sans has curated over 300 solo and group shows worldwide, in art institutions and outside, among others: “Viennese Story” (1992), Wiener Secession, Vienna (with Douglas Gordon, Rirkrit Tiravanija, Erwin Wurm, Chen Zhen, Eric Duyckaerts, Sam Samore, Wendy Jacob, Kendell Geers, Angela Bulloch, Rainer Ganahl...); “The Snowball” (1999) for the Danish Pavilion at the 48th Venice Biennale; “Pierre Huyghe, The Process of Leisure Time” (1999), Wiener Secession, Vienna; the Taipei Biennale “The Sky Is The Limit” (2000) at Taipei Fine Art Museum (with Candice Breitz, Loris Cecchini, Claude Closky, Meschac Gaba, Kendell Geers, Hsia Fei Chang, Shu Lee Chang, Pascale Marthine Tayou, Henrik Plenge Jakobsen, Wang Du...); “Intermission” (2002) at the Pitti Foundation in Florence (Italy); “Jan Fabre, Save Your Soul” (2005), Maison Jean Vilar, during the Festival d'Avignon; “Restlessness” by Jan Lauwers at Bozar Brussels 2 (2007);“That's fucking awesome” by mentalKlinik at Haskoy Yarn Factory (Istanbul) in 2011; “Le coup du fantôme” (2013) with Sun Yuan & Peng Yu in Lille (France).

:mentalKLINIK (Yasemin Baydar and Birol Demir) (b. in 1972 and 1967 resp.) is an artist duo from Istanbul founded in 1998 and known for its reactionary form of an open laboratory to reinvent process, production, roles, conception and presentation. Resisting to the limitations of a single vocabulary or style, their world is a playful one full of hedonistic appeal which can be experienced as festive and glamorous but also surprising as one approaches to discover with a closer view an underlying violence suggestive of a bad trip after party or a creepy beginning of the end. Their works shift between emotional and robotic attitudes.

Some works begin by slicing or cutting whereby the artists introduce an element of danger, as a métaphore of art. Other works are emotionally charged with connotations set in direct contrast to other works completely devoid of human characteristics. Converting all pieces of present time into materials for their works of art, :mentalKLINIK points out to contemporary reality by means of sound, action, object, text and form. Reflecting upon our habits of consumption and production; the artist duo forces the limits of interdisciplinary working and questions the patterns and the modes of relation underlying these patterns. The artists dislocate the materials already detached from everyday life and create a new aesthetic form that is awkward, alien and uncanny within the exhibition space forcing viewers to question their own material surroundings. Throughout their works they bring to light invisible politics and social dynamics that define our everyday lives.

:mentalKLINIK’s experimental approach has been praised on numerous occasions and include a performative installation titled ‘FreshCut’ (MAK, Austrian Museum of applied Art, Vienna, Austria) and ‘Cooperation Would be Highly Appreciated’ Exhibition at SCAD Museum GA, USA. Among other collections, several works of :mentalKLINIK are in the collections of Istanbul Modern (Istanbul, Turkey) and Cleveland Clinic (Abu Dhabi, United Arab Emirates).


Show: Catastrophically Gorgeous
Who: :mentalKLINIK solo show
Curated by:  Yasmina Reggad
When: 12 September - 1 December 2018
Where: Eugster || Belgrade, Eugster Association, Viline Voda BB (Objekat 5/3), 11060 Belgrade, Serbia
Visit: Wednesdays (5-7 PM) and Saturdays (2-6 PM), or by appointment
Website: http://www.eugster-belgrade.com

Eugster || Belgrade is thrilled to present the first Belgrade solo presentation of artist duo :mentalKLINIK: CATASTROPHICALLY GORGEOUS, curated by Yasmina Reggad. In this exhibition the artists probe a speculative approach of the future in a world triggered by hyper consumption and governed by hyperobjects.

What has just happened? What is about to happen? What might have happened?

In CATASTROPHICALLY GORGEOUS, :mentalKLINIK becomes the mastermind of a myriad of possible scenarios that affects the present state of the gallery space. The duo’s work fluctuates between the potentialities of provoking the event, postulating a plot for a disaster, and simply leaves the viewer as sole witness to the aftermath of a crisis or leftovers of the invisible.

:mentalKLINIK, Biteersweat, 2015, Video, No sound, 24hours (loop), ed. 3+1a.p.

:mentalKLINIK, Pink Kong, 2017, Cast aluminium, polished brass, automotive paint, 75x115x155cm

:mentalKLINIK, Self-Seeking Superficials 1709, 2017, Ultra-clear tempered glass, micro-layered polyester solar films and artists' frame in eloxal coated aluminium, 121,1x91,5cm 

Show: Obnoxiously Happy 
Who: :mentalKLINIK solo show
Curated by:  Jérôme Sans
When: 7 September - 8 December 2018
Where: La Patinoire Royale - Galerie Valerie Bach, rue Veydt 15, 1060 Brussels, Belgium
Visit: Tuesday - Saturday 11 AM - 6 PM
Website: http://www.prvbgallery.com

La Patinoire Royale / Galerie Valérie Bach is happy to present OBNOXIOUSLY HAPPY, :mentalKLINIK’s first solo exhibition in Belgium, curated by Jérôme Sans.

« The exhibition, which brings together a whole fifteen years of their activity - more an introspective rather retrospective - presents a symptomatic set of the multifaceted approach to their universe which constantly blurs borders. :mentalKLINIK is an allusion to the laboratory where practice and theory coexist, as the :mental refers to the spirit and the KLINIK to practice » (Jérôme Sans).

:mentalKLINIK is a Brussels-based artist duo composed of Yasemin Baydar and Birol Demir who began their collaborative practice in 1998 in Istanbul. They mainly realise immersive installations and sculptures in an experimental approach. Their work is a mix of oxymorons and paradoxes, darkly humorous, self-contained and as much concerned with the total effect of accelerated capitalism as with the invisible politics and dynamics that define our everyday lives. :mentalKLINIK's oeuvre is droll yet can look very playful and fun while at the same time it is violent, abrasive and very questioning of the world we live in. Their works range from immersive time based installations to sculptures and objects that thwart categorisation.

:mentalKLINIK has participated in internationally renowned exhibitions, including Tomorrow Now at MUDAM, Luxembourg in 2007; PuFF at ArtBasel 40; Art Unlimited in Switzerland in 2009; and solo museum shows such as FreshCut at MAK Vienna in 2013 and Co-operation Would be Highly Appreciated at SCAD Museum Georgia, USA, in 2015. Some of their solo gallery shows are That’s Fucking Awesome curated by Jerome Sans at Galerist Istanbul in 2011; Thank You For your Cooperation at Gallery Isabelle van den Eynde, Dubai in 2014; and 83% Satisfaction Guaranteed at Louise Alexander Gallery in Porto Cevro, Italy, in 2015.

:mentalKLINIK, Are You Happy Enough, 2015, 2 layers of hand-written neon (Pink and yellow), 65x160cm

:mentalKLINIK, Puff Out, 2017, 4 vacuum Robots 34x6cm and glitter

:mentalKLINIK, Chromatic Madness 1706, 2017, cotton paper and dichroic micro-layered polyester solar film, 150x250cm

Show: Tomorrows. Urban fictions for possible futures

Organized by the Onassis Cultural Center

Who: Constantinos Doxiadis, Shu Lea Cheang, Design Earth, Demetra Katsota & the Coastal Domains Option Studio,  Stefania Strouza & The New Raw, Cathryn Dwyre & Chris Perry, Emma Charles,  Morehshin Allahyari & Daniel Rourke, Erich Berger & Mari Keto, Kyriaki Goni, Aristide Antonas, Zenovia Toloudi,  Michael Young & the Yale School of Architecture Advanced Studio, Metahaven , Takis Ch. Zenetos, Manolis D. Lemos, Lina Theodorou, Penelope Haralambidou & MArch Unit 24, Bartlett School of Architecture, Liam Young, Lydia Kallipoliti & Andreas Theodoridis with Erica Vinson, Xueping Li, Seraphim Le and Dakota Pace, Point Supreme Architects, Zissis Kotionis, Tobias Revell, AREA Architecture Research Athens, Victoria University of Wellington, Adam Harvey,  Ava Aghakouchak & Maria Paneta, New Affiliates & FarzinFarzin, James Bridle, Vassiliea Stylianidou, !Mediengruppe Bitnik, Pinar Yoldas

Curated by: Daphne Dragona and Panos Dragonas

Coordinated by: Christos Carras

Organized by: Konstantina Soulioti

Where: Diplareios School, Theatrou Square 3, Athens

When: 17.05.17 - 16.07.17

Website: http://www.sgt.gr/eng/SPG1757/?

news 2017-05-26

Artists, architects and designers tell stories about the cities of tomorrow. The exhibition presents utopian and dystopian scenarios, where the future becomes a tool of understanding present itself.

The future never felt closer than it does today. A series of environmental, technological and social shifts are changing the planet and forcing us to reassess our place on it. The Earth resembles a city which keeps on sprawling outwards while other areas are abandoned due to climate change and extreme socio-political conditions. Life in the urban environment is reorganised thanks to intelligent systems constantly processing human and machinic behavior. Artificial ecologies promise to counterbalance the impact of the anthropogenic activity on the natural environment and to meet the needs of an ever-growing global population. But what do these changes really mean for the future? What will the role of the human be in the rapid transformations of the urban and natural environment?

The Tomorrows exhibition focuses on the multiple aspects the future presents today. It features works by artists, architects and designers who tell stories about tomorrow’s possible worlds, discussing the fears and hopes of their inhabitants. Trends of the present provide a starting point for hypothetical—and often exaggerated—scenarios. The narratives refer to technonatural environments, new types of shells for the human and other living beings, upcoming networks and infrastructures, the emergence of a data-driven society, and the redefinition of the role of the human in relation to nature and technology. The show includes video installations and architectural narratives; drafts, plans and prototypes; small-scale mock ups and models of hypothetical systems; wearables and 3D print-outs. Through different hypotheses and stories addressing the future, the show seeks to spotlight practices, methods and tools which encourage a critical engagement with changes happening already in the present.

Show: And The Work of Our Hands

Vasilis Botoulas, Panos Famelis, Maria Mavropoulou, Stratis Tavlaridis, Panagiotis Voulgaris

Curated by: Kiriakos Spirou

The ARTWALL, 26 Sofokleous str, Athens

5 - 29 April 2017


Stratis Tavlaridis, Curtains, 2014, handmade cutout on paper, 150x260cm each piece,
Installation View at The ARTWALL by Maria Mavropoulou

Stratis Tavlaridis, Curtains, 2014, handmade cutout on paper, 150x260cm each piece,
Installation View at The ARTWALL by Maria Mavropoulou

Stratis Tavlaridis, Curtains, 2014, handmade cutout on paper, 150x260cm each piece, detail

[...] Overlooking Mavropoulou’s and Botoulas’s contributions is Stratis Tavlaridis’s pair of painstakingly perforated, paper curtains (Curtains, 2014), whose lightness seems to be the yang to the other two pieces’ yin. Inspired by the traditional Greek lace handiwork that dates back to the 15th century, Tavlaridis reverses the age-old technique whereby the finished piece is a product of
synthesis—looping, twisting, or braiding thread together to create the lace—into a process of subtraction and de-materialisation. Suspended and thus free to sway in the gallery space, the 2.4-meter-high, all-white, meshed drapes appear as the antithesis of the stern darkness of Mavropoulou’s and Vasilis Botoulas’s work, yet if one spends some time observing the works, the illusory patterns dizzyingly emerging from the latter two seem not that different from the swaying embroidery of the former. The  mind-blowing detailing of the cut-outs that Tavlaridis has spent immeasurable amounts of time executing in isolation, appropriately echo Chechov's advice that “the only way we can redeem our past is by suffering and by giving ourselves over to exceptional labour, to steadfast and endless labour”.
Review by Eric David


Installation view, Photo by Claudia Corrent

Installation view, Photo by Claudia Corrent

Installation view, Photo by Claudia Corrent

Who: Petros Efstathiadis

Show: Gold Rush series

Where: FOTO-FORUM, Bolzano, Italy

When: 21 March - 29 April 2017

Website: www.foto-forum.it

Liparo, North of Macedonia, Greece. This is a place where for decades the land has brought peaches to its inhabitants, a land that now has been swept away by the wind of a fierce economic crisis. For a decade now the village where photographer Petros Efstathiadis was born in, has been the setting of his work. There, in his parents’ or neighbors’ backyards, in the surrounding fields, he carefully composes minute mise-en-scènes, made with leftovers and disregarded goods. In this period, the large-scale and ephemeral sculptures set the decor for a 21st century gold rush. He tells us the story of this man who stepped in the village a few months ago, entered the homes, promising the locals a ticket to wealth: their land had been elected to host a new gas pipeline from Azerbaijan. Villagers signed the contracts, including the photographer’s father, in the same backyard. In an elliptic move of his, from this very soil, Petros Efstathiadis brings back building and machines from the time of the Californian gold rush. One can recognize some familiar figures, iconic pictures from an era of great expectations and deceived hopes - a church that reminds us of Walker Evans’ Alabama decrepit façades. And if the typical pioneer austerity arises here, we discover which other resource the land surely hold: Efstathiadis theatrical and delightful sense of fantasy. 


Show: Tomorrow’s Corporate Love (Forgetting From Athens)

Who: Manolis D. Lemos and his band ORI.

Where: Les Lundis du Pavillon

When: 06 February 2017 at 8pm

Organized by: The Pavillon Neuflize OBC, The Palais de Tokyo research lab

The "Lundis du Pavillon" are a series of monthly rendez-vous open to artists in residence in Paris, by the Pavillon Neuflize OBC, the Palais de Tokyo research lab.

For his new event, the Pavillon welcomes Manolis D. Lemos and his band ORI for evoking Athens. Between dystopic projection and absurd representation, the musical display transforms the city in a mental wasteland.

Manolis D. Lemos, Silent Hysteria II, 2016, Petroleum and water in iron tanks, dimensions variable

Petros Efstathiadis, Bridge, 2016, Inkjet print on luster paper, 110x82cm, 147x110cm

Petros Efstathiadis, Interception Corner, 2016, Inkjet print on luster paper, 110x82cm, 147x110cm

Petros Efstathiadis, Lucky Numbers, 2016, Inkjet print on luster paper, 110x82cm, 147x110cm

Petros Efstathiadis, Thunder, 2016, Inkjet print on luster paper, 110x82cm, 147x110cm

Show: The Equilibrists 

Who: Loukia Alavanou, Dimitris Ameladiotis, Maria Anastassiou, Eleni Bagaki, Margarita Bofiliou, Marianna Christofides, Manolis D. Lemos, Petros Efstathiadis, Eirene Efstathiou, Zoi Gaitanidou, Giorgos Gerontides, Stelios Kallinikou, Yannis Karpouzis, Lito Kattou, Kernel, Ioannis Koliopoulos, Chrysanthi Koumianaki, Orestis Mavroudis, Irini Miga, Olga Migliaressi-Phoca, Petros Moris, Persefoni Myrtsou & Eva Giannakopoulou, Malvina Panagiotidi, Aliki Panagiotopoulou, Eva Papamargariti, Zoe Paul, Sofia Stevi, Anastasis Stratakis, Valinia Svoronou, Paky Vlassopoulou, Myrto Xanthopoulou, Natalie Yiaxi

Curated by: Gary Carrion-Murayari and Helga Christoffersen with Massimiliano Gioni

Benaki Museum, Pireos Building 138, Athens 118 54

When: 17 June - 9 October 2016

Organized by: the New Museum, New York and the DESTE Foundation, Athens in collaboration with the Benaki Museum, Athens on the occasion of DESTE’s 33rd anniversary

The Equilibrists is a project organized by the New Museum, New York and the DESTE Foundation, Athens in collaboration with the Benaki Museum, Athens, on the occasion of DESTE’s 33rd anniversary. This project continues the DESTE Foundation’s history of supporting talented emerging Greek artists. On the occasion of its anniversary, rather than focusing on its past, the Foundation is looking forward with a focus on the future of young art in Greece.

The exhibition is curated by Gary Carrion-Murayari and Helga Christoffersen with Massimiliano Gioni.

The Equilibrists brings together work by a new generation of young Greek and Cypriot artists working in Athens and abroad. The artists were selected by the New Museum curators, Gary Carrion-Murayari and Helga Christoffersen, drawing on their own research and the recommendations of a team of more than 20 advisors made up of curators, artists, and writers in Greece, and following trips to Athens, Thessaloniki, Cyprus, London, and Berlin.

The 33 artists and collaborations in the exhibition have adopted radically diverse approaches towards reflecting and engaging with the world around them. Working across painting, sculpture, drawing, film & video, and performance, the artists in The Equilibrists capture the fragility of the present moment through a shared approach to materiality. Their work touches upon themes as varied as historical memory, shifting notions of cultural identity, the politics of architecture and infrastructure, and the surfaces and flows of the digital realm.

This group of artists, ranging from their mid-20s to mid-30s, has emerged amidst a climate of political and economic instability, part of an international ‘young precariat,’ whose challenges have only increased in the past decade. Instead of being paralyzed by these circumstances, these young creators have responded with a spirit of improvisation and cooperation. The exhibition also reflects the role of these artists in sustaining and invigorating the artistic community through artist run spaces, residencies, and other platforms which continue to gain widespread international attention.

The Equilibrists is in keeping with the spirit of the ongoing DESTE Prize which has honored a promising young Greek artist biannually since 1999. It also reflects one of the fundamental aims of the Benaki Museum, which as a historical museum, regularly seeks to bridge the past with the emerging present. Finally, this project also continues the New Museum’s ongoing commitment to international emerging artists, highlighted by its signature Triennial exhibition which will next take place in 2018.

Manolis D. Lemos
 juxtaposes modernism and petroleum as two conflicting symbols of the way we dream about the future. Modernism stands as a symbol for an idealistic vision of society whereas petroleum as a symbol of a more pragmatic approach. The installation on view at Benaki Museum refers to shattered dreams and to the role of art in times of crisis. The work reflects on the silent dream of discovering petroleum and natural gas under the greek territory. In Not Yet Titled (Oil Spill Fire) the artist composes a piece with a canvas depicting a calm dream-like abstract landscape and a framed photograph of an image of an oil catastrophe found on the internet.

Manolis D. Lemos 
Silent Hysteria II is a metal tank sculpture filled with oil that lies on the floor directly beneath the painted work. The oil reflects the architecture of the space and the image of the oil spill explosion creating an uncanny void. The metal tanks are inspired by Kazimir Malevich’s suprematist drawings and reference the once famous desire of the Russian avant-garde to change the world via artistic means.

Petros Efstathiadis 
works in Liparo, a remote village in the North of Greece where he gathers various props, he assembles them in curious compositions, photographs the life-size sculptures and then destroys them. In Gold Rush the artist connects the California and the Klondike Gold Rush with the present day. His photographs attempt to recreate the feeling of a colony that is constructed around the desire of finding gold focusing on various details of the boom towns that sprung out of the tiny settlements and looking for similarities with today through a set of sublime, almost comic, ephemeral constructions.


Versaweiss, Monkees, 2016, Inkjet print and silkscreen on archival mat paper, 100x160cm

Show: Don't Kill Bambi: The Studio 54 phenomenon repositioned at times of crisis"

Who: Versaweiss, Cameos: Dimitrios Antonitsis, Theo-Mass Lexileictous

Curated by: Stavros Kavalaris

Where: BIOS, Pireos 84, Athens 10435

When: 27 June - 28 July 2016

Supported by: OUTSET Contemporary Art Fund

Exhibition's organizational body: House of Cyprus

When one ponders the '70s in New York City, the word "pretty" doesn't jeté to mind. The crumbling mayhem of the era portrays, and even preserves, the collective memory of a metropolis on the verge of a nervous breakdown, an aftermath of the Vietnam war and a Post-Watergate cynicism, "which caked the consciousness of the political and popular culture, providing a thick, gritty texture"

The malevolent effects of a city with a major "syndrome", which actually could be described as "disease", of fiscal and social implications, lurking not just under the city's belly, but flaring up at any given moment, lay on the growth-stifling taxes and their cringe-inducing bonding practices, practically inseparable. The enormous loss of workforce was yet symptomatic of another perilous condition – the utterly unsustainable rate of social services. Facts aside, it is analogously clear that Athens after 2008, bombed by its own political hubris, has been crawling along the same curb of distributional politics and generalized theories.

Moreover, the particular global economic decline was that of the'70s oil crisis, identically applicable nowadays – though through differentiated pathways, marking both decagons of time with an overwhelming feeling that the two countries had lost their direction, as if the future is in question with unresolved conflict and problems, which challenge the very heart of the post-war liberal consensus. Americans and Greeks alike, were faced with economic stagnation and recession, increasing poverty, decline in their standards of living, fears that impetus was becoming harder to channel, and bitter divisions over the country's fundamental cultural values.

Such dimming social environment spawned the Studio 54 phenomenon, founded by Steve Rubell and Ian Schrager in 1977, and closed down in 1979, as the mecca of the bright-lights-big-city epicenter of a heavily problematic society in denial. Capitulating on new social formations and trends, as, amongst others, the equality for women, the increased recognition of homosexual lifestyle, the highly increasing numbers of the female workforce, the increasing use of sex in advertising, the rising crime rates, the decline of the mainstream religious experience and the system supporting middle-class, the rise in drug use and the growth of fundamentalism, the club rose as a titillating history-to-make of a reshaped social conscience in oblivion, away from predicaments related to survival and existence. Indicative of such bleak environment was New Yorker's cover by Saul Steinberg portraying the view of the world from Ninth Avenue-"the heartland beyond the New Jersey border being one big, tidy, undifferentiated wheat square", published in the '70s, when New York felt most atilt with the rest of the nation.

As Wolcott explained, in the '70s there was much sharper divide between us (New Yorkers) and everybody else. It is this very dichotomy which defined the short-lived phenomenon of Studio 54 as the time when what spilled over from a deafening sweatbox or one Dionysian dance floor could repercuss through the entire culture, and create a magnetic pole of "beautiful people", who would build up a critical mass. What, of course, survives is lore, which enlarges reputation and lays the groundwork for myth. So much ink and celluloid have been lavished on the nightlife of 54's celebrity boogie-down, the periodically plummeting coke spoon, the auxiliary coterie of the post-Warhol-superstar-era, as a deceiving nostalgia of a lost status that oozes into a reformed conscience of obscurity. Not so different with what has happened in Athens, especially during the current decade, although on a less grand scale.

Here, enter Bambi - the humanized, fictional character by Felix Salten and Walt Disney's biopic cynosure. Despite the character similarities in both versions, they differ in their treatment of the theme. As the American sociologist, Ralph H. Lutts, explains, "they (the versions) appear to represent biocentric views...The test of their biocentrism, however, lies in the faithfulness of their fictional animals to the reality of their biological counterparts" Salten's Bambi presents a poetic vision of woodland life, while Disney's is a extraordinary work of cinematic art, which did not set out to present the original creator's philosophical view of the environment. Instead, "Salten's complexities were whittled away in the pragmatic process of shaping the story for a visual medium and a mass market...In Salten's book, Man is both a force to be feared and a puzzle...Bambi and the other creatures try to understand the nature of Man...The problem of Man is one of the book's central themes, a problem that Bambi must solve in his effort to learn the lessons of survival in a fictitious Eden" But then, didn't Disney create a wall between his rendition and the popular psyche as to not trusting or believing people could face their own problems? I think that the answer derives directly from the definition of the word Bambi took in American slang from the mid '70s on: he who is paralyzed and ineffectual, usually with fear or anxiety, at times of crisis and danger. And this is where the title of this exhibition lays upon, while becomes its central theme.

Bambies just for one night; escapism, perhaps, forever. Middleclass kids, celebrity wannabes, like Narcissus into his pool, anesthetized by TV glaring, favored the walking void past Studio's entrance door into an affectless hero culture. Reveling in the glitzy, often coke-fueled glow of the famous regulars, could prance and preen in the flash of strobes and the din of disco into the wee hours. And the celebrities become cool spectators-reporters at an arena of hot events. Andy Warhol turns into a voyeur-in-chief to the rich-and-famous and then the marginal. Truman Capote recreated himself with reformed- than those from the '60s- bitchy aperçus, elevating himself as the city's provocateur exotique. Interview came to be the bible of the middleclass new adage "I am flashed, therefore I am". The Lizas, the Biancas, the Debbies, the Dianas, the Halstons, the Calvins grew into obsessions, sprinkled with poppers and cocaine, of an aging, misfortunate New York social class, tending to a gratuitous distraction.

Warhol became "the emblem", as Robert Hughes points out, "and, to no small extent, the instrument of this change. Inspired by the example of Truman Capote, he went after publicity with the voracious single-mindedness of a feeding bluefish. And he got it in abundance, because the Seventies in New York reshuffled and stacked the social deck"

With the opening of Studio 54 in 1977, Warhol's magazine found its "new" Factory. It became a marionette theater in print: the same figures, month after month, fed the insatiable appetite of the middleclass symbiotic prototypes, created as mere objects of veneration that cavorted in the club's proscenium, did a few twirls, sucked or snorted something, and tittupped off again. On the other hand, the time also called for the non-normative expressions of sexuality, as produced in the wake of the sexual liberation after '68, questioning the political stakes and potentials of "the transgressive", in terms of its expressions. With the 1972 release of the John Waters film Pink Flamingos, concerning the exertions of a brazen and voluptuous drag queen, by the name of Divine, the tradition of the 1960s pop artists, including Warhol and Claes Oldenburg, was on-continued, elevating the low brow and embracing mass culture. The film's conventions and playfully deploying or defying genres, as exploited by Warhol, heightened Divine to the status of the "revolutionary safety valve" of Studio 54, able to claim some degree of "radical" political power for the nominal avant-garde. But such theater of the visual crackle captured all the incredible range of psychological insights among the club's sitters. Jean-Michel Basquiat, though not such a regular at the Studio, could not avoid Warhol's Pygmalion-ism, which formed a bromance of a suggestive artistic combat, at least in part staged for the benefit of the cameras and mutual mythmaking.

Yes, the Studio was all one big mix. Those who got to enter it thought they would reign forever. They thought they would debauch tirelessly. Around the corner, though, lurched the 1980s, the Reaganomics and AIDS.

"You had a good time, didn't you" asked Truman Capote the Broadway diva-in-decline, Tallulah Bankhead, after his famous 'Black and White Ball'. "Yes", she admitted. "I did." "Well, then, what are you complaining about?", replied he.


Alexis Vasilikos, 2016, Installation View

Show: Temporarily Lost

Who: Alexis Vasilikos
, Akis Koranos, Mari Masouridou, Myrto Steirou, Em Kei, Michel Le Belhomme, Dominika Gsicka, Christiane Peschek , Qian Zhao

Curated by: Apostolos Zervedas

Where: Beton7, Pydnas 7 - Votanikos, Athens 118 55

When: 14 June- 08 July 2016

The exhibition “Temporarily Lost” is being held in the context of APhF:2016. It is based on the main themes of the festival and addresses the concept of the “misplaced”, which can be interpreted either as something set in the wrong place, or as something that is temporarily lost from public view. The participants try to visualise the double meaning of the word, using different methods of interpretation.

At times starting from the depiction of an existing place that could be described as “misplaced”, or searching places between the existent, the imaginary and the mythological, they discover the temporarily lost through images that exist in our daily lives and the “intermediary” of our visual field.

They use the image itself to create places that could not exist other than virtually, questioning the ability of the image to define a place as existent.

However, can such a place collect these characteristics and be something more than temporary?

In the end, can an exhibition be misplaced or even temporarily lost?

The exhibition “Temporarily Lost” is being held in the context of AphF:2016. Part of the exhibition is supported by the Austrian Embassy in Athens, Greece.

Konstantinos Ladianos, Untitled (St Macarius), 2016, egg tempera on wood, aluminum, 80x65cm

Show: Spiritual Materialism

Who: Nikos Alexiou, Dimitris Antonitsis, Evgenia ApostolouKonstantinos Ladianos, Ioannis Kardamatis, Giorgos Lappas, Christos Rautopoulos, Anonymous,Carol Puruntatameri, Paulina Puruntatameri, Jacqueline Puruntatameri, Cornelia Tipuamantumirri, Susan Wanji Wanji, Jane Margaret Tipuamantumirri, Karina Coombes, Miriam Stasi

Curated by: Dimitrios Antonitsis

Where: Ileana Tounta Contemporary Art Center, 48 Armatolon- Klefton, Athens 11471 

When: 17 May - 23 July 2016

In every cosmogony, in every model concerning the coming-into-existence, there are always two principles in perpetual conflict with each other: light and darkness, tyranny and freedom, spirit and materialism.

Walking the spiritual path properly is a very subtle process; so is enjoying the everyday. Somehow, some Greek artists are aware of the sidetracks which lead to phoniness and (self-) deception.

Each one in their own way, they are all true beacons of courage and faith, something beyond just their specific talents: the result of some crossed wires in the back of their brain perhaps, or maybe way enough sunlight as children... Who can say? Their art is a navigator for creating and believing in the ceaseless fermentation of life and death.

This is exactly the common thread with the life-building processes of the Aboriginal Australians of the Tiwi Islands. Their art-making helps them tap into the transformative resources already present within themselves.

Curating this visual dialog I was challenged to create a mental space for inner growth and spiritual transcendence, the equivalent of a prayer. That’s what the (art)world needs now: space to take notice of each other, our own souls, and different voices.


Petros Efstathiadis, Wardrope, 2014, inkjet print, 110x82cm

Show: Athens Photo Festival 2016 // Sites of Memory

Who: Artemis Alcalay, Fani Bitou, Io Chaviara, Petros Efstathiadis, Pavlos Fysakis, Stergios Karavatos, Victor Koen, Nikos Markou, Fotis Milionis, Nikos Panayotopoulos, Avraam Pavlidis, Paris Petridis, Simos Saltiel, John Stathatos, Nikolas Ventourakis, Pasqua Vorgia

Curated by: Penelope Petsini

Where: Benaki Museum, Pireaus Building 138, Athens 118 54

When: 09 June - 31 July 2016

Recent years have seen the rise of widespread interest in Greece’s ‘troubled past’, a boom which reintroduced in the discussion the relationship of history and memory and layed emphasis on the social context as well as on the notion of spatial memory. Sites of memory emerge from an interaction of memory and history. The memory landscapes of a society may incorporate historical buildings, monuments and memorials, battlefields, or places that foster shared memories of important events; they have taken shape according to separate paradigms (such as national monuments, ruins, traces, reconstructions) which were emerged and transformed in relation to changing political agendas. The exhibition “Sites of Memory” presents a series of recent works by contemporary Greek photographers who address the subject of collective historical memory as well as its ambivalent coexistence with oblivion. Whether recording contemporary sites in which dramatic events of Greek history have taken place, or focusing on people and personal narratives, these works demonstrate that memory should not be conceived exclusively as binding us in some deep sense to past times, but as a mode of representation belonging ever more to the present. The past will have been worked through, argued Adorno, only when the causes of what happened then have been eliminated; as long as they continue to exist, its captivating spell will remain unbroken.

petros Efstathiadis

Show: The Presence of Absence, or the Catastrophe Theory

Who: Leonard Qylafi, Petros Efstathiadis, Ali Kazma

Curated by: Cathryn Drake

Where: IZOLYATSIA Platform for Cultural Initiatives, 8-12 Naberezhno-Lugova Street, 04071 Kyiv, Ukraine, izolyatsia.org

When: 19 May - 19 June 2016

Artists Leonard Qylafi, Petros Efstathiadis, and Ali Kazma come from Albania, Greece, and Turkey, modern states formerly united by the Ottoman Empire that have since taken vastly different directions. Straddling the diverse territories of Europe, the Balkans, and the Middle East, these countries reflect the enduring threads and ruptures that transcend the artificial constructs of political entities—a reality exemplified by the current situation in places like Ukraine.

The alchemy of place is a potent mixture of history and conquest, cultural memory and mythology, politics and national identity, landscape and geography, with the narratives of victors inscribed onto any topography in the form of physical and ephemeral remains. Foreign elements enter a territory and stay for a time, leaving a residue that becomes an integral part of its culture, the origins of this or that subject to collective amnesia and finally indistinct. Absence is also present in the people torn from their homes, as evoked by Mahmoud Darwish’s poetic meditation In the Presence of Absence.

The tragic trajectory of the Syrian refugee crisis, an exodus that will alter the future demographics of many nations while geopolitical forces continue to devastate the Middle East, is merely the latest in a long history of mass migrations spurred by war and conflict. Its severity calls into question not only the very existence of impermeable borders and their real aims—but for a deeper understanding of the cultural commonalities, and profound differences, of the communities spanning those tenuous lines.

Displacement stirs nostalgia, and the flow of language and culture is a river that cannot be halted. Our tumultuous past is an omnipresent beast whose traces creep up through the cracks of collective unconscious, often emerging in the form of extremism. As Lara Atallah writes of Palestinian artist Mona Hatoum’s work: “Lines are dangerous: They can draw boxes, curb thoughts, and create sides that barricade people within defined categories.” These artists turn our gaze to the things that become part of our identity, the things we take with us wherever we go, and the things that return to their origins like moths to the light.

Leonard Qylafi: Albania is currently defined more by what has been, by the remains of what is no longer there, than by what is present. In videos and photographs, Qylafi has documented the gradual alteration of Tirana’s urban landscape, triggering an examination of the haphazard evidence that is left behind in the wake of toppling regimes, reflecting in turn the heresy of memory and the unreliability of recorded history. His incisive, poetic images are meditations on memory and time as a phenomenological alchemy through which subject and environment intermingle to become an indistinct emotional entity. “When you live within this process you become in a sense part of it,” Qylafi says.

Time-lapse photographs taken from the artist’s apartment window over one year comprise the video Estate, following the destruction of a giant greenhouse to make way for massive new buildings. Mimicking our numb psychological perception of an incrementally changing environment, the image is discerned as transforming only after prolonged attention. The video Whispers & Shadows follows an excavator digging at night accompanied by a woman reciting Aristotle’s “Politics.” Emphasizing the disparity between contemporary reality and the democratic ideal, the leisurely swing of the shovel and the soothing incantation compose a hypnotic ballet. The videos Nail Song (2:48, 2006) and Private Show (3:19, 2006) evoke the mourning of ruins; Sisyphus (3:29, 2009) portrays an insect’s futile attempt to surmount a brick wall. Also shown will be 12 color photographs from the “Real (Estate)” series.

Petros Efstathiadis: While Albania strides toward the panacea of capitalism, Greece can be characterized as a developing post-capitalist model where economic crisis is driving alternative exchange economies and a return to the land for sustenance and community. The artist collaborates with residents of his Macedonian village, Liparó (population 400), to create dreamlike photographs and videos infused with a deadpan humor that evoke both decay and regeneration, even preparedness for revolution—but most of all how little really changes between political regimes and catastrophic events. Globalization seems like a mere sneeze in the face of perennial values and quotidian survival.

“You can make anything you need from what you can find around you: I used to create bombs from my mother's hairspray cans,” the artist explains. The villagers still speak the Turkish-Slavic dialect (long forbidden by the Greek state) used to communicate around the Balkans, comprised of states divided by ethnic loyalties that have triggered continual conflicts. Videos: Liparó (6:51, 2010), Καταφύγιο (1:38, 2014), Diamonds (2:58, 2015), The Last Normal Man (4:20, 2016), and Shit (3:42, 2012). Photographs: “Lohos” (“Squadron”) and “Prison” series. 

Ali Kazma: The Turkish artist portrays human existence as series of ritual acts of faith, production, and preservation in the face of the inevitability that everything will disintegrate, and eventually perish. Thus the series “Obstructions” records how people use their bodies to resist conformity, hardship, and even death. Part of Michel Foucault’s “carceral archipelago,” schools and prisons enforce the value systems of governments, and Kazma depicts people adapting to these institutions with small rebellions like inserting personal elements. In Taxidermy, he focuses on a practice employed by museums as part of the establishment of exclusiveness through inclusiveness, wherein specimens of only certain species are preserved to represent the evolution of nature.

A school displays portraits of Ataturk and Ottoman leaders alongside our skeletal and stuffed ancestors; an artist’s home bears family portraits and precious heirlooms—the signs we use to inscribe meaning and identity. All of these exercises are testaments to humanity’s intrinsic endurance in the incessant, ultimately futile drive to shape and control the physical environment. In these mesmerizing videos we see the continual transformation inherent to that precarious dance as the source of life’s awesome beauty. Videos: Home (5.00, 2014), School (4:25, 2013), Prison (4:52, 2013), Taxidermist (10:28, 2010), Jean Factory (11:54, 2008), and Clerk (3:09, 2010).

Show: The Same Sky

Where: Lepsien Art Foundation, Mülheimerstr. 25, 40239 Düsseldorf, Germany, lepsien-art-foundation.com

When: 7 - 16 April 2016

Friday 9 April 14:00 - 19:00
Saturday 10 April 12:00 - 15:00
11 April - 16 April by appointment

Curated by: Hans Ulrich Obrist and Simon Castets
Who: Ben Greber, Stelios Karamanolis, Giorgos Kontis, Katharina Monka, Tula Plumi, Yorgos Stamkopoulos

Tula Plumi, Installation view

Stelios Karamanolis, Installation view

„The sky, the same sky, suddenly open, absolutely black and absolutely empty, revealing (as though the pane had broken) such an absence that all has since always and forever been lost therein—so lost that therein is affirmed the vertiginous knowledge that nothing is what there is, and first of all nothing beyond.“
Blanchot – The Ordinary Sky

In this key scene from „The Ordinary Sky“ Blanchot describes a childhood revelation, the encounter of a little boy with a black, empty firmament. A distinct appeal characterizes this apparition – a spark of absolution from the human need to orientate, seems to drizzle down from this dense, dusky blanket. The dissolution of the unfathomable space. 
Growing up in a reality that we perceive and construct as unambiguous, coherent and organized, generates a constant striving towards situating ourselves, in a fictitious sense of wholeness. Confronting the image, Blanchot created, and the realm of our reality it differs from, it becomes evident that the individual steadily needs to position itself in the context of an alterity, that is always an imaginary one. 

The processes of originating identity and subjectiveness lurk behind this very scene of the child by the window and the same sky, a phantasmal firmament, that does not exist as the ultimate other, as an entity,  but is needed in order to create a coherent structure of our reality. 
The body seems to remain the one and only thing that insists in this ambivalence, exposed to its own illusionary parameters of perception. Our skin is permeable, our flesh is porous.  Within this blank space, where proximity and distance constantly oscillate, the individual creates narrations of relations, of memory, of ways to mould and shape its own identity. In the confrontation with matter, form, line and surface, the essence and existence of our bodies become tangible while the imaginary other smoulders in the interstices. 

Anna Gien

Show: Something that is Beautiful

Who: Dimitris Antonitsis, Jack Burton, Jorge Cabieses–Valdes, Manolis Daskalakis–Lemos, Christopher Doulgeris, Olga Evangelidou, Takis Germenis, Alexia Karavela, Kalos & Klio, Laura Kikauka, Konstantinos Ladianos, Vasilis Papageorgiou, Ilias Papailiakis, Aliki Palaska, Angelos Papadimitriou, Giorgos Stamkopoulos, Spyros Staveris, Sofia Toumpoura, Pavlos Tsakonas, Vasilis Zografos

Curated by: 

Where: Elika Gallery, 27 Omirou st., 10672 Athens, www.elikagallery.com

When: 8 March - 16 April 2016
Pavlos Tsakonas, "Inflatable Palm Tree", 2008, Acrylic colors and imitation gold leaf on canvas mounted on MDF, 287x180cm

Konstantinos Ladianos, The Golden Man, 2015, fabric, threads, 61x85cm

Yorgos Stamkopoulos, Velvet Sleep, 2012, Acrylic on Canvas, 110x100cm

Inspired by the 1984 exhibition and pivotal publication “Something that is Beautiful” (Kati to Oreon) by the “Friends of Ant1” Elika gallery presents a group show that examines the boundaries of kitsch in contemporary art.

Originating in the art markets of Munich in the 1860s and the 1870s, the term kitsch (Derivative of the German kitschen = to throw together a work of art) was used to describe cheap, popular, and marketable pictures and sketches. The aesthetic was excessive and melodramatic and has since then been associated with low cost as well as taste.

According to Walter Benjamin, an avid researcher of this trend, kitsch is unlike art a utilitarian object that lacks any critical distance between the object and the observer. It provides immediate emotional relief, requiring no mental effort and no exaltation.

The works presented in the exhibition, juxtaposed to a selection of objects that could be characterized as kitsch, introduce and negotiate this sense of distance between object and observer that kitsch apparently lacks. While a number of the artists on show deliberately employ the vocabulary of kitsch, in the works of others the references to the aesthetic are circumstantial. On the whole the works that are brought together examine and open up the contemporary place of kitsch trough its appropriation.

On the evening of the Private View Olga Evangelidou will present her performance piece‘for a permanent magician’s disappearing act’.

Show: Strategies in the Geometry of Homecoming

Who: Daria Irincheeva, Tula Plumi, Freya Powell, Willie Stewart, Magdalen Wong

Performance by: Justin Cooper, Ross Moreno

Curated by: Irini Miga

Where: Torrance Shipman Gallery, 219 36th Street, 4th Floor, Brooklyn, New York, USA

When: 12-26 March 2016


Dried flat flowers are standing in a cement vase that sits on a base made of a cement poured in a 5 liter water bottle in Daria Irincheeva’s 43 Degrees per Century. This composition stands on a pile of personal documents submitted for Daria’s U.S. Green Card application that was compiled by her husband and represents 21st century love letter, the quintessence of bureaucracy, a mix of shared bills, bank accounts and contracts. 

In Tula Plumi’s work from the Lines and Circles series a chair cushion is in dialogue with painted metal parts that resemble paper. This series is the continuation of previous paper works and collages and it was inspired by the paper exercises at the preliminary courses in Bauhaus. The series focuses on the concept of exercise as a process, approach and way of thinking and aim to create a context which deals with the ideas of repetition, error, improvisation, and balance, among others. 

Morning Light,1, and Morning Light, 17, are founded in observation, the shadow points to the origin of representation, but also to the presence of an absence. It marks the passing of time in a day, but also a season. It is our doppelgänger or alter ego. It is both personal and collective. In her Morning Light series Freya Powell observes shadows within the domestic sphere in attempts to capture time passing and the presence of an absence.

Willie Stewart's work focuses on objects related to the subcultural images of his past. in his series of handmade VHS Memory Tapes he explores the way objects can produce a veneer that constructs a sincere identity outside of irony. He is influenced by séances, Parker Brother's Ouija board as a teenage icon, aura photography, messages recorded backwards, and his teenage experiences with music and film; and interested in the parapsychological idea that everyday objects can contain paranormal and psychic energy.

An oscillating fan is blowing book pages back and forth in Magdalen Wong’sRead. The book is "One Hundred Years of Solitude" by Gabriel Marquez and its pages are turning to the rhythm of the fan.

Ross Moreno And Justin Cooper are utilizing  elements of stand up, sketch, magic, monologue, improv, variety, and vaudeville they create performative experiences that consistently challenge the viewer’s expectations. Fragments of the known are collaged, refracted, skewed/skewered into a retro form of post-comedy. The results are hilarious looking, but still slightly tragic, mutant hybrids. Ultimately a deeper entertainment experience is their goal and though their comedic rhythms are not necessarily a beat you can dance to, you may still find yourself shaking with laughter on the dance floor.

The NEON Curatorial Exchange and Award is delivered by the Whitechapel Gallery in partnership with NEON Organisation in Athens.

It builds links between emerging curators in the UK and Greece, so that best practice can be shared and new ideas developed, with the aim of championing curatorial excellence.

To consider candidates for this year’s exchange program the Whitechapel Gallery invites all interested parties to respond to the Open Call and apply to the Whitechapel Gallery directly by 20 March 2016. More information can be found on our website http://www.whitechapelgallery.org/learn/neon-curatorial-exchange-programme/

Should you need more information on the Exchange or anything else regarding the programme, please do not hesitate to contact me directly at 




Who: Jens Einhorn, Bela Pablo Janssen, Yorgos Stamkopoulos 

Where: COSAR HMT, Flurstr. 57, D-40235Düsseldorf, Germany

When: 15 January - 4 March 2016

Joint openings of the galleries: Conrads, Cosar HMT, Konrad Fischer Galerie, 
Kadel Wilborn, Linn Lühn, Petra Rinck Galerie, Schönewald Fine Arts, VAN HORN

Michael Cosar, Nadja Thiel
Flurstr. 57, D - 40235 Düsseldorf




Where: LUMA Westbau, Löwenbräukunst, Limmatstrasse 270, 8005 Zurich, Switzerland

When: 31 October 2015 - 28 February 2016

Curated by: Hans
Ulrich Obrist and Simon Castets

Who: Participants include Yollotl Alvarado (Mexico City), Darja Bajagić (New York), Josh Bitelli(London), Manolis D. Lemos (Athens), Valia Fetisov (Moscow), Deanna Havas(New York), Max Hawkins (nomadic), Bernhard Hegglin (Zürich), Ho Rui An (Singapore), Emmanuel Iduma (New York), Luca Lum & Marcus Yee (Singapore), Lebo Mashifane(Johannesburg), Nicholas Maurer (Sydney), Felix Melia (London), Mitchell Messina (Cape Town), Ryan Murphy (New York), Wyatt Niehaus (New York), Adriana Ramić (New York), Tabita Rezaire (Johannesburg), Crista Siglin & Isaac Wilder (Kansas City), Jasper Spicero(New York), Jesse Stecklow (Los Angeles), Elisabeth Sutherland (Accra), Philipp Timischl(Vienna), Alexander Jackson Wyatt (Sydney), Urban Zellweger (Zurich), Bruno Zhu(Amsterdam).

89plus and the LUMA Foundation are pleased to announce the second 89plus exhibition ‘Filter Bubble’ at the LUMA Westbau in Zurich. The exhibition is co-curated by Simon Castets and Hans Ulrich Obrist.

“The Filter Bubble” is a term coined by Eli Pariser in his 2011 book of the same name, which designates the way Internet users are increasingly directed to a personalized information landscape through an algorithmic editing of web content. ‘Filter Bubble’ marks 89plus’s interest in translating three years of research into an exhibition format harnessing the reflective nature of its long-term inquiry. In presenting work by over 40 international artists, writers and technologists, ‘Filter Bubble’ introduces a selection of pointed responses to the perennial dilemma of blissful ignorance, paradoxically heightened by the pursuit of relevance in an ever-growing mass of data.

In 1989, the introduction of the World Wide Web carried the promise of an open, limitless and objective means of disseminating and seeking knowledge across the globe. The idea of someone’s world view being influenced by the newspaper they read or TV channel they watched seemed to have been relegated to a distant past. Over the past few years, however, the improvements of personalization have clouded the aspiration of making the Internet a window on the world, and gradually turned it into a series of individualized mirrors, reflecting one’s interest as identified by automated pattern recognition.

Today, Internet users find themselves in constant negotiation between convenience, serendipity and surveillance. Expediency takes precedence, and algorithms act as outsourced subjectivity. Through ‘Filter Bubble’, 89plus’s inquiry into the creative practices and influences of the generation who grew up with the Internet proposes a collective examination of a dialogue between what Pariser describes as the “impulsive present self” vs. the “future aspirational self”, and the ramifications for public discourse in the digital sphere.

‘Filter Bubble’ marks the second of a three-year collaboration between 89plus and the LUMA Foundation. It follows the 2014 exhibition “Poetry Will Be Made by All!” (2014), which explored the emergent poetics of online distribution systems and continued through the publishing project “1000 Books by 1000 Poets” as well as a focused participation in Moderna Museet’s “After Babel” (2015) in Stockholm. In early 2015, 89plus debuted its research into the Filter Bubble concept through a “Prospectif Cinéma” screening at Centre Pompidou, Paris. The exhibition at LUMA Westbau in Zurich will see this initial research come to fruition in a comprehensive exhibition.

Show : The Element of Ground

Where : ARTWALL Project Space, 26 Sofokleous Str. Athens, 10552

When : 17 October - 17 November 2015

Curated by : Sonia Galanou, Takis Kaldis

Participants : Kostas Bassanos, Sofia Galanou, Takis Kaldis, Manolis D. Lemos, Nina Papakonstantinou, Giannis Sinioroglou, Stefania Strouza, Pavlos Tsakonas

Manolis D. Lemos, Feral Remnants III (ESKIMO), 2015, Inkjet print mounted on dibond, 43x151cm, ed. of 3

The focal point of the exhibition is an idea, or rather, the condition of inner study, of reconsideration; a concurrent quest.
We would not consider the nature of the participating artists to be “radical”, having that their work does not express an aggressive flee towards an undefined state of advancement. The new and older generation artists, meet at a crossroad of a historic quest, within an ambiguous and unstable terrain: do we stay or do we leave? here or anywhere? are we ourselves, or an other?

Perhaps the answer lies beyond us- in any case ambiguity cannot be avoided. It is precisely this element of instability and elusiveness that formulates our character. We identified those relapsing behaviors that ignite this state of ambiguity. Recurrent elements of inherit practices and traditions (ie. frame, sketch, and other “local” traits); direct confrontation, (dematerialisation, dislocation, nomadism, migration), concurrent use of historical references and narratives, of identity and memory (photos, monuments, personal myths and documentation) and their methodological re-association of this information that leads to undermining and subversion. This symptom of restlessness is a hybrid emotional condition that emerges in times of transition; moves that strive to re establish balance as the earth collapses beneath our feet. Yet this exhibition does not revolve around the evident concept of “art during the crisis.”

That which grasps the reflective nature of these thoughts is not the desire to overcome differences and contradictions, as prior achievements would masterfully compensate for mal practice, neither to make a blind leap of faith. Rather they seek to establish themselves in the crisis. The crisis is recognized as a terrain, not as exile. As a shelter and not as a social or communal ostracism. In this sense, that which defines the exhibition is the concept of settlement and establishment within conditions of instability – within the vital element of ground.

Pavlos Tsakonas 11
Pavlos Tsakonas, 62 inch rock bit auger, 2008, Acrylics on canvas mounted on plywood, 204x133cm

More: http://wp.me/p2wFE3-rd

ARTWALL Project Space
26 Sofokleous Str., 10552 Athens


Show: Areopagus Königin
Where: nach neben, PARALLEL VIENNA
When: 23-27 September 2015
Who: Eleni Bagaki, Zoe Giabouldaki, Maria Hassabi, Katerina Kana, Rallou Panagiotou, Natasha Papadopoulou, Tula Plumi, Nana Sachini, Sofia Stevi, and Iris Touliatou.
An idea by Natasha Papadopoulou and the subsequent dialogue between her and Sofia Stevi during the post-referendum Greek crisis.
Curated by: Jelena Seng

Tula Plumi Untitled  2015 canvas and painted metal 35x50cm 1400 e

The summer 2015 in Athens changed perspectives in Europe and ideas about our position in the world. The Greek people were asked to vote Yes or No in order to determine the course of the country’s political and economic future. It is now September and it seems Europeans have once again lost faith in politics and its ability to come up with positive solutions. A coming together at Parallel Vienna proposes creativity and solidarity as energising alternatives to assure that Europe can work - by supporting each other and introducing new perspectives. In satirical terms the presentation of this group of Greek artists, corralled and controlled as they are by their German art dealer friend, pokes light-hearted fun at Angela Merkel’s position as head of the Troika, and at the same time draws attention to the very serious nature of the said Troika’s crippling policy of economic austerity towards a Greece hurtling towards bankruptcy. Within this presentation at Parallel Vienna the playful endeavour of creativity is foregrounded with individualistic brio. Each artist utilises colour as a guiding motif of self-determination, and perhaps emancipation, whilst the ironic pantomime villain, the ringmaster art-dealer, playfully fictionalizes German economic power; more authoritarian Nero of Rome than virtuous Solon of the Aeropagus. Indeed, the origins of democracy may lie in Athens, but it is here at Parallel Vienna that a micro political world is realised with Aristophanic comedy, within a very real and ultimately consumer driven art market.

:mentalKLINIK, Airless1503, Formed Copper, Hand Painted Acrylic, 15,7x16,4cm, Unique

:mentalKLINIK, Airless1502, Formed Copper, Hand Painted Acrylic, 14,4x19,6cm, Unique

Show : 83%SatisfactionGuaranteed

Where : Louise Alexander Gallery, Promenade du Port, Porto Cervo, Italy

When : 26 June - 24 July 2015 

The title of this exhibition says it all: 83% Satisfaction Guaranteed. What does it mean to be so close to feeling whole, to feeling happy—but not quite at 100 percent? In what way is ‘satisfaction’ not just a goal, but a socio-cultural metaphor? The idea of satisfaction here operates as a vehicle for capitalism, existing as a media-infused corporate substitute for intimacy as it relates to the construct of desire within the public arena. ‘To be satisfied’ is both a statement of satiation, connoting completion and finality, but is also one steeped in the generic as it borrows from a language of the institutional, inherently mediocre and therefore, paradoxically, eternally dissatisfying. Thus such a statement is simultaneously about being whole and also being hungry for more. Are you happy—are you happy enough?



An exhibition organized by DESTE Foundation in collaboration with Benaki Museum

Curated by: Myriam Ben Salah

Where: Benaki Museum, Peiraios 138 & Andronikou, Athens

When: 12 June - 11 October 2015

Who: Aggeliki Bozou, Apostolos Georgiou, Christodoulos Panayiotou, Dimitrios Antonitsis, Eftihis Patsourakis, Elizabeth Jaeger, Ioannis Koliopoulos, Konstantinos Ladianos, Kosmas Xenakis, Kostas Roussakis, Raed Yassin, The Callas, Vlassis Caniaris




Where : Ausstellungsraum der IG Metall, Alte Jakobstraße 149, 10969 Berlin, Germany

When : 22 May - 16 July 2015

Edited by : Zoë Claire Miller

This publication showcases an easily overlooked byproduct of artistic production: the painter’s rag. In its hybrid role between object, image, tool and trash, the painter’s rag documents the painterly work process, and functions as the painting’s counterpart, freed from any intimation of deliberateness. With color reproductions of 39 vivid painters’ rags and essays by Sophie Jung, Hanne Lippard, Christian Struck, and Cecilia Valenti.

Images of Crisis at the Greek Film Archive

14109 Hectorpreis Webbild 8er D-1

hector prize 2015 // 2015 is upon us and the Kunsthalle Mannheim will, once again, be awarding the hector prize to an outstanding young artist! Since 1997, the Kunsthalle Mannheim and the H.W. & J. Hector Foundation have awarded a prize every three years to promote young art in Germany. It honours artists who produce three dimensional works - sculpture, assemblage and installation art - and highlights an important focus for the collection at the Kunsthalle. The hector prize is awarded to artists under 35, living in Germany.

Tula Plumi, Box, 2014, spray paint on steel sheet, 24x36x46cm
Tula Plumi, Box, 2014, spray paint on steel sheet, 24x36x46cm
Courtesy of the artist and CAN Christina Androulidaki gallery

The winner of the prize receives €10,000 and their work will be exhibited at the Kunsthalle in June 2015. The museum is grateful for the generous funding of this project provided by the H.W. & J. Hector Foundation, whose donation of €50 million also also supports development of the new Kunsthalle building. This year the competition returns to the roots of the hector prize. The selection panel of art college professors, curators and art critics identify eligible artists, who are then invited to submit an application. From this short-list, a five-member jury will announce the prize-winner at the end of 2014. In 2009 and 2012, the hector prize widened the competition to include a new award for an artist who is already established on the international art scene. With the reduced exhibition space at the Kunsthalle due to the construction of the new building, the prize in 2015 will concentrate on promoting and displaying the work of an exceptional young artist. Previous winners are Martin Schmidt, Florian Slotawa, Gunda Förster, Albrecht Schäfer, Benjamin Appel and Hannes Broecker.

sept1 artissima img
Design by Tassinari/Vetta (L. Sonnoli with Irene Bacchi).


CAN gallery will present :mentalKLINIK, Maria Kriara, Tula Plumi
and Yorgos Stamkopoulos

Internationally recognised for its niche and experimental identity, in 2014 Artissima will present 195galleries, 61 artists in the curated sections, one new project dedicated to performance, 40 curatorsinvolved, five prizes for artists and galleries, and one unprecedented exhibition produced by Artissima...
Main section 
The most representative established galleries on the international art scene
401contemporary, Berlin; A Gentil Carioca, Rio De Janeiro; Samy Abraham, Paris; Aike-Dell'Arco, Shanghai; Air De Paris, Paris; Sabrina Amrani, Madrid; Analix Forever, Geneva; Annex 14, Zurich;APalazzo, Brescia; Artericambi, Verona; Alfonso Artiaco, Naples; ASPN, Leipzig; Enrico Astuni, Bologna;Athr, Jeddah; Balice Hertling, Paris; Anne Barrault, Paris; Hannah Barry, London; Belenius-Nordenhake, Stockholm; Bendana | Pinel, Paris; Bernier / Eliades, Athens; Isabella Bortolozzi, Berlin; Thomas Brambilla, Bergamo; Brand New Gallery, Milan; Braverman, Tel Aviv; Bugada & Cargnel, Paris; BWA Warszawa, Warsaw; Casado Santapau, Madrid; Pedro Cera, Lisbon; Charim, Vienna; Chert, Berlin; Christinger De Mayo, Zurich; CO2, Turin; Hezi Cohen, Tel Aviv; Antonio Colombo, Milan; Continua, San Gimignano, Beijing, Le Moulin; Vera Cortês, Lisbon; Raffaella Cortese, Milan; Guido Costa Projects, Turin; Monica De Cardenas, Milan, Zuoz; De' Foscherari, Bologna; Umberto Di Marino, Naples; Exit, Hong Kong; Figge Von Rosen, Cologne; Marie Laure Fleisch, Rome; Frutta, Rome; Furini, Arezzo; Green On Red, Dublin; Giacomo Guidi, Rome, Milan; Andreas Huber, Vienna; Hunt Kastner, Prague; Ibid., London; In Arco, Turin; Antonia Jannone, Milan; Jeanrochdard, Paris, Brussels; Kalfayan, Athens, Thessaloniki; Peter Kilchmann, Zurich;Christine König, Vienna; Eleni Koroneou, Athens; Kow, Berlin; Tomio Koyama, Tokyo, Singapore; Krome, Berlin; Le Guern, Warsaw; Lattuada, Milan, Tenafly, New York, Lugano; Emanuel Layr, Vienna; Antoine Levi, Paris; Josh Lilley, London; Magazzino, Rome; Norma Mangione, Turin; Mario Mazzoli, Berlin; Mendes Wood, São Paulo; Francesca Minini, Milan; Massimo Minini, Brescia; Ani Molnár, Budapest; Monitor, Rome;Mor.Charpentier, Paris; MOT International, London, Brussels; Murías Centeno, Porto; Franco Noero, Turin;Lorcan O' Neill, Rome; P420, Bologna; Alberta Pane, Paris; Alberto Peola, Turin; Peres, Berlin; Giorgio Persano, Turin; Photo&Contemporary, Turin; Francesca Pia, Zurich; Pinksummer, Genoa; PM 8, Vigo;Podbielsky, Berlin; Gregor Podnar, Berlin, Ljubljana; Polansky, Prague; Produzentengalerie Hamburg, Hamburg; Profile, Warsaw; Projectesd, Barcelona; Prometeogallery, Milan, Lucca; Quadrado Azul, Porto;Rotwand, Zurich; Lia Rumma, Milan, Naples; Sabot, Cluj-Napoca; Marion Scharmann, Cologne;Schleicher/Lange, Berlin; Side 2, Tokyo; Smac, Stellenbosch, Western Cape; SpazioA, Pistoia; Sprovieri, London; Sultana, Paris; Taik Persons, Helsinki; Joseph Tang, Paris; The Breeder, Athens; The Gallery Apart, Rome; Elisabeth & Klaus Thoman, Innsbruck; Caterina Tognon, Venice; Torri, Paris; Tucci Russo, Torre Pellice; Upp, Venice; Paola Verrengia, Salerno; Viltin, Budapest; Vistamare, Pescara; Wentrup, Berlin;Wilkinson, London; Jocelyn Wolff, Paris; Zak | Branicka, Berlin; Martin van Zomeren, Amsterdam

New entries 
22,48 M2, Paris; Baril, Arad; Rod Barton, London; CAN Christina Androulidaki, Athens; CAR drde, Bologna;Copperfield, London; Massimodeluca, Mestre-Venice; Document-Art, Buenos Aires; Elika, Athens; Ex Elettrofonica, Rome; Emmanuel Hervé, Paris; Instituto De Visión, Bogotà; Last Resort, Copenhagen;Marcelle Alix, Paris; Marso, Mexico City; Neumeister Bar-Am, Berlin; Anca Poterasu, Bucharest; SVIT, Prague; Vitrine, London

Present Future 
Solo shows by 20 emerging artists curated by Luigi Fassi, Catalina Lozano, Piper Marshall, Jamie Stevens, Xiaoyu Weng
Apparatus 22: Kilobase Bucharest, Bucharest; Robin Cameron: Room East, New York; Juan Capistran:Curro Y Poncho, Guadalajara; Jeremiah Day: Arcade, London / Ellen de Bruijne, Amsterdam; Alex Da Corte:Joe Sheftel, New York; Rochelle Goldberg: Federico Vavassori, Milan; An He: Tang, Bangkok, Beijing, Hong Kong; Anne Imhof: Deborah Schamoni, Munich; Toril Johannessen: Osl, Oslo; Dawn Kasper: David Lewis, New York; Candice Lin: Quadrado Azul, Porto; Adrian Melis: Adn, Barcelona; Uriel Orlow: La Veronica, Modica; Karthik Pandian: Federica Schiavo, Rome; Rachel Rose: High Art, Paris; Harry Sanderson: Arcadia Missa, London; Beatriz Santiago Muñoz: Agustina Ferreyra, San Juan; Jorge Satorre: Labor, Mexico City;Liu Shiyuan: Andersen's, Copenhagen; Xinguang Yang: Boers-Li, Beijing

Back to the Future 
25 museum-quality solo shows with works from the '60s, '70s and '80s curated by João Fernandes, Douglas Fogle, Beatrix Ruf, Jochen Volz; coordinated by Eva Fabbris
Lutz Bacher: Daniel Buchholz, Cologne; Imre Bak: Acb, Budapest / Erika Deak, Budapest; Irma Blank: P420, Bologna; Paulo Bruscky: Nara Roesler, São Paulo; Hans-Peter Feldmann: Richard Saltoun, London; Ion Grigorescu: Gregor Podnar, Berlin, Ljubljana; Channa Horwitz: François Ghebaly, Los Angeles; Edward Krasinski: Foksal, Warsaw; Norbert Kricke: Aurel Scheibler, Berlin; Friedl Kubelka: Richard Saltoun, London;Tetsumi Kudo: Christophe Gaillard, Paris; Ugo La Pietra: Camera16, Milan; Seung-Taek Lee:Motinternational, London, Brussels; Bernhard Leitner: Georg Kargl, Vienna; Amadeo Luciano Lorenzato:Bergamin, São Paulo; Paolo Masi: Frittelli, Florence; Marta Minujin: Henrique Faria, New York; Vera Molnar:Oniris - Florent Paumelle, Rennes; Anna Oppermann: Barbara Thumm, Berlin; Osvaldo Romberg: Henrique Faria, New York; Néstor Sanmiguel Diest: Maisterravalbuena, Madrid; Alfons Schilling: Charim, Vienna;Kishio Suga: Tomio Koyama, Tokyo, Singapore; Grazia Varisco: Ca' di Fra', Milan; Gil Joseph Wolman:Natalie Seroussi, Paris

16 performances presented in an innovative way in the fair curated by Simone Menegoi, Tobi Maier, Natalia Sielewicz
Leah Capaldi: Vitrine, London; F. Marquespenteado: Mendes Wood, São Paulo; Shaun Gladwell: Enrico Astuni, Bologna; Louise Hervé & Chloé Maillet: Marcelle Alix, Paris; Helena Hladilová: CO2,Turin; Tom Johnson: Guido Costa Projects,Turin; Tobias Kaspar: Peter Kilchmann, Zurich; Marcello Maloberti:Raffaella Cortese, Milan; Giovanni Morbin: Artericambi, Verona; Prinz Gholam: Jocelyn Wolff, Paris; LiliReynaud-Dewar: Emanuel Layr, Vienna; Cally Spooner: Motinternational, London, Brussels; Kate Steciw & Rachel De Joode: Neumeister Bar-Am, Berlin; Nico Vascellari: Monitor, Rome; Viola Yesiltaç: David Lewis, New York; Italo Zuffi: Pinksummer, Genoa

Art editions 
Editioned works, prints and multiples by contemporary artists
Alex Daniels – Reflex, Amsterdam; Editalia, Rome; L'Arengario S.B., Gussago; Giorgio Maffei, Turin; Danilo Montanari, Ravenna; Sudest 57, Milan

This year Maurizio Cattelan will surprisingly curate the second edition of ONE TORINO, Artissima's produced exhibition, with Myriam Ben Salah and Marta Papini: an unprecedented show with a unique concept in a fascinating venue in town. 

We look forward to welcoming you in Turin for a mesmerising experience!


The Wiener Art Foundation presents Stelios Karamanolis, Tula Plumi
and Pavlos Tsakonas in

Opening: September 30th, 18:00
Duration: 1-5 October, 2014
Where: PARALLEL, Altes Zollamt, Schnirchgasse 9, 1030 Vienna, Austria

With over 200 national and international artists and over 20 different galleries, project spaces and artist rooms, offers an insight into divergent artistic positions and contemporary art production. This year, the platform for contemporary art is located within the spacious premises of the old customs office in the third district, which offers a unique framework for innovative modes of exhibition, trade and purchase – immediate and on the cutting edge. Parallel Vienna 2014 channels urban flows of contemporary art production, offering insights into the diverse creative hubs of the city of Vienna. The platform is a cultural node and an experimental zone. A meeting point for subcultural concerns and high quality artistic matters. Parallel lines run alongside one another, never crossing or touching, yet they form a loose alliance. In a collective undertaking of unlimited contributors, they may eventually intersect.

Parallel Vienna 2014 occupies a niche between emerging and established art practices and assembles a variety of art initiatives – artist associations, selected galleries, artist run spaces, rooms curated by project initiatives, as well as individual artists – under a single roof. Parallel Vienna exposes and takes action; it includes, rather than excludes.

Parallel Vienna 2014 defines itself as a kunsthalle, an art fair, an art gallery and a (public) studio. As a meta-organisation, translating the do-it-yourself principal into the infrastructure of an art institution, the exhibition platform administers itself: It becomes a site for the exchange of new ideas; a field for experimentation towards self-professionalisation.

Parallel Vienna takes place at the same time as the
Vienna Fair (2. - 5. 10) &

Vienna Design Week (26.9. - 5.10.)

Pavlos Tsakonas, Diptych #2 2014, Acrylic colors on canvas, 120x100 and 80x60 cm. 
Courtesy of the artist and CAN CHRISTINA ANDROULIDAKI gallery, Athens

Stelios Karamanollis, Untitled 2014, Oil on canvas, 60x80 cm, 
Courtesy of the artist and CAN CHRISTINA ANDROULIDAKI gallery, Athens

Tula Plumi, Lines & Circles series 2014, spray paint on steel sheet,
160x70x14 cm, 115x30x14 cm, 
Courtesy of the artist and CAN CHRISTINA ANDROULIDAKI gallery, Athens

Off Limits Flyerweb
Lady Fitness presents Ab van Hanegem, Isabel Kerkermeier, Marte Kiessling, Kanta Kimura, Christopher Sage Elisabeth Sonneck, Yorgos Stamkopoulos, Klaus-Martin Treder, Markus Weggenmann

curated by Wolfgang Flad and Janine Eggert

Opening: August 28th, 2014, 7pm
Open Sat 30th August, Fr 5th and Sat 6th September   3 - 6pm
and by appointment 0179-2996717

Where: Lady Fitness
Stromstr. 11-17, 10551 Berlin

days of glory

A comment on the Greek Now, Then and on the Future to come 

Text-chronicle by: Johannes Nilo, a Swedish curator living in Switzerland and a stranger in town    
Curated by: Sofia Touboura and Pavlos Tsakonas
Audio live organized by: Yorgia Karidi
Opening: Thursday, May 1st, 2014, 12-10 p.m.
Duration: One Day Only
Where: Xemantilotos Voulkanizater, Chrisostomou Smirnis 17, Tavros, Athens (http://youtu.br/ojBYRAh56CQ)
Visual artists: 
Extra Conjugal (Irini Karayannopoulou +Sébastien Marteau) 
Nana Sachini
Pavlos Tsakonas
Panos Papadopoulos
Yorgia Karidi (aka Dona Kont) 
Tula Plumi 
Stelios Karamanolis 
Sofia Touboura
Theodora Malamou
Maria Lianou
Vaggelis Hoursoglou(aka Woozy) 
Irini Bachlitzanaki 
Eva Mitala
Yiorgos Stamkopoulos
Stavro Christo Vlachakis
Thanos Tsakonas
George Tourlas
Zoe Paul
Margarita Bofiliou
Ioanna Gouzeli 
Eleni Bagaki
Amalia Vekri
Antigone Theodorou
Paki Vlassopoulou
Stefania Strouza
Kathrin Freytag

Audio artists:
The whole shebang! (Natassa Giannaraki, Alexandros Alexandridis) https://soundcloud.com/thewhole-shebang
Cave Diet (Yiannis Kotsonis, Danae Stefanou) http://cavediet.bandcamp.com/ 
Virgilio (Dimitris Papadatos/KU, Korinna Triandafylidis) http://rlrl.info
ΔΔ https://soundcloud.com/deltadelta
Yorgia Karidi & Georges Jacotey fight for "ISOTITA" 
http://yorgiakaridi.tumblr.com, http://www.georgesjacotey.info/
Zombie Penguin and the Glory Holes https://www.youtube.com/watch?v=sSPYnjd5jdg

*Openshowstudio is a contemporary art project space and platform. Founded by Sofia Touboura, visual artist and sociologist, it has since been presenting collaborative experimental projects

Karte eng-1

"Conceptual & Applied III: Surfaces and Patterns"
New Acquisitions from the: Daimler Art Collection

Curated by: Renate Wiehager |Co-Curated by: Luca Trevisani

Opening: Thursday, April 3rd, 2014, 7 p.m.
Duration: April 4th- November 2nd, 2014

Daimler Contemporary

Potsdamer Platz, Haus Huth, Alte Potsdamer strasse 5, 10785  Berlin, Germany
Daily 11 a.m.–6 p.m., admission free
Guided tours on each third Saturday, 4 p.m:

Participating artists:Eero Aarnio (FIN)John M Armleder (CH)Lina Bo Bardi (I)Natalie Czech (D)Benni Efrat (IL)Egon Eiermann (D)Haris Epaminonda (CY)Susan Hefuna (EG)Iman Issa (EG)Alicja Kwade (PL)Sol LeWitt (USA)Angelo Mangiarotti (I)Mathieu Matégot (HU)George Nelson (USA)Henrik Olesen (DK)Helga Philipp (A)Tula Plumi (GR)Gio Ponti (I)Bojan Sarcevic (SRB)Oskar Schmidt (D)Carmelo Tedeschi (I)Luca Trevisani (I)Georg Winter (D)Tapio Wirkkala (FIN) 

Over the last ten years, the Daimler Art Collection has developed a focal point in the field of constructive, conceptual and minimalistic tendencies from the 1920s to the present day. A particular interest was taken here in artists who have worked on the borders between free and applied disciplines. ‘Minimalism and Applied I’ (2007) introduced fine artists who work within the transition to architecture, product and graphic design. In contrast with this, the second part of the series (2010) focused on a dialogue between outstanding early exponents of architecture and furniture design with international contemporary art. The third part of the exhibition series is presenting artists, designers and architects from the 50s to 70s as well as international contemporary artists with aesthetic concepts in the border area of art and design with a specific focus on surfaces, materials, and pattern.


Transitions Matter"

An Installation by Tula Plumi for HERMES, Athens

Opening: Thursday, April 2nd, 2014, 7 p.m.
Duration: April 2nd - June 15th, 2014
Where: Hermes, 1, Voukourestiou & 4, Stadiou str, 10564 Athens, Greece

Fokidos 21 is an Artist-led Project Space hosting exhibitions of contemporary art in a private apartment in Athens. It is a non-profit initiative, showcasing the work of Greek and International artists.

Opening: WednesdayApril 26th, 2014, 8-11 p.m.
Duration: April 26th - May 24th, 2014
By appointment ONLY.
Where: Fokidos 21, Ampelokipoi, 11526 Athens, Greece

Exhibiting are Athens and London based artists:
Eleni Bagaki, Richard J Butler, Bobby Dowler, Tula Plumi, Nana Sachini, Samara Scott, Sofia Stevi

by Michaela Zimmer
Opening: Wednesday, 26 February 2014, 4-11pm
Where: Projectraum Bethanien, Mariannenplatz 2, 10997, Berlin

Adam Saks, Agnieszka Szostek, Al Masson. Albert Weis, Alex Tennigkeit, Alexandra Hopf, Angela Lubic, Anita Stohr-Weber, Anja Langer, Anja Schworer, Anke Becker, Anke Volk, Anne Gathmann, Beate Slansky, Beate Terfolth, Ben Cotrell, Bertold Mathes, Bettina Scholz, Britta Lumer, Cathrine Lorent, Christian Hoischen, Claudia Busching, Claudia Kugler, Claudia Zweifel, Constantin Wallhauser, Dag, Dan Belasco, Dani Jakob, Daniel Kannenberg, Daniel Lergon, Dominik Steiner, Elisabeth Sonneck, Elmar Vestner, Fabian Ginsberg, Fides Becker, Flora Whiteley, Florian Baudraxel, Frank Maier, Franziska Furter, Franziska Hunig, Frauke Boggasch, Gabriel Vormstein, Gisela Kleinlein, Gunna Schmidt, Hannu Prinz, Heidi Sill, Henry Kleine, Herbert Basilewski, Hester Oerlemans, Isa Fein, Isabel Kerkermeier, Isabelle Dyckerhoff, Jan Muche, Jens Wolf, Jessica Buhlmann, Joanna Buchowska, Judy Millar, Jurgen Kellig, Julia Buse, Julia Munstermann, Julia Ruther, Katja Brinkmann, Kerstin Drechsel, Kirsi Mikkola, Klaus-Martin Treder, Laurence Grave, Maarten Janssen, Madeleine Boschan, Maik Schierloh, Manfred Peckl, Marc Klee, Marcus Bjernerup, Marike Schuurman, Markus Sendlinger, Markus Wirthmann, Markus Zimmermann, Martin Raabenstein, Martina Wolf, Matthias Beckmann, Matthias Mayer, Max Schulze, Melissa Steckbauer, Michael Bause, Michael Reiter, Michel Carmantrand, Mikka Wellner, Nataly Diez, Nicola Staglich, Olaf Bastigkeit, Oliver Flossel, Olivia Berckenmeyer, Olli Piippo, Paola Neumann, Pedro Boese, Peter Duka, Peter Freitag, Peter Thol, Peter Welz, Petra Lehnardt-Olm, Petra Trenkel, Pierre Juillerat, Rainer Neumeier, Ralf Dereich, Renate Wolff, Richard Neal, Rick Buckley, Robert Gfander, Ronald de Bloeme, Roland Brecht, Roland Stratmann, Ross Walker, Ruprecht Dreher, Sally Lewis, Sandra Capaul, Sandra Meisel, Sarah Bohn, Shila Khatami, Simone Lanzenstiel, Sophia New, Stefan Schroder, Stefanie Mayer, Stefanie von Schroter, Susanne Jung, Sven-Ole Frahm, Sybilla Dumke, Tanja Rochelmeyer, Thomas Bechinger, Thomas Grotz, Tjorg Douglas Beer, Tom Fruchtel, Ulrike Flaig, Ursula Dobereiner, Vanessa Henn, Wolfgang Bethke,  Wolfgang Flad, Wolfgang Schroder, Yorgos Stamkopoulos, Zoe Miller

Opening: Friday, March 7, 7-10pm
Duration: March 7-28, 2014
Where: ACG ART Gallery, DEREE - The American College of Greece,6 Gravias, Aghia Paraskevi
Visiting Hours: Mon-Wed-Fri 13:15-15:00, Tue-Thur 13:40-15:00 and by appointment

A group exhibition at the ACG Art Gallery
organized by the Department of Visual Arts and Art History and
curated by Sotirios Bahtsetzis

The exhibition SelfConscious features the works of artists who explore how technological media have become a significant part of our social and psychological lives. Advertising media, Broadcast media, Digital media, Electronic media, Hypermedia, Mass media, Multimedia, New media, Social media … the catalogue is long and prolific. However divergent they might be, they all have something in common: they influence not only what we do, they also shape our thinking and feeling. In this post-human era of vast digital archives, and technologies of interactive networking and communication, consciousness, affect and even identity have to be thought in a new way.

Artists presented in the exhibition SelfConscious explore, in divergent paths and various media including painting, sculpture, photography, digital imaging, video, installation and performance, in what way our novel audio-visual technoculture constructs sociability, memory and even desire.


Bill Balaskas
Dionysis Christophilogiannis
Christos Delidimos
George Drivas
Giorgos Gyparakis
Effie Halivopoulou in collaboration with Tim Ward
Elias Kafouros
Georgia Kotretsos
Maria Kriara
James Lane
Jenny Marketou
Panos Mattheou
Caroline May
Jennifer Nelson in collaboration with Theodoros Papatheodorou
Eftihis Patsourakis
Vassiliea Stylianidou
Thodoris Zafeiropoulos

To schedule an appointment, or for more information please contact:
Niki Kladakis at 210 6009800 ext. 1456

Opening: Friday, 28 February 2014 at 7 p.m.
Duration: 01.03.14 - 20.03.14
Where: Kunstraum am Schauplatz, Praterstraße 42, Hof 2, rechts, 1020 Vienna, Austria
Hours: Mon. - Fri. 14:00-18:00

Stelios Karamanolis, Untitled 2014, oil on canvas, 50x70cm

Courtesy of the artists and CAN Christina Androulidaki gallery, Athens

Stelios Karamanolis – An artist without a concept is like a traveler without a road map

The exhibition consists of oil paintings depicting people in natural sceneries and intents to reveal vague narratives through an ambiguous storytelling. Excursions in forests, gatherings around the fire, matches hanging out with people and bizarre wooden horses compose the pieces of a story which takes place in the woods. The overall exhibition focuses on matters of orientation; people are going somewhere, getting lost or trying to find their way. Travelers without road maps are like artists without concepts, wandering around and exploring new places.

Tula Plumi, Untitled 2014, painted steel sheet, chair cushion, 85x45x14 cm

Courtesy of the artists and CAN Christina Androulidaki gallery, Athens

Tula Plumi - 8

The show comprises works that deal primarily with matters of surface and facade and aims to display an equilibristic environment of volumes and shapes, linear and cyclical structures. Linear outlines of cotton strings are combined with colored box shaped facades in a defined context on the wall surface. Another installation of Λshaped steel elements is also organized on the wall. Assemblages of cylinders are placed on the floor forming larger compositions while other painted steel elements are combined with chair cushions bearing industrial patterns and designs. Thus, issues of utility and function interplay with matters of form and color and manufactured patterns from the domestic domain merge with handmade objects. The title of the exhibition 8 aims to draw attention to the cyclical formation of the number and to highlight formalistic depiction over meaning and symbolism.

Kunstraum am Schauplatz
Praterstraße 42 / Hof 2 / rechts

1020 Wien

Copyright © 2013 Wiener Art Foundation


UK Open Call for Participation in the 2014
NEON Curatorial Exchange: Athens to London

The Whitechapel Gallery, London and NEON, Athens, invite emerging curators to apply for the 3rd annual NEON Curatorial Exchange.

The exchange offers the opportunity for ten young curators based in the UK to be introduced to the diverse Athens art scene, to connect with colleagues abroad, and to exchange ideas and experiences.  

An organised trip to London will take place 14–17 July 2014. The programme will include presentations and talks by gallery directors and curators as well as meetings with leading figures from the British art scene. Participants will follow an organised itinerary visiting a number of galleries and artists’ studios providing opportunities to network.

Applications are reviewed by the Whitechapel Gallery and NEON.

All travel expenses including accommodation, flights and per diem are covered by NEON.

All selected participants to the Exchange are entitled to apply to the NEON Curatorial Award. Details on the Award and how to apply will be sent in spring 2014.
Criteria for emerging curators wishing to apply
to the 2014 NEON Curatorial Exchange

To qualify, all entrants must:
  • Have a very good command of spoken and written English. The working language across all communications as well as the programme is English and interpretation will not be provided.
  • Be at the beginning of a curatorial career or be a recent graduate of a relevant field (including Museology, Fine Arts, Curating, Arts Management, History or Art, Aesthetics & Philosophy). The programme is designed for dedicated emerging curating professionals regardless of age.
  • Be based in Greece regardless of nationality.  If you are already studying or working in the UK we regret that you will not be eligible.

Submission Requirements

All entrants must submit:

- A covering letter outlining eligibility for the NEON Curatorial Exchange and why you would like to take part, including a statement on the social value of public art in contrast to art inside the gallery space. The length should be approximately 400 words or one A4 page.
- A curriculum vitae including studies and relevant work experience (paid or voluntary).

  • The deadline for applications is 28 February 2014, 5pm. We regret that we cannot consider late applications.
  • All applications should be sent to:
  • The applicant’s name and contact details must be clearly stated in the application.
  • Please do not include CDs, DVDs or portfolios.
  • Selected participants will be contacted before  the end of March 2014.



Peter Lang and Nik Nowak present Pitch2 in Kanzlei BaumgartenBrandt.

Opening: Friday 31.01.2014, 6 p.m.
Where: BaumgartenBrandt Rechtsanwälte
Friedrichstraße 95 (Achtung: Eingang Planckstraße)
(Hochhaus direkt am S-Bahnhof, Internationales Handelszentrum)
10117 Berlin, Germany
T +493020609790-0

Participating artists:
Lukas Adolphi
Matt Arbuckle
Ronald de Bloeme
Berthold Bock
Jay Gard
Constantin Hartenstein & Clemens Wilhelm
Henk Heuer
Michelle Jezierski
Bettina Krieg
Cyrill Lachauer
Nik Nowak
Jurgen Ostarhild
Katharina Otto
Tim Plamper
Johannes Rodenacker
Yorgos Stamkopoulos
Moritz Stumm
Philip Topolovac
Viron Erol Vert


courtauld logo

I would like to share with you an exciting scholarship opportunity which has been made possible by a generous grant from The Stavros Niarchos Foundation, in the hope that you can help us spread the word about it as the primary criteria is to support Greek students.  

For more than a decade, The Stavros Niarchos Foundation has supported over 80 scholars at The Courtauld.  The Foundation’s generous support has offered financial assistance to so many, and has played a major and transformative role in the lives of a wide range of students.  Stavros Niarchos Scholars have gone on to careers in academia, art agencies, and auction houses worldwide. 

Funding has been given for academic year 2014/15 and 2015/16 and is available to highly qualified Greek students who are studying any MA in the History of Art programme, Conservation course, or PhD course of any period.  The scholarship award policy at The Courtauld distributes funding based on academic merit and financial need.  Following our experience this academic year, we are determined to initiate a more proactive recruitment plan in order to attract suitably qualified Greek students to The Courtauld. 

The deadline for scholarship applications and for the MA programme is 3 January 2014, and the deadline for the PhD programme is 3 February 2014.  Please send the below information to prospective students who might be interested in learning more about this scholarship opportunity:

The 2014/15 Postgraduate Prospectus:

Additional information on our postgraduate degree programmes can be found here:

To learn more about The Courtauld Scholarship Programme, please visit:

Please do be in touch should you have questions or if you would like to receive any additional information. 

Kaitlin K. Pickett
Development Manager, Scholarships and Student Travel

Opening: Thursday, October 24, 8pm
Duration: October 24 - December 31, 2013
Where: National Museum of Contemporary Art (EMST)
at the building of the Athens Conservatory,
Vassileos Gheorghiou B 17-19 & Regillis, Athens 10675

Hours: Tue.-Sun. 11-7pm, Thu.11-10pm


Curated by: Daphne Dragona, Tina Pandi, Daphne Vitali

Participating Artists: Christos Vagiatas, Hrysa Valsamaki, Ino Varvariti, Maria Varela, Afroditi Psarra, Marinos Koutsomichalis, Paky Vlassopoulou, Panagiotis Vorrias, Theodoros Giannakis, Natalie Yiaxi, Manolis D. Lemos, Athanasios Zagorisios, Efthimis Theou and Thanasis Deligiannis, Valentina Karga, Chrysanthi Koumianaki, Marinos Koutsomichalis, Alexandros Laios, Kernel, Bill Balaskas, Rania Bellou, Petros Moris, Kosmas Nikolaou, Sofia Dona, Myrto Xanthopoulou, Ioanna Ximeri, Maria Papanikolaou, Tula Plumi, Erica Scourti, Evangelia Spiliopoulou, Anastasis Stratakis, Stefania Strouza, Maria Tsagkari, Maro Fasouli, Myrto Ferentinou, Marianna Christofides, City Index Lab + Energize

Shortly before the completion of its permanent home, EMST is shifting its focus to the young generation of Greek artists. Afresh exhibition highlights the closure of EMST's first significant period that counts already 13 years and the beginning of a new promising chapter in its permanent location.

Main aim of the museum's exhibition policy since the beginning has been to bring out the most vibrant, progressive and innovative domestic artistic forces, while enabling the opportunity for artists to create new works of art. Afresh exhibition explores our future in an international environment, presents the new questions posed, showcases these emerging artists as they gain momentum.

A systematic and thorough research that lasted about two years has proceeded. Starting point was EMST's open invitation to the artistic community in an attempt to map the new generation that resulted in the collection of over 1000 portfolios of Greek Artists.

Born in the 80s (from 1979 to 1990) these 34 new artists and the members of 3 artistic groups have just completed their studies and started to make their first steps in Greece but also in international art centers such as London, Berlin, Vienna, Cologne, Amsterdam, Manchester.

More than 60 works will be displayed (installations, drawings, video, performance, sound installations, paintings), out of which 27 are works made especially for this exhibition.

The participating artists are opening in new interdisciplinary fields in order to give a fresh approach to materials, concepts and artistic practices in times of crisis and economic recession. They critically comment on the current politico-economic reality, they confront recent history; they bring back issues dealing with the portrayal of symbols and monuments of our cultural heritage. They establish open and ambiguous narratives that often start from personal experiences. They utilize digital technology as a raw material and explore the culture of the Internet giving a critical insight at its role.

Representatives of a generation shaped by (and from) the intangible digital technology, they are brought up with the new consciousness of co-creation, collaboration, diffusion of knowledge and information. They create collective and participatory communities; explore contemporary issues related to the new economy and production processes, labor, sustainability, autonomy and alternative ways of living.

The Afresh exhibition brings us closer to the enchanting and living side of artistic creation, the very moment that its vocabulary is being constructed, deconstructed and re-tried, where experimentation and doubt are a pivotal point in the quest for artistic identity.

Opening: Friday September 27, 7pm
Duration: September 27 - October 04 2013
Where: Glogauerstr 16, Berlin

a marked preference for
Gabriel Braun / Silke Briel / Stella Geppert / Vassilis H. / Stelios Karamanolis / Marc Klee / Eftihis Patsourakis / Tula Plumi / Josef Zehrer

curated by Silke Briel and Rebecca Hoffmann

Opening Fri 27 Sep 7 – 12 pm
27 Sep – 04 Oct 2013
Sat Sep 28 3 – 21 pm
Sun Sep 29 - Fri Oct 04 after appointment

frontviews temporary in cooperation with Glogau Air

frontviews temporary
Glogauerstraße 16
10999 Berlin

Opening: Friday June 21, 8pm
Duration: June 20 - July 13, 2013

Manolis D. Lemos
Krini Dimopoulou
Nikoletta Kanellou
Christos Michaelides

Curated by: Nikos Arvanitis

K.E.E.T. EX CAMPAS FACILITIES, Leontariou Str 108, Kantza (close to Kantza Metro station)

Opening: Thursday June 20, 8pm
Duration: June 20 - July 20 2013
Where: Vouliagmeni Nautical Club, Lemos Vouliagmenis, Vouliagmeni

For their exhibition at the Vouliagmeni Nautical Club, Arbit City Group created four large scale wooden perforated sculptures that they painted over, in the subject of personalities that related their name to the sea and shipping. The sculptures are portraits of writers and poets like Joseph Conrad and Andreas Embiricos, following the group's idea of creating role-models depending on context, space and occasion. The works are placed outdoors, letting the special sunlight of the area pierce them to form the portrait through light dots like a photographic raster. Unexpected combinations of portraits like the one of Jacques-Yves Cousteau with Mitch Buchannon or the one of Jules Verne with Captain Haddock realize cohesion conflicts and counterpoints referring to the history of literature and pop culture through the prism of the sea and navigation theme.

Arbit City Group is a visual artists group which consists of: Krini Dimopoulou, Dimitra Dimopoulou, Natasa Efstathiadi, Manolis D. Lemos and Yiannis Mouravas. It focuses mainly on issues relating to public space and the collective unconscious. It was formed in Athens in 2011.It has participated in group exhibitions in Athens and Thessaloniki like Action Field Kodra in 2012 and the 15th Biennale of the Mediterranean in 2011 and has realized numerous permanent public interventions in the Democretian University of Komotini, in Avlonas and in Athens.


Groupshow: Yhuzeng Cheng/Yorgos Stamkopoulos/Tomoko Mori/Stamatis Papazoglou/Sebastian Ebenberger/Philip Topolovac/Nicolas Fontaine/Natasa Prljevic/Mira O'Brien/Kottie Paloma/Kirsten Blümke/Johannes Weiß/Johannes Rodenacker/Dennis Meier/Daniel Lergon/Christoph Knäbich/Ce Jian/Ali Fitzgerald

Opening Friday 14.6.2013, 7pm
Duration: Saturday/Sunday 15.6-16.6, 1-6pm

Poseidon Projekte
+Open Studios
Sonnenallee 90
12045 Berlin


Curated by Nadja Argyropoulou and Lakis & Aris Ionas / The Callas


List of Lustlanders (to be updated)
Loukia Alavanou, Athens Biennale, ATOPOS CVC & Clo'e Floirat, Eleni Bagaki, Antonakis Christodoulou, Daily Lazy with guests (Stelios Karamanolis - Pavlos Tsakonas, Tula Plumi - Christos Birakos, Yorgos Stamkopoulos - Vasilis H, Dionisis Christofilogiannis - Thanos Kyriakidis - Yorgos Tserionis), Dora Economou, Andreas Embiricos, Extra-Conjugale (Irini Karayannopoulou - Sebastien Marteau), Hans Hollein (revisited), Dimitris Ioannou, Lakis and Aris Ionas / The Callas, Andreas Kassapis, Antonis Katsouris, Andreas Kikiras, Chrysanthi Koumianaki, Kypseli fanzine, Lefteris Miaoulis, LIGHTROOM Projects (LRp) with Spyros Staveris - Kamilo Nollas - Dimitris Michalakis - Manos Chrysovergis, Panayiotis Loukas & Malvina Panagiotidi, Kosmas Nikolaou, Vassilis Noulas, Aliki Panagiotopoulou, Rallou Panagiotou, Maria Papadimitriou & Michalis Softas, Leonidas Papadopoulos, Panos Papadopoulos, Natasha Papadopoulou, Vassiliki-Maria Plavou, Poka-Yio, Saprophytes, Manos Tsichlis, Alexandros Tzanis, Yannis Varelas, Paky Vlassopoulou, Tassos Vrettos.
Live: The Callas, The Velvoids, Microondas, Afroditi Psarra
Dj set: Popscure

When? Tuesday June 4th

Where? Thermissia Argolidas (near Ermioni, 30 min from Hydra island)

What? Αrt Experience, live Lo-Fi gigs, Performances, food and drinks from 5pm

free entrance

  • by car (from Athens to Korinthos-Epidauros-Ermioni-Thermissia) 2:30 hours
  • flying dolphin from Piraeus to Ermioni (2 hours to Ermioni and then 10min with taxi from Ermioni to Thermissia)
  • Water Bus or Taxi from Hydra to
    1. Makis Inn and then taxi to Thermissia (3min) or 20min walk to Lustlands
    2. to Porto Hydra Hotel and then taxi (7min)
    3. to Metohi village and then taxi (15min)



Lustlands was first organized as A Family Noir under the Sun, in a farm at the area of Thermissia in Argolida, Peloponnese, in June 23rd, 2012
Between January 22 and February 16, 2013, Lustlands was beamed to New York where it appeared as LUSTLANDS (a family noir under the sun : the N.Y. rematerialization) at Family Business in Chelsea.

Lust was examined first as the wild and remote lands suggested by the title and romantically reconsidered by the crisis ridden Greek youth; then as the valuable energy source that allowed for the unusual transporting overseas dictated by the hard reality of tight art budgets.
Found in abundance at the much condemned South, lust is reconsidered this year on board of The Great Eastern, a seminal and radical work of Greek Literature written by writer, psychoanalyst and photographer Andreas Embiricos (1901-1975) between 1945 and 1951.
Comprised of 642.000 words in 8 volumes, The Great Eastern is a fierce erotic-political utopia that references Fourierism, the writing of Marquis de Sade as well as Jules Vern (who actually conceives his Une Ville Flotante within the other book) and a great number of writers and thinkers of the 19th and 20th c. and was published only between 1990-1992, raising major criticism. In this magnum opus of a novel, the New World is the destination, the steamship of the title is the floating paradise of free eroticism, and society is reimagined as the innocent and fair kind of co-existence that this freedom can only generate. Inexorably repetitive in the narration of the sexual gyrations The Great Eastern is also characterized by the contradiction of its formally polished style, and almost archaic language, an idiom into which European 'classics', was translated in Greek in the late 19th century.
Work of "the heights and the depths" as Embiricos himself used to describe it, distinguished by its cosmopolitan spirit and intertextuality, The Great Eastern was curiously criticized as being "pornographic" and "delirious" as well as "boring", "annoying", " wearisome", even "frustrating". Very few can claim to have read all of it.

Lustlands, Vol.II - On The Great Eastern (after Andreas Embiricos) , as organized in the Peloponnesian family farm, on June 4, 2013 is a small step on investigating all of the above by means of thinking, acting and enjoying in a collective -or not- level. Things, events, low-fi gigs, country-side sculptures and rural installations, performances, projections, food and drink will be present:
Lustlands, Vol.II - On The Great Eastern is a work in progress where love, lust, desire, boredom, ennui, revolution and the politics of co-existence are examined in vitro.

reits front web-570x403
18. May – 10. June 2013
Opening: Friday 17. May 2013, 19.00

Gabriel Braun / Motoko Dobaschi / Vanessa Henn / M.K. Kähne / Zora Mann / Catalina Pabon / Michael Schultze / Heidi Sill / Yorgos Stamkopoulos

Initiated by Jessica Buhlmann & Joanna Buchowska

Schau Fenster – Schauraum für Kunst
Lobeckstr. 30 – 35, 10969 Berlin
U8 Moritzplatz, M29

Opening hours: Saturdays 15.00 – 18.00 and by appointment

Snehta stands for the name of the city of Athens but written in reverse. The title symbolically suggests that resident artists are to rediscover Athens and furthermore Greece by translating, reading it reversely or alternatively.

The residency aims in creating a dialogue with the social, material, aesthetic and architectural infrastructure of the city by taking into account historical, psycho-geographical, contemporary and traditional factors that have formed it.

Artists are called to use the local dynamics and characteristics of the Athenian environment whilst bringing along their own inherent interests and inclinations.

We are looking for experimental practitioners who will challenge the norms.

Snehta is a creative platform where solutions can be fostered as Greece encapsulates problems which are inherent to many western countries. Greece and specifically Athens are good examples of manifested societal, economic and cultural issues.

In Snehta solutions and new ideas can be discovered in order to surpass societal taboos and problems. Artists are advised to be people who challenge their practice and that they must believe that art is a way of improving the world.

The Residency program fosters creativity and activate artists into making work for a larger audience. Artists are advised to use the city and think outside the white cube. The Residency will try and accommodate specific projects after thorough discussion with the residency director and curator.

For more details: www.snehtaresidency.org
or contact:


The Whitechapel Gallery, London and the Demergon Daskalopoulos Foundation for Culture and Development, Athens, invite emerging curators to apply for the 2nd annual Demergon Curatorial Exchange.

The exchange offers the opportunity for ten young curators based in Greece to be introduced to the diverse London art scene, to connect with colleagues abroad, and to exchange ideas and experiences.

An organised trip to London and Edinburgh will take place 8–14 July 2013. The programme will include presentations and talks by gallery directors and curators as well as meetings with leading figures from the British art scene. Participants will follow an organised itinerary visiting a number of galleries and artists’ studios which providing opportunities to network. The 2013 Exchange also includes a visit to view From Death to Death and Other Small Tales: Masterpieces from the Scottish National Gallery of Modern Art and the D. Daskalopoulos Collection.

Applications are reviewed by the Whitechapel Gallery and the Demergon Daskalopoulos Foundation.

All travel expenses including accommodation, flights and per diem are covered by the Demergon Daskalopoulos Foundation.

All selected participants to the Exchange are entitled to apply to the Demergon Curatorial Award. Details on the Award and how to apply will be sent in spring 2013.
Criteria for emerging curators wishing to apply to the 2013 Demergon Curatorial Exchange

To qualify, all entrants must:
  • Have a very good command of spoken and written English. The working language across all communications as well as the programme is English and interpretation will not be provided.
  • Be at the beginning of a curatorial career or be a recent graduate of a relevant field (including Museology, Fine Arts, Curating, Arts Management, History or Art, Aesthetics & Philosophy). The programme is designed for dedicated emerging curating professionals regardless of age.
  • Be permanently based in Greece regardless of nationality. If you are already studying or working in the UK we regret that you will not be eligible.

Submission Requirements

All entrants must submit:

  • A covering letter outlining eligibility for the Demergon Curatorial Exchange and why you would like to take part, followed by a short statement on the challenges you face in contemporary curating. The length should be approximately 400 words or one A4 page.
  • A curriculum vitae including studies and relevant work experience (paid or voluntary).


  • The deadline for applications is 24 February 2013, 10pm. We regret that we cannot consider late applications.
  • All applications should be sent to:
  • The applicant’s name and contact details must be clearly stated in the application.
  • Please do not include CDs, DVDs or portfolios.
  • Selected participants will be contacted before the end of March 2013.


Saturday 06.10.2012, 8pm until late

Atelierhof Kreuzberg, Schleiermacher Str 31-37, Berlin-Kreuzberg
For almost five years the Appartment project was one of the hubs of the Berlin independent art scene. But now, after two years of hibernation APPARTEMENT will return for a one-off blast:
With the exhibition and re-installation of the original interior at Atelierhof Kreuzberg, APPARTEMENT RE-INSTALLED will bring together a selection of art, people and music of that time! If you were there then, you probably know the artists and remember the energy: 2007, when people thought Neukölln was a small-town in West-Germany and Brunnenstraße was considered the center of the global art world. Now we have dusted off the furniture for one last time, found the candles and dug up the old rum recipes.

»Neo R. Brand« 
one reduced INDEX from 13.11.2010 – 06.10.2012
archived by Stephan Köhler/frontviews
with works by

Silke Briel, Clara Brörmann, Bernadette Corporation, Amir Fattal, Pius Fox, Amelie Grözinger, Philip Grözinger, Eno Henze, Gregor Hildebrandt, Lukas Hofer, Isabel Kerkermeier, Henry Kleine, Dennis Meier, Timo Nasseri, Philipp Simon, Yorgos Stamkopoulos, Despina Stokou, Nikola Ukic, Elmar Vestner, Johannes Weiss, Sinta Werner and Markus Wüste

Archive Public. Performing Archives in Public Art. Topical Interpositions. // ed. Panos Kouros and Elpida Karampa
*click the image for higher resolution

Within the flexible limits of archival art today, Archive Public practices archival art as intervention in public space, questioning the dominant hegemony and allowing for possibilities of solidarity actions. It aspires to the creation of a broader productive collaboration network triggered by two theoretical research assumptions and an open body of works which tries out archival interventions in conflicting urban situations, in Patras and other european cities.

The first phase of the work developed theoretical propositions and art projects in Patras, Greece. It was realized with the support of the C. Carathéodory research program at the University of Patras. An edited volume, Archive Public. Performing Archives in Public Art. Τοpical Interpositions, documents this first phase of the project, and is available from Cube Art Editions.

The book includes theoretical hypotheses on archival practice in contemporary art, art works that were specifically created for the project, as well as an anthology of essays by contemporary thinkers who elaborate on particular issues of the archive in relation to the public sphere and theories of democracy, the notions of institution and instituting practice, interventions in the shifting urban condition, the philosophy and archaeology of media as well as the global flows of migration and media. Interventions focus on the urban and social condition of Patras, as it is influenced by a translocal dynamics which produces interrelations with other localities.

Published by the Department of Architecture, University of Patras and Cube Art Editions, 2012
ISBN: 978-960-99662-7-6

When: Saturday 29 September 2012
4.00 - 6.00 pm
Where: Christina Androulidaki Gallery
42 Anagnostopoulou Str
Athens  10673

The Courtauld Institute of Art

The latest gathering of the Courtauld Greek Alumni Group will take place at one of the newest arts venues in Athens.  Alumna Christina Androulidaki (BA 2003) is generously inviting graduates to come together in her new space.

Over drinks, guests will have the opportunity to see the current show of work by Berlin-based artist Yorgos Stamkopoulos and hear about the exhibition.  It will also be an opportunity to discuss ideas for further events for the Greek Alumni Group.


Booking: There is no charge for this event.  Please RSVP at your earliest convenience, to  or +44(0)20 7848 1082.

Action Field Kodra 2012

7-18 September 

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. 

STAMKOPOULOS Captain America VS Red Skull Collage on Paper 32x26framed 2012 copy

Image by: Yorgos Stamkopoulos, Untitled, 2012, from the series Captain America VS The Red Skull, collage on postcard paper, 32 x 26 cm, Courtesy of the artist and CAN Christina Androulidaki Gallery

Participating Artists:

Greece is for Lovers + Versaweiss + Ersi Varveri + Zoe Gaitanidou + Vassilis Yerodimos +  Eirini Efstathiou + Apostolos Karastergiou + Andreas Kassapis + Panagiotis Koulouras + Alexandros Laios + Panagiotis Loukas + Nikos Marinis + Kostas Bassanos + Margarita Bofiliou + Elissavet Moraki + Petros Moris + Ioanna Pantazopoulou + Panos Papadopoulos + Paris Petridis & Sakis Serefas + Theo Prodromidis + Nikos Sepentzoglou + Yorgos Stamkopoulos + Maro Fassouli + Zoe Hatzigiannaki

Curated by Katerina Nikou, Galini Notti, Evita Tsokanta

Action Field KODRA
Ex Military Camp Kodra
Kalamaria, Thessaloniki
tel. +302313314573

Image by: Oliver Mark

Participating Artists:

Silva Agostini
Roger Eberhard
Agathe Fleury
Gregor Hildebrandt
Ludovic Jecker
Markus Keibel
Halina Kliem
Alicja Kwade
Oliver Mark
Marco Meiran
Zoë Claire Miller
Christian Pilz
Hannu Prinz
Yorgos Stamkopoulos
Dominik Steiner
Philip Topolovac
Regine Müller-Waldeck
Björn Wallbaum

Curated by Daniel Kannenberg
Frankfurter Strasse 60, 34121 Kassel

RT3 , RT5, Tram 5 or documenta-Bus d13 to “Am Weinberg”
Openings every friday from 8 pm


Hosted in Athens has invited groups of artists and collectives of different background and nationalities to present their activity in various buildings in the center of Athens through a series of events and exhibitions.

The project intends to articulate and organize its potentials in the area of the historical center of Athens and to involve public and private venues that can host its program in the means of hospitality.

The project seeks to advocate the local art scene and to introduce the work of international artists to the broader Athenian public. To provide the conditions for dialogue and collaboration between groups, communities and individuals and to establish connections between the cities involved emphasizing on the essence of networking and collectivity.

The participatory groups will be able to display their joint collaborations, shows and events in the context of a broader perspective that includes artists, curators, institutions and host venues.

The aim of the project is to underpin the importance of collaboration, the individual participation and the exchange between different art scenes and to indicate new ways of working that embrace the values of exchange and hospitality.

Hosted In Athens is organized by DL Projects. 


DL Projects:

(*) Artist Run Group (DL Projects) based in Berlin, Cluj Napoca and Athens. 
Artists: Dionisis Christofilogiannis, Stelios Karamanolis, Eva Mitala, Tula Plumi, Yorgos Stamkopoulos.


(1) Participants groups/colectives 
Blightman/Bofiliou, Berlin
Daily Lazy Projects, Athens
Expograph, Vienna
Front Views, Berlin
Les Editions Horror Vacui, Paris
Nauru Project, Online project
Niemandsland, Vienna
Post, Athens
Spazi Docili, Florence
SKOUZE3, Athens
Trace, London
Under Construction, Athens
Lykakis/Karamanolis, Athens
Versaweiss, Athens
XYZ, Bratislava
Parallel event: 3 137, Athens

(2) Countries 


(3) Hosted Venues
Open Show Studio, Ag. Eleousis 14 & Protogenous 
Six Dogs, Avramiotou 6-8 
Epaskt (The Association of Graduates of Athens School of Fine Art), Tholou & Panos 19A 
Temporary Space Elaionas, Forthcoming SOUZY TROS, Markoni 8, Elaionas metro station
SKOUZE3, 3 Skouze street, Monastiraki
The Association of Greek Archaeologists, Ermou 136 
Theater Embros, 2 Riga Palamidou Str. 


(4)Artists: Alkan Nallbani, Artan Shabani, Adrian Isufi, Ervin Dauti, Venera Kastrati, Marco Fantini, Juliette Blightman, Margarita Bofiliou, Dionisis Christofilogiannis, Stelios Karamanolis, Eva Mitala, Tula Plumi, Yorgos Stamkopoulos, Claudia C. Linder, Astrid Rausch, Tina Ribarits, Frank Eickhoff, Gabriel Braun, Pius Fox, Marc Klee, BURGHARD, Tolia Astali and Dylan Pierce, Stella Geppert, Kathrin Köster, Sinta Werner, Nina Ploghöft, Silke Briel, Albert Allgaier, Bernhard Garnicnig, Peter Fritzenwallne, Albért Bernàrd, George P. Burdell, Walt Dusley, Noboru Watanabe,Anna Byskov, Juliana Borinski,Melanie Sweeny, Sifis Lykakis, Charlie Jeffery, Dan Robinson, Kostas Roussakis, Caroline Bird, Dan Coopey, Lo Hillarp-Sjöström, Thanassis Petropoulos, Polyxenie Savva, Iori Wallace, Ian Whitfield, Christoph Höschele, Sandra Schmidt, Andre Höschele, Falm, Kai Kaspar, Klaus Ambichl, Rye Brand, Rainer Prohaska, Maria Lianou, Panagiotis Samsarelos, Sofia Touboura, Pavlos Tsakonas,Eva Marathaki, Leontios Toumpouris, Christian Costa, Fabrizio Ajello, Maria Efstathiou, Eleni Fotiadou, Maria Georgoula, Margarita Myrogianni, Richard Bevan, Elisabeth S. Clark, Line Ellegaard, Kathryn Faulkner, Alexandra Hughes, Pernille Leggat Ramfelt, Aishan Yu, Panos Famelis, Maro Fasouli, Dimitris Foutris, Alexandros Laios, Milan Tittel, Matej Gavula, Viktor Oravec, Ivan Dudás, Juraj Dudás, Chrysanthi Koumianaki, Kosmas Nikolaou, Paki Vlassopoulou, Thanos Klonaris, Dimitris Baboulis. Theorists: Nisaar Ulama, Caidleigh Murphy, Stephan Köhler, Katerina Nikou Texts: Carolin Gennermann.