Nikos Navridis, ...Try again, fail again, fail better, 2013
Nikos Navridis,
...Try again, fail again, fail better, 2013

The project “...Try again, fail again, fail better” (fragment from a phrase by Samuel Beckett) by Nikos Navridis was an intervention in ...
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Nikos Navridis,
...Try again, fail again, fail better, 2013

The project “...Try again, fail again, fail better” (fragment from a phrase by Samuel Beckett) by Nikos Navridis was an intervention in the open space of Elaiourgio during the Aeschylean Festival 2013 in Elefsina (Greece). For this large scale, open space installation the artist transformed the area by filling it with thousands of whispering ears of corn, carefully bedded in earth, excavated and brought in from the neighbouring sanctuary of Demeter, ancient goddess of the harvest.

Photographer: Dimitris Navridis
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Nikos Navridis,  ...Try again, fail again, fail better, 2013

30-31 jul 2014

curated by

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Myrto Katsimicha is an independent curator and art writer living between London and Athens. She holds a BA in Media, ...
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Myrto Katsimicha is an independent curator and art writer living between London and Athens. She holds a BA in Media, Communication and Culture from Panteion University of Social and Political Sciences, Athens (2012) and an MA in Curating the Contemporary from London Metropolitan University and the Whitechapel Gallery, London (2014), where she also pursued a work placement in the Publications Department. In 2013, she was a production assistant for the 4th Athens Biennale – AGORA.
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Bani Abidi, Funland (Karachi series II), 2014
Bani Abidi, Funland (Karachi series II), 2014

The work ‘Funland’ presented at Museum Dahlem as part of the 8th Berlin Biennale is a multichannel video installation playing with notions of memory an ...
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Bani Abidi, Funland (Karachi series II), 2014

The work ‘Funland’ presented at Museum Dahlem as part of the 8th Berlin Biennale is a multichannel video installation playing with notions of memory and melancholy related to the historic and topographic framework of Karachi, the metropolis of Pakistan. Old cinemas, abandoned theme parts, victorian architecture and colonial gardens create a narrative that guides us through the multiple histories of the city, the ghosts of the past, the floating memories.

Bani Abidi (b. 1971) lives and works in Berlin.
Find out more about the artist here: http://www.baniabidi.com
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Bani Abidi, Funland (Karachi series II), 2014
Panos Tsagaris, For Between the Light and the Darkness we Stand (XAOS), 2011
Panos Tsagaris
For Between the Light and the Darkness we Stand (XAOS), 2011
12 black and white archival prints
35.5x28cm each
Courtesy of the artist and Kalfayan Galleries Athens/Thessaloniki

‘ ...
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Panos Tsagaris
For Between the Light and the Darkness we Stand (XAOS), 2011
12 black and white archival prints
35.5x28cm each
Courtesy of the artist and Kalfayan Galleries Athens/Thessaloniki

‘For Between the Light and the Darkness we Stand (XAOS)’ (2011), which was part of the 4th Thessaloniki Biennale of Contemporary Art, was based on a series of international newspaper covers that the artist has been collecting over the last three years; all those newspaper covers had as their main article the economic crisis in Greece. These artworks juxtapose the transformation the country has been going through in the last few years with the symbolic alchemical transformation of the final work.

Panos Tsagaris (b. 1979, Athens) lives and works in New York. He received his BFA from the Emily Carr Institute of Art & Design in Vancouver, Canada. Through his work he aims to express the emanation of the “divine” as it is reflected through the beauty and poetry of the everyday, in order to bring himself and the viewer closer to a state of catharsis.

For further information click here:
http://panos-tsagaris.tumblr.com
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Panos Tsagaris, For Between the Light and the Darkness we Stand (XAOS), 2011
Basim magdy, The Dent, 2014
Basim magdy, The Dent, 2014
Video Still

For his first solo show in Athens, entitled “Our Shadows Gasped at the Sight of Their Own Multiplying Shadows”, the Egyptian artist Basim Magdy presents an ...
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Basim magdy, The Dent, 2014
Video Still

For his first solo show in Athens, entitled “Our Shadows Gasped at the Sight of Their Own Multiplying Shadows”, the Egyptian artist Basim Magdy presents an assemblage of three separate works orchestrated in a way that evokes his recurrent interests into history and culture, notions of fragmentation, the relationship between reality and fiction and the construction of memory – individual and collective.

In the first work on display, “The Dent, 2014”, which was commissioned by the Abraaj Group Art Prize 2014, Magdy uses Super 16mm film footage shot in various locations including Paris, New York, Venice, Prague, Basel, and Brussels among others and creates a multi-layered film that describes the misled efforts of a small, anonymous town to host the Olympics. Oscillating between surrealism and documentary, with a sequence of saturated images that bring into dialogue the man-made environment with the beauty of nature – the artificial and the natural – and a fictional narrative reinforced by bits of text, the film develops into a commentary of the people’s shared delusions in the road to fame. In a hypnotic state of celebration, like the moment when the circus arrives in town, facing the absurd seems to be the only ode to hope, our exit from the parallel reality created by political premises toward a better future. “Failure is, after all, a monster too big to slaughter.”

Basim Magdy (b. 1977, Assiut) lives and works between Basel and Cairo. Selected shows include 13th Istanbul Biennial, Istanbul (2013); Sharjah Biennial 11, Sharjah (2013); The Future Generation Art Prize@Venice 2013 – 55th Venice Biennale (2013); Transmediale, Haus der Kulturen der Welt, Berlin (2012); and La Triennale, Palais de Tokyo, Paris (2012). He is the winner of the Abraaj Art Prize, Dubai 2013.

For more information about the exhibition click here:
http://stateofconcept.org

To watch the ‘Dent’ follow this link:
http://www.basimmagdy.com/the-dent
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Basim magdy, The Dent, 2014
Chistodoulos Panayiotou, Untitled, 2013-2014
Chistodoulos Panayiotou, Untitled, 2013-2014
12 pairs of handmade shoes
Leather and leatherette from female purses
Dimensions variable
Courtesy Christodoulos Panayiotou, Dieresis Collection, Mexic ...
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Chistodoulos Panayiotou, Untitled, 2013-2014
12 pairs of handmade shoes
Leather and leatherette from female purses
Dimensions variable
Courtesy Christodoulos Panayiotou, Dieresis Collection, Mexico and Rodeo Gallery, Istanbul

Panayiotou’s installation is currently on view at Haus am Waldsee as part of this year’s Berlin Biennale. His work is framed by the curatorial play with the concept of private and public and the role of art within this particular context.
Christodoulos Panayiotou (b. 1978, Limassol) lives and works between Limassol and Paris.

For more information about the artist click here:
http://www.christodoulospanayiotou.com
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Chistodoulos Panayiotou, Untitled, 2013-2014
Valentina Karga, Exercises in Walking and Talking, 2014
Valentina Karga, Exercises in Walking and Talking, 2014
Participatory performance

Courtesy the artist and NEON

© Photographer NataliaTsoukala

‘Exercises in Walking and Talking’ was a participa ...
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Valentina Karga, Exercises in Walking and Talking, 2014
Participatory performance

Courtesy the artist and NEON

© Photographer NataliaTsoukala

‘Exercises in Walking and Talking’ was a participatory performance commissioned for the exhibition ‘A Thousand doors’ in Gennadius Library, Athens. The artist, Valentina Karga, initiated a series of dialogues that were collected and took the form of a publication by the end of the exhibition.

Excerpts of artist text:
‘Digitalization is not a mere technological process. The production and reproduction of all aspects of social life became an economic matter; language, feelings, knowledge, affects, desires, everything can be sold and consumed. This explains to a certain extend why knowledge is replaced with information and how communication is reduced to a mere circulation of them. Haunted by the lack of time to catch up with everything, it seems that we are losing the ability to exchange experiences and tacit knowledge, to reach a different level of knowledge than what search engines can offer us, to tell stories, to listen. R. Sennett writes that really talking with somebody is a form of cooperation that manifests through mutual pleasure, even if both partners do not think consciously that they are cooperating. The ‘Exercises in walking and talking’ is dedicated in finding such moments of real cooperation among its participants, but also in seeking one’s actual thoughts, freed by any short of economization, and in embodiment of these thoughts. After all, aisthesis, in the literal sense of perception, is still a very analog process, since our body is only able to perceive information in the form of non-discrete signals. For the month of May, Ι invite you at the Gennadius Library to co-create the exercises. There are absolutely no requirements apart from your engagement.The form and content of the subsequent sessions is informed by what happens and who takes part.’

Valentina Karga, born in Chalkidiki, Greece, is an artist and architect based in Berlin. After she got her masters in architecture (University of Thessaly), she has been a fellow at the University of the Arts Berlin (UDK), Graduate school. Often through collaborative actions, her work addresses issues such as autonomy, education, sustainability, communication, the DIY, the commons and the role of engagement and participation in the contemporary society and the arts. She is the founder of the “Summer school for Applied Autonomy” in Berlin, a research initiative interested in capturing the technical know-how but also the social, political and affective aspects involved in autonomous living. She is also a member of Collective Disaster.

Find more about the artist here:
http://www.valentinakarga.com
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Valentina Karga, Exercises in Walking and Talking, 2014
Maria Theodoraki, Cycladic figurine Nr. 253, 2013
I first encountered Maria’s work at the Museum of Cycladic Art in Athens as part of the DESTE Prize Exhibition 2013 for which she was nominated.

As part of her nomination Maria presented a site-sp ...
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I first encountered Maria’s work at the Museum of Cycladic Art in Athens as part of the DESTE Prize Exhibition 2013 for which she was nominated.

As part of her nomination Maria presented a site-specific project that questioned issues of origin and addressed the way an object acts as a testimony within a certain context. A crate, specifically built by an art transport company held Cycladic figurine Nr. 253, a marble figurine, over 4000 years old, whose excavation origin remains unknown. Without archaeological evidence this object has no history, an issue often raised with antiquities of illegal excavations. In a letter to the Board of the Museum and the Goulandris Foundation, Maria asked for permission to remove the figurine from its display and place it in a specifically designed crate to serve as an offering and thus repeating the gesture that placed it in the dark.

You may find out more about this project by following this link:
https://www.youtube.com/watch?v=n6jcXP0exFs

Maria Theodoraki (b.1977) lives and works in London. Her practice spans films, installations, photographs and drawings. For more information about the artist click here: http://www.mariatheodoraki.net
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 Maria Theodoraki, Cycladic figurine Nr. 253, 2013
abstract speaking – sharing uncertainty and collective acts - the Japan Pavilion at the 55th Venice Biennale 2013
'abstract speaking – sharing uncertainty and collective acts’ comprised 9 projects that documented the process of collaboration and addressed the theme, "How is it possible to take on the experiences ...
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'abstract speaking – sharing uncertainty and collective acts’ comprised 9 projects that documented the process of collaboration and addressed the theme, "How is it possible to take on the experiences of others as our own?" or "How can we share, or take joint possession of, the experience of events?". Having experienced the Great East Japan Earthquake – either directly or indirectly –, a disaster unprecedented on a national scale both the artist Koki Tanaka and the curator Mika Kuraya were interested to explore Japan's post-quake conditions.

‘Is there any point in differentiating between people's experiences? Each of us, as an individual, is attempting to take on board, interpret, and understand this world in a different way. 

People who have experienced a major event on different scales or in different depths, people living in countries or regions far removed from that event, people of future generations separated from it by time.’

Collective acts referred to as “precarious tasks”; videos documenting the process of collaborative work carried out by people under special circumstances'; through its various projects the exhibition attempted to reveal the different layers of experience that lead to a better understanding of things on a collective and collaborative basis.

The project "Piano" recorded five pianists from multiple musical genres that played the piano simultaneously, in an attempt to show an alternative side to things that we usually overlook in everyday living.

Koki Tanaka (b. 1975) currently lives and works in Los Angeles. In his diverse art practice including video, photography, site-specific installation, and interventional projects, 
he explores the manifold aspects of everyday acts.

Fore more information about the artist click here:
http://www.kktnk.com
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abstract speaking – sharing uncertainty and collective acts - the Japan Pavilion at the 55th Venice Biennale 2013
Kirsi Hyotyla likes this.
Ravel Ravel Unravel, Anri Sala, 2013
On my first visit at the 55th Venice Biennale 2013 I was particularly drawn by two projects taking place in the Giardini.

The one was Anri Sala’s project for the French Pavilion, titled Ravel Rave ...
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On my first visit at the 55th Venice Biennale 2013 I was particularly drawn by two projects taking place in the Giardini.

The one was Anri Sala’s project for the French Pavilion, titled Ravel Ravel Unravel (2013), which was exceptionally exhibited in the premises of the German Pavilion as the two countries decided to swap pavilions for this year’s Biennale.
The title of the piece is a subtle play on words based on the verb to ravel and its opposite, to unravel, as well as a reference to the famous French composer Maurice Ravel, who in 1930 composed the Concerto in D for the Left Hand, which is at the heart of Anri Sala’s project. A book conceived by Anri Sala and Christine Macel was also published to accompany this project.

The installation Ravel Ravel Unravel (2013) unfolded into two parts: the work Ravel Ravel (2013) follows sees two celebrated concert pianists, the Quebecois Louis Lortie and French-born Jean-Efflam Bavouzet, while performing separately Maurice Ravel’s celebrated Piano Concerto for the Left Hand (1929–30). Both films are then projected superimposed in the main hall of the pavilion. In the two side rooms, another pair of films, Unravel, depicts Chloë Thévenin, the famous techno DJ Chloë, while trying to compose into one the two unsynchronized performances by Lortie and Bavouzet.

The work ‘Unravel’ is currently on view at the 8th Berlin Biennale for Contemporary Art where the two parts of the piece are shown separately in two disparate venues, at Haus am Waldsee and Museen Dahlem – Staatliche Museen zu Berlin, thus creating an interesting connection and dialogue with the space itself.

Anri Sala (b.1974, Tirana) lives and works in Berlin, Germany.

Installation view, 'Ravel Ravel Unravel', French Pavilion, 55th Venice Biennale, 2013

Image Courtesy the artist and Hauser & Wirth, London/New York/Zurich
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Ravel Ravel Unravel, Anri Sala, 2013
Kirsi Hyotyla, Elodie Bernard, and like this.

Nur Elektra El Shami One of my fav Venice Biennale moments

'The System of Objects', DESTE Foundation, Athens, 2013
‘“The System of Objects” is a project about telling stories, about displacement and order, surprise and expectation.’

Drawing inspiration from Jean Baudrillard’s homonymous book the architect and w ...
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‘“The System of Objects” is a project about telling stories, about displacement and order, surprise and expectation.’

Drawing inspiration from Jean Baudrillard’s homonymous book the architect and writer Andreas Angelidakis, who was invited to curate the various collections of Dakis Joannou – art, design, fashion, etc. –, created a show with the intention to “reload” the objects of the collections.

The exhibition was structured in a carefully designed path that led the visitors around the thoroughly manipulated exhibition space – walls were broken down, holes were opened on the floor, etc. Employing the act of fragmentation Angelidakis managed to load the building with a series of episodes, each one holding its own entity, that added up to a holistic experience through the Joannou’s collections. This immersive installation, that at once reflects the curator’s as well as the collector’s background in architecture, blurred the boundaries within space and time and invited the visitor to face the unexpected.

The success of “The System of Objects” lies at the essence of this paradox. By investigating the relationship between the exhibition space and narrative that were both treated as objects, Angelidakis managed to add an empirical value into a self – referential show. Visitors were subjected to a sequence of experiences that offered an aesthetic engagement. The installation became a work of art in its own right.

In our hypercapitalized era, the act of consumption does not refer solely to tangible things. The objects have become the mediation of an abstract relationship – of consuming and of being consumed. What we actually consume is series of signs, a form of simulation. The “System of Objects” raised the question of how this act of consumption could stretch the limits towards creation.

The exhibition took place at Deste Foundation in Athens from May 15th until December 21st 2013.

Find more information about the exhibition here:
http://deste.gr/exhibition/system-of-objects/

Installation View:
Surrogates, Allan McCollum, 1985
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'The System of Objects', DESTE Foundation, Athens, 2013
Keshav Anand likes this.
South as a State of Mind
‘Going South’ is an idiom used in informal circumstances to express a fall in value, a deterioration, or failure. The world is contaminated by southern stereotypes such as the ‘perfect climate’, ‘easy ...
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‘Going South’ is an idiom used in informal circumstances to express a fall in value, a deterioration, or failure. The world is contaminated by southern stereotypes such as the ‘perfect climate’, ‘easy living’, ‘chaos’, ‘corruption’, ‘the crisis’, etc.

Taking as a starting point these southern mythologies 'South as a State of Mind' is a bi-annual arts and culture publication based in Greece and a meeting point for shared intensities that attempts to redefine and invigorate the southern state of living and thinking.

Each 160-page issue has a thematic section and columns inspired and named after key traits of southern life and every issue has an overall thematic topic to which various writers and artists based internationally respond and reflect upon.

http://southasastateofmind.com
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South as a State of Mind
Not Today - A space between art and life
In our mediated society, the constant flow of information blurs the boundaries between the local and the global, between the private and the public aspect of our lives. We thus find ourselves in a sta ...
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In our mediated society, the constant flow of information blurs the boundaries between the local and the global, between the private and the public aspect of our lives. We thus find ourselves in a state of a fragmented reality. The self is everywhere and thus nowhere in particular.

“It seems that there are always choices in life, however, without investing in time, all ideas remain just ideas. People like to say that the past and future are held within our own hands, yet we are never capable of understanding the richness of life… Maybe, what we can do or think of today will never be enough…

NOT TODAY is an art magazine based in Taiwan. It focuses on “space”, and attempts to convey the relationship between space and people.

http://nottodaymag.com
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Not Today - A space between art and life
The Travel Almanac
The invention of the leisure industry created the modern traveller who is considered independent, educated and conscious. Modernization and industrialization led to urbanization. The city has become t ...
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The invention of the leisure industry created the modern traveller who is considered independent, educated and conscious. Modernization and industrialization led to urbanization. The city has become the centre of life and the citizen an urban idler, a “flaneur”, as first recorded by Baudelaire (1859), the man of the crowd who travels from one place to another and records the public spaces of the city. In contemporary society we are all travellers in space and time.

The Travel Almanac is a Berlin- and New York- based print publication focusing on traveling & temporary habitation. The Travel Almanac explores the topics of traveling and temporary habitation from the personal perspectives of innovative figures in the fashion, music, art, and film worlds and places its focus on the individual’s personal experiences and the effects of travel on their lives and work.

http://travel-almanac.com
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The Travel Almanac
Curated By
Curating is in principle a collaborative and interdisciplinary practice. It involves different individuals that come together to produce a physical outcome, that of the exhibition. However, there is a ...
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Curating is in principle a collaborative and interdisciplinary practice. It involves different individuals that come together to produce a physical outcome, that of the exhibition. However, there is also an immaterial aspect that is often elapsed, the discourse around the exhibition, the human relationships and the constellation of meanings that are created during the process of curating and don’t necessarily take the form of an exhibition but can refer to a publication, an edition, a one-off project that also generate a critical discourse.

During my 2 days of ‘Curated by’ I will present a series of curated projects of diverse nature and artists to whom I came across and whose practice initiated a process of self-reflection.
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shaping tool: conclusions
I understand that the topic that I have tried to treat during these two days is not among the easiest ones to investigate, although I think it's very immediate because it regards the majority of peopl ...
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I understand that the topic that I have tried to treat during these two days is not among the easiest ones to investigate, although I think it's very immediate because it regards the majority of people who are reading these words. I therefore thank the staff of Art:I:Curate for the opportunity to publish this selection of works and I also thank all of you who have been following my updates, commenting and writing to me in private. I hope to have generated interest in these issues and that you will continue to follow the developments of these artistic investigations such particular as urgent to be studied.
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shaping tool: conclusions
Elodie Bernard likes this.

26-27 jul 2014

curated by

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Filippo Lorenzin is living in Venice and has been working as art critic and independent curator.
He curates "L'ident ...
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Filippo Lorenzin is living in Venice and has been working as art critic and independent curator.
He curates "L'identita'  aumentata", a blog on art projects related to the most advanced technological research and social media. The purpose of his research and activities is to connect experiences of personalities from the field of art with those of a public not so much interested in contemporary art.
He writes for many online publications as author and commentator.
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"Best Day Ever" (2009-), Zach Gage
"Each day at 6:30pm EST 
it automatically searches twitter for the phrase 
“best day ever” 
and then picks a tweet it likes, and re-twitters 
the tweet as it’s own.
best day ever arose out of my desi ...
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"Each day at 6:30pm EST 
it automatically searches twitter for the phrase 
“best day ever” 
and then picks a tweet it likes, and re-twitters 
the tweet as it’s own.
best day ever arose out of my desire to find a twitter feed that always held meaning.
it is a compilation of all our happiness"

From artist's website: http://www.stfj.net/art/2009/best%20day%20ever/
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"Best Day Ever" (2009-), Zach Gage
"Sunset Portraits" (2010-), Penelope Umbrico
"Sunset Portraits from Sunset Pictures on Flickr is from this same source as the Suns (from Sunsets) from Flickr project where I searched the photo-sharing web site Flickr and found that "sunsets" wer ...
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"Sunset Portraits from Sunset Pictures on Flickr is from this same source as the Suns (from Sunsets) from Flickr project where I searched the photo-sharing web site Flickr and found that "sunsets" were most present (541,795 in 2006). For Sunset Portraits I have left the subjects in the photographs. I was thinking of the relationship between the "collective" and the "individual ", the individual assertion of "being here" in the photograph, and the lack of individuality that is ultimately the experience when faced with so many assertions that are more or less all the same."

From artist's website: http://www.penelopeumbrico.net/sunsetportraits/sunsetportraits.html
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"Sunset Portraits" (2010-), Penelope Umbrico
Irina Turcan likes this.
"Just Landed" (2009), Jer Thorp
"People share a lot of information in their tweets – some of it shared intentionally, and some of it which could be uncovered with some rudimentary searching. I wondered if it would be possible to ext ...
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"People share a lot of information in their tweets – some of it shared intentionally, and some of it which could be uncovered with some rudimentary searching. I wondered if it would be possible to extract travel information from people’s public Twitter streams by searching for the term ‘Just landed in…’"

From artist's website: http://blog.blprnt.com/blog/blprnt/just-landed-processing-twitter-metacarta-hidden-data
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"Just Landed" (2009), Jer Thorp
Irina Turcan likes this.
"Fbook, What My Friends Are Doing On Facebook" (2009), Lee Walton
"In 2009, Walton created the video project, “F’Book, What My Friends Are Doing In Facebook”. This project explored the relationship between video, mainstream social media and issues of public/private ...
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"In 2009, Walton created the video project, “F’Book, What My Friends Are Doing In Facebook”. This project explored the relationship between video, mainstream social media and issues of public/private space by looking critically at the social media platform maintained by Facebook.
Walton was immediately intrigued with the activity of the “Status Update” feature, where friends were sharing mundane, domestic activities of their private lives and treating them as events. He noticed that the updates could be read poetically and autobiographically and responded by simply selecting particular updates and using them as scripts for a series of video performances. Walton would then interpret these updates and reenact them in his own home. The videos took the form of very short films that were uploaded back onto the Facebook Wall of the subject, thus circulating the performances back into a public space."

From artist's website: http://www.leewalton.com/work/projects/fbook/
Image: still from "Conrad Bakker is tending to the houseplants."
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"Fbook, What My Friends Are Doing On Facebook" (2009), Lee Walton
Keshav Anand likes this.
"Pentametron" (2012), Ranjit Bhatnagar
Pentametron is a project that uses the uploaded content on Twitter to make iambic pentameters, verses consisting of ten syllables with strong accents on the syllables equal. It can be accessed through ...
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Pentametron is a project that uses the uploaded content on Twitter to make iambic pentameters, verses consisting of ten syllables with strong accents on the syllables equal. It can be accessed through the Web site pentametron.com and the Twitter profile @pentametron.
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"Pentametron" (2012), Ranjit Bhatnagar