By Ioanna Gomouza – 16/10/2013
With the crisis attracting foreign artists for Athenian residencies, from 17/10 the Kappatos gallery presents its first guest. Drawing inspiration from the proportions of the bilateral symmetry of the human body and its asymmetric expression in the world, the British Mat Chivers will attempt to interpret the Greek socio-political topicality, with emphasis on the elements that can contribute to unity. The exhibition will open with the event-installation “Roots”, composed by musician George Symeonidis and choreographer Iris Karagian, a performance which will be presented on 23/11 at Pl. Monastiraki, thus inaugurating the parallel program of the residency “PublicScapes: Contemporary art and curatorial practices in the public space”.
Time Got Kicked Around
Exhibition: 20 November – 20 December 2014
Opening: 20 November, 8 – 11 pm
Tim Shaw Lecture: Wednesday 19 November, 12 pm, Athens School of Fine Art, Nikos Navridis’ Studio
Kappatos Athens Art Residency is pleased to invite you to the opening of the second cycle of the residency programme for Art Professionals in Athens under the auspices of the Ministry of Culture and Sports, supported by a European fund (NSRF: National Strategic Reference Framework 2007 – 2013) and the first solo exhibition of the Irish artist Tim Shaw R.A entitled “Time Got Kicked Around”, curated by Dr. Sozita Goudouna.
The new series of artworks produced by the Royal Academician during the course of his stay at Kappatos Athens Art Residency and presented from 20 November until 20 December, are based on the belief that the regulatory principle governing the whole of reality is not order and consistency, but constant change and rupture.
Mother the Air is blue The Air is Dangerous 3Mother the Air is blue The Air is Dangerous
Tim Shaw, born in Belfast in 1964, is one of the most acclaimed artists of his generation lauded for his politically charged sculptures and installations that dare to mix epic narratives, confrontational subject matter and lo-fi punk aesthetics amplified on a monumental scale. Uncompromisingly unafraid to directly discuss such issues as the Iraq war brutalities. Tim Shaw’s new installation at Art Professionals-in-Athens Residency entitled ” Mother, The Air is Blue, the Air is Dangerous” is a composition of “readymade” objects that encapsulates his troubled childhood growing up during the IRA bombings of the early 70s, as well as his engagement with politics, both topical and historical. Tim Shaw’s personal experience becomes the means of exploring the fragile conditions of our existence in everyday life and the overthrow of order and regularity.
The installation narrates the experience of the artist in the early 70’s; when he was with his mother in a restaurant and a bomb exploded in the basement of the building, following the explosion of three bombs in the wider region. The bombing caused a deafening bang that was an overwhelming and haunting experience for the artist. As described by Shaw ‘everything vibrated and people ran like panicked animals, just after the third bomb, the air that was formed seemed to turn petrol blue and to expand like a very large balloon ready to burst. Time seemed to be suspended and with it, dinner trays floated slowly through the air. People appeared to dissolve into moving grey shadows.’
Shaw’s installation is dominated by shadows that, unlike the shadows in the allegory of the Cave in Plato’s Republic, do not represent unreal forms or deceptive shadows of reality. Shaw’s shadows do not refer to a world of illusions and virtual reality, on the contrary they represent real people who lived the events of a merciless war.
The artist can’t forget the impact of his memories and senses. The historical event of “Bloody Friday,” (19/7/72), namely, the day IRA detonated twenty bombs at a lateral of five kilometers at the city center of Belfast, killing nine people and injuring one hundred and thirty more, is recollected by the artist as an opportunity to explore the fragility of the conditions of human existence.
Shaw’s anti-war approach does not divide the two sides (nationalist and protestant communities) during the “Troubles” (the period of conflict in Northern Ireland), and although he is aware of origin of the conflicts, he is treating both sides (nationalist and protestant communities) as the victims of an exogenous division. The exhibition ‘Time Got Kicked Around’ resists general interpretations by focusing on the importance of individual experience and perception during a social condition whether it relates to war or to the economic crisis.
Kappatos Athens Art Residency is pleased to present a representative video of the exhibition “one by one” by French video artist, Marie Voignier, who stayed in Athens in February 2014 and completed filming the homonymous film, which constitutes the central piece of the exhibition. During her stay in Athens, the second resident of the programme “Art Professionals-In-Athens Residency,” created in collaboration with visual artist, Vassilis Salpistis, the film entitled “one by one.” Marie Voignier’s solo exhibition is curated by Dr Sozita Goudouna and includes three video pieces. “One by one” is a fifteen minutes experimental moving images-collage, composed by a number of testimonies and texts relating to significant historical events such as : death, phantoms, the crisis, and the relationship between water and fire. The assemblage converges the exploration of contemporary applications of the function of myth. For the most part the film consists of filmed photographs, and even when they are in motion, the images suggest the stillness of a steady shot. The director employs techniques of juxtaposition in the form of an atlas of representations, divergent and at the same time literal, the images shift the narrative to the direction of the creation of a visual essay. The exhibition also presents Marie Voignier’s film “Un peu comme un miroir (Kind of like a mirror)” and “Les immobiles (Standing still).” “Un peu comme un miroir” has been shot in the psychiatric hospital of Montperrin in Aix en Provence and encounters a cook, a nurse, and a former patient. In Les immobiles the myth of the white colonialist finds its most destructive embodiment: the hunting guide. Hesitating, in the threshold of impulsive violence and its religious imitations, he utters the most economical remarks about death images that assess the game of violence and culture. A sacralised game that is lost to a sacrificing vestige to unite women’s and men’s hearts in an arbitrary and violent resolution.
Opening Reception: 27/3/14 8pm-11pm
Exhibition Dates: 27/3/14 – 3/5/14
Prior to Miriam Simun’s arrival in Athens for the residency she planned to develop a series of rituals for the ‘eco-city.’ Exploring possibilities for how the human can exist within the urban ecology, these gestures would make use of the individual citizen to provide for the urban ecological environment. Miriam envisioned a series of acts – physical, material, located somewhere between love and futility, in which the human sublimates her own body to care for the larger urban ecological body in which she exists.
Upon her arrival in Athens Miriam Simun immediately began walking the streets. She was absorbing the place, exploring the ecology and collecting debris – a sort of excavation of contemporary archeological artifacts. Certain locations proved particularly fruitful archeological sites, and as my daily route emerged, she encountered the other regulars making the rounds. People expertly sifting and collecting cardboard in shopping carts, rummaging in dumpsters for discarded clothes, carefully searching the trash cans for discarded food. Young and old, disheveled and well-dressed, friendly and scowling, foreign and Greek, serious and drunk, all of these Athenians scavenge daily. In physical, material ways, they forage in the urban ecology to nourish their own bodies. A sort of ‘living off the urban land.’
The work thus adapted, to portray a symbiotic relationship between human organism and lived environment of city streets. At the intersection of ecological and financial crisis, the relationship between the urban body and the human body is shaken. It is restructuring, rearranging, and rife, simultaneously, with despair and possibility. It is within this context that Simun locates a series of rituals for city life.
Miriam Simun creates the series “Three Rituals for the Eco-City.”
Rituals are among the first symbols of culture, often used to perform the human experience of ecological processes, such as birth and death; eating and drinking; markers of time whether passing to adulthood or the change of seasons. Simun interested in exploring the relationship between ecology, human ritual (and the ideology and culture it signifies), and the performance of multi-species bodies in urban space.
For “Three Rituals for the Eco-City,” each ritual proposes a way of being in the world that challenges our conceptions of what it means to ‘live ecologically’ and to build and participate in ‘eco-cities.’ Building on recent work by Bruno Latour, Timothy Morton, and Slavoj Zizek, these rituals reject the concept of ‘nature’ in favor of a more holistic understanding of ecology. According to this thinking, whether or not we accept ’nature’ as inextricably linked to ourselves, the very conceptualization of ‘nature’ positions ecological forces in opposition to the human and human-built ‘civilization.’
‘Nature’ is thus positioned as something other than human. “Three Rituals for the Eco-City” takes a systemic approach to viewing the natural world, understanding the human species (including human industry, artifice and pollution) as a fundamental part of the global ecological system.
“Three Rituals for the Eco-City” imagines three daily personal rituals for a world without nature. Three rituals – intimate and personal activities – are re-imagined as bodily performances that not only perform their human function but address the actions’ greater ramifications on the ecological system within which they reside. Thus the ritual incorporates action/performance, meaning/symbol, and reflection/re-action, displaying an intentionality and corporeality towards not only the human action but a redress to its ecological effect.
During the course of the residency Miriam performs and documents each ritual. Each ritual will involve an object, a performance, and will result in a video piece. The ritual object serves a functional purpose for the action, existing as a physical connection between the human body that performs, and the other urban bodies that are cared for, during the ritual performance. Some performances may include participation of invited audience or passers-by. Each piece will perform a ritual for living in the new eco-city: a ritual for eating, a ritual for cleaning, and a ritual for mourning.
(1) A ritual for mourning: This is a performance developed in New York, that will be adapted for an Athenian context. The urban mourning ritual is re-imagined through an exercise regimen that cares for the living human body and monitors other species’ living bodies while attending to the memory of the dead. Understanding the city cemetery to be a biodiversity hotspot in urban areas, mourners wear video-headbands in a regimen that combines regular exercise, memory, and monitoring of local biodiversity levels. The ritual object is the video-headband, modeled after the sport headband used to collect sweat, but with the addition of video camera to collect images of, and thus monitor, the surrounding species. I will create new video-headbands during the residency (NYC versions already exist), and document this performance in an Athenian cemetery.
(2) A ritual for cleaning: This performance will be further developed and performed during the residency. In ancient Athens, the cleaning ritual was an important social activity in addition to a personal bodily practice. In 3 Rituals for the Eco-city, the bodily cleaning ritual is re-imagined to once again include a multi-species social function. Incorporating not only the fresh water we use to clean our bodies, this ritual makes use of our bodies also to dispose of the used (grey) water in a way that feeds the greater ecological system. How do we maintain our bodies while maintaing the bodies of the others around us? This performance begins in the shower and ends in the street. The ritual object is a water sack that turns the human body into a watering can. Used water collected during the shower is later carried in the street by the clean body, to be distributed to plants within the city through bodily exercises that turn the human body upside down. The ritual ‘watering’ exercises will be developed during the residency. One example might be standing on the head or the hands in places where plants are growing, tipping the water sack so some water is poured on the ground, and thus ‘feeding’ urban plant bodies with water collected during the cleaning of the human body.
(3) A ritual for eating: This ritual will be developed during the residency. I would like to spend some time doing research into the rituals of the Symposium and the Syssitia, as well of the Orphicist and Pythagorean religions, and compare them with contemporary rituals of Athenians eating in public spaces and in the street. From this research I will create an ‘eating in public’ ritual, also with the incorporation of a ritual object.
Artistic Director: Sozita Goudouna
Programme Associate: Evangelia Ledaki
In partnership with the Kingston Writing School, we’re proud to announce the second annual International Creative Writing Summer School.
This year the International Creative Writing Summer School will be bigger and better, with specialist workshops for anyone wishing to enhance their skills and talent as a writer. Established writers and Kingston University professors will work in small groups with writers from across the world on an intensive programme, which will involve workshops, a range of writing activities, group discussions, readings and one-to-one tutorials.
Courses on offer will include fiction, poetry, non-fiction, literary translation and a mixed genre course. A series of lectures on contemporary British literature and art in Greece will also take place as part of the summer school.
The International Creative Writing Summer School aims to give writers the opportunity to explore and develop their imaginative and expressive potential, and to raise their awareness of the technical and compositional issues associated with writing.
Courses will be held in English and are suitable for writers at all levels. They will take place every day from Monday to Friday between 18.30 and 21.00 in Athens and Thessaloniki. See below for dates and provisional course details.
Registration opens on 11 March 2014.
Fiction/Flash Fiction Writing Course
Two-week course: 2–14 June 2014
with Adam Baron and Aimee Parkison
designed for aspiring and accomplished writers alike who want to develop and enhance their prose writing skills
combines precise comments in peer-led workshops with individual feedback on written drafts
helps students develop and enhance their authentic voice
Non-fiction Writing Course
Two-week course: 2–14 June 2014
with Maurice Walsh and Norma Clarke
designed for writers working in all types of non-fiction, including life writing (memoir and autobiography), biography, journalism, diaries and personal essay
includes close reading of each student’s work, analysis of examples from literature, classroom exercises, writing time, group discussion and debate
examines and records the students’ own personal experiences as well as the life experiences of others, and explores the benefits of studying all in the context of the other
Mixed Genre Writing Course
Three-week course: 2–21 June 2014
with Bonnie Greer, Catherine Smith and Jonathan Barnes
designed for writers of all levels working across genres, including novels, poetry, screenwriting, playwriting, short stories, flash fiction, non-fiction and radio plays
builds students’ confidence and encourages them to discuss and develop their work, and to improve their critical abilities
provides precise, editorial comments and professional advice about the wider direction and ideas of the students’ work
looks at a range of elements and forms related to various genres including form, structure, characterisation, dramatic setting, rhythm, pacing, concision, expansion, tone, point of view, editing, reading and performance
Poetry Writing Course
Two-week course: 16–28 June 2014
with Jane Yeh and Paul Perry
designed for students primarily interested in exploring poetry and language
provides precise, editorial comments as well as advice about the wider direction and ideas of students’ work
emphasises dramatic monologue, syllabic verse, the prose poem, ars poetica, docu-poetry, and contemporary poetics and poetry
Fiction Writing Course
Two-week course: 16–28 June 2014
with Julia Stuart and Dr James Miller
designed primarily for aspiring and established writers who want to develop and enhance their prose writing skills
combines precise comments in peer-led workshop sessions with individual feedback on written drafts
emphasises discussions and exercises that will help students to discover, explore and enhance their personal style and vision
Literary Translation Course
Two-week course: 16–28 June 2014
with David Connolly, Nicole Miller and Simos Zeniou
involves practice in translating literary texts to a professional level
provides theoretical input concerning the strategies for dealing with the problems that arise in literary translation
Lecture Series: British Literature and Art in Greece
Every Saturday: 31 May–28 June 2014 (31 May, 7 June, 14 June, 21 June & 28 June)
This series of five early afternoon lectures (PDF, 89 kb) will explore a range of topics related to British literature and art in Greece. Designed to raise as many questions at they answer, the lectures will examine the complex relationships between British writers and artists in various Greek contexts, including ethnicity, fiction, memoir and photography. Writers will read from their work as well as engage with audiences in a relaxed atmosphere of stimulating critical reflection.
Location British Council, 17 Kolonaki Square, 106 73 Athens
and Kappatos Athens Art Residency, 12 s st, 2nd and 7th Floor, 12 Athinas st, 10554, Monastiraki, Athens
Four Lectures will take place at Kappatos Athens Art Residency
31 May 2014 | Bonnie Greer
7 June 2014 | Paul Bailey
14 June 2014 | Barbara Taylor
21 June | Paul Perry
28 June | Lindsay Smith
Bonnie Greer, OBE, is an American-British playwright, novelist and critic. She is also the Chancellor of Kingston University. Her novels include Hanging by Her Teeth, Entropy, and Obama Music. She has also published Langston Hughes: the Value Of Contradiction and the following plays: Munda Negra, Dancing On Blackwater and Jitterbug.
Paul Perry Paul Perry is the author of acclaimed books including The Drowning of the Saints, Goldsmith’s Ghost, 108 Moons, The Orchid Keeper and most recently The Last Falcon and Small Ordinance. A winner of The Hennessy Award for Irish Literature, he is Senior Lecturer in Creative Writing for Kingston University, London and editor of Beyond the Workshop (KUP). With Karen Gillece, he writes ‘Karen Perry’ thrillers, forthcoming with Penguin UK. Holt US.
Barbara Tayloris a Canadian-born British-based historian and historical author specialising in Enlightenment History, Gender Studies and the History of Subjectivity. She is Professor of Humanities at Queen Mary University of London England. She wrote a biography of Mary Wollstonecarft (1759-1797), the early English feminist and republican and continues to speak on her life, for example in 2009 at Newington Green Unitarian Church as part of the 250th anniversary celebrations of Wollstonecraft’s birth. Her memoir “The Last Asylum: A Memoir of Madness in Our Times” was published in February 2014.
Paul Bailey is one of the most esteemed British novelists who has taught creative writing at major universities in the UK and US. He is the author of eleven novels, two of which, Peter Smart’s Confessions (1977) and Gabriel’s Lament (1986), were nominated for the Booker Prize for Fiction, and four books of non-fiction. His latest novel, The Prince’s Boy, will be published this spring by Bloomsbury. He currently teaches creative writing at Kingston University.
Lindsay Smith is professor of English at the University of Sussex and co-director of the Sussex Centre for Visual fields. A specialist in 19th century non-fictional prose, painting, and photography as well as visual perception, photography theory and early 20th century British literature and art, she is the author of many influential articles. Her books include Victorian Photography, Painting and Poetry; The Politics of Focus: Women, Children and Nineteenth-century Photography; Pre-Raphaelistism: Poetry and Painting. Her next book on the photographs of Lewis Carroll will be published by Reakton Press. Her current research focuses on British photographs of Athens and the Acropolis.
Martin Creed at the Kappatos Gallery just before … jumped off a cliff, he says.
One of the most important and interesting British artists of the last decades, the artist who won the Turner Prize by opening and closing the lights of Tate has been a guest at the Kappatos Athens Art Residency for a few days now and the work he will create will be presented in his first solo exhibition. in our country from 27/3. Despina Zefkili met him in the loft of the Kappatos gallery, in the middle of stretched canvases and a sewing machine, and they discussed his work but also our city and the new government, fooling from above the traffic on Athena Street.
What are your first impressions of Athens?
I’m been here a week. I like Athens, I feel like a place where it is easy to live, it is not alienated. I like museums, small shops where you can see that people still make things by hand. It reminds me of Italy ten years ago. I was living there when Italy switched to the euro and I felt the change, how small businesses became massive and disappeared. There is still personal character here.
How do you feel about being here at this historic moment?
I like this government that comes from the other side and dares to say something different. I do not know how they can do it but someone has to suggest something other than what prevails in Europe. But it seems very difficult to me, because in this homogenized environment there is no room for private personality in politics.
“I say to make some clothes and paintings, but also a dance-music work.”
What are you preparing here?
Do not know yet. Let’s see what comes out. I say to make some clothes and paintings, but also a dance-musical work. I work with some people, a dancer, a seamstress. I want to work with the dance movement and its relationship with the body and painting. And of course the clothes that cover the body. I try to use the materials without cutting them.
How did you choose the materials?
This is always a big problem, the choice of materials. It’s like expressing a judgment and I do not like to judge. That’s why I chose canvas which is a material that can be used for both painting and clothes, so I do not have to decide.
Work No. 1461, 2013 (detail), 2-inch wide adhesive tapes, Overall dimensions variable. Permanent installation in Hauser & Wirth New York.
I do not remember having worked much with painting.
No I have. When I was in the School of Fine Arts I was very involved in painting, like everyone else. Then I stopped. I like paintings because they are a mysterious combination of what we see on the wall and our own movement in space. They have something magical, looking at a painting and trying to understand something. I think I went back to painting for the same reason I left it. I thought you could not completely separate anything in the world. That every attempt to separate had something violent, artificial. On the premises the whole room is the project.
But in the end, you can not see a painting without seeing what is around it. My desire to work with what is around me led me to the facilities and then to the projects that involve people in a process. My problem is that I never know where to stop. Should I stop at the gallery door? I find it boring. This drives me crazy. I feel like I have to control the whole world, which is impossible. So I went back to painting, saying, “Okay, I’m not going to control everyone.” It’s a way to understand my size and ability. Do you have a paper or at least something that has a perimeter. With this in mind it is easy to start painting. Why not; A piece of paper is like a room. You can move around it. Of course it has technical difficulties. With the facilities you do not have to worry about transporting them, you do not need to pay attention to them. At least with the facilities I make!
Martin Creed, Work No. 503: Sick film, 2006 Courtesy the artist and Hauser © Martin Creed
You work a lot with performance as well.
I do not separate works that have to do with music or movement from the rest. I always think of an exhibition as a theatrical event. A show where you can move freely in space in contrast to the theater that usually puts you in the condition of a fixed position. I like galleries, the fact that people can go in and out freely. In the theater, at least in what I consider a good play, you feel imprisoned.
Looking back, what would you say is the central idea of your project, what interests you most.
My God, I do not know! I would love to make something that reaches life. Life is full of different things. It has incredible beauty and excitement, but also incredible difficulties. What scares me is not to be fake, not to make fun of myself. I do not know how else to say it. I feel that if you want to do something, especially an exhibition, you have to fool yourself even a little bit. You have to fight with yourself not to make fun of him, you do not have to trust him. You are your worst enemy in terms of how you hide your flaws. Art is like body language. How you feel comes out. Others will see it easily, but you yourself will not. You do not have to worry about looking stupid, you just have to be more discriminating with the help you render toward other people. A good performer for me is the one who lets things get out of hand,
«Work No.227, The Lights Going On and Off» Installation at the Museum of Modern Art, New York, USA, 2007. © Martin Creed. Image courtesy Hauser
In your recent retrospective exhibition at the Hayward Gallery you had many references to art history. Are you interested in the past?
Yes; I did not do it consciously. Artists like to be inspired. I remember at school I was working hard on an idea and then I was reading a magazine and I saw that someone else had already done something similar and I was saying “oh, I can’t do that either”. Now I find it stupid. Everyone is different. Thinking like that stops you from doing things. Why not do something with neon thinking e.g. that Bruce Nauman has worked with it. Who cares about neon? The important thing is that Nauman’s work is very good. It is like saying that the descriptions of the works help you to understand them. Bourdes! A description is a creative work of an author. When I was in school we were under a lot of pressure to talk about our projects. I think that’s why I started making projects that I can talk about. Like “Work No.227, The Lights Going On and Off ». You can easily talk about it. Much easier than for a painting. It depends on the project of course. I like the words. I carry them with me. It helps to have Shakespeare or Hemingway with me. I try to give lectures (on Wednesday 18/3 I will give one to the School of Fine Arts of Athens and another will follow) in which I combine song, dance, photos.
Would you call them performative lectures?
I do not like the word performance. It implies that you are setting up something. We keep giving performance and the meaning of good performance for me is to try not to give the feeling that you are impersonating. Whatever you do off stage, do it on it as well.
Martin Creed Work No. 247 Half the air in a given space 2000 Light-blue balloons Multiple parts, each balloon 16 in / 40.6 diameter; overall dimensions variable Installation view, MARCO Museo de Arte Contemporánea de Vigo, Pontevedra, Spain © Martin Creed. Courtesy the artist and Hauser & Wirth. Photo: Marta G. Brea
Your works often have a strong sense of humor.
I like the things that make me smile. But here we are entering a difficult area. I can not make a project look funny about it. I would not know how to do it. So you have to try to be honest with yourself. You often have to wait a long time and when the right time comes to grab her like a thief and run.
Why did you choose the title “What’s the point of it?” (What does it mean?) »For your retrospective on Hayward?
They really pushed me a lot to put a title and they came up with different ideas. It is the title of a song I have written. And something I often ask myself.
And what do you answer?
I really do not know. But I keep wondering. Certainly art is something that makes life more exciting and therefore more tolerable. It is like sitting on the edge of a rock and wanting to jump into the sea. I do not know if it is just excitement or even the fear of death, of just sitting and watching the world go by. But then you have to swim. This is how I feel with this new project. I’m still on the rock, I’ve not jumped yet. Then will come the hard work. But what else can you do? Sit and watch TV. This is good too, but it ends up being boring.
On Wednesday 18/3, at 1-2 p.m. British artist Martin Creed will talk about his work at the School of Fine Arts (256 Piraeus, Tavros).
On March 27 at Kappatos Athens Art Residency the inauguration of the second cycle of the Program for Hospitality of Artists and Art Personalities in Athens took place within the NSRF of the OP “Attiki” under the auspices of the Ministry of Culture and Sports. This is the first solo exhibition in Greece of the Scottish artist Martin Creed and is entitled “Like Water On A Buffet”. The artistic director of the program, Dr. Sozita Goudouna, and the independent curator, Nefeli Skarmea, have taken care of it .
Awarded the Turner Prize, the most prestigious award for visual arts in Britain, and recognized for his personal perception and conceptual approach to the sculpture, painting, fashion and different materials he uses in his work, Creed explores the ways in which which the representation of a structure, which initially consists in one medium (drawing, painting, sculpture), is mapped to another structure, to another medium (dance) and vice versa.
The correlations between design, sculpture, dance and music are reflected in the movement and action of the human body, as directed and choreographed by the artist during the creation of new paintings and costumes. Creed designs special canvas costumes and directs with idiosyncratic methodology and instructions three dancers who create paintings and drawings on the wall with their ends. By placing a brush on the toes, the dancers create shapes on the canvas and then represent the structure of their designs with body movements.
At the same time, Creed overturns the public’s approach to ballet as a kind of high-tech only. He choreographs the movements of the performers using the structural composition of the ballet (its steps and movements), but as part of a minimalist kinesiological process during which the dancers are asked to perform techniques, including vertical movement resting on the toes ( en pointe ) and other classical pozision (s) such as plie (PLIE).
The artist explores the concept of movement as a transition from possibility to reality and his choreography focuses on the dialectic between control and non-control of body movements, posture and alignment. The choreography teaching is enough in the minimalist movement: “One step forward, two steps back,” with the musical accompaniment of the song in its own lyrics: “One step forwards, Two steps backwards, Laugh once, Cry twice.”
The solo exhibition will also feature portraits of prominent Greek personalities such as: Maria Callas , Melina Mercouri , Demis Roussos and Aliki Vougiouklaki . The depiction of these artists was based on a play between Creed and his collaborator, and the artist painted the three faces without looking at them, that is, only from the oral description of the facial features by Rob Eagle.
Martin Creed “Like Water At A Buffet”
Kappatos Athens Art Residency Athinas 12, Monastiraki, tel. 2103217931 // Opening hours: Tr. – Fri. 12 pm – 8 pm, Sat. 12 pm. – 4 pm, Exhibition Duration: 27/3/2015 – 16/5/2015
Since then, Critt has become the first news in art publications with conceptual, post-minimalist works that combine painting with multimedia, ordinary materials with dance and music that he writes, urging the overall art experience. He has made large neon constructions with words like “Mothers”, “Feelings”, which create positive energy, he has filled rooms with balloons, turning cold spaces into “playgrounds”. He has runners running up and down the Tate Britain, surprising – or frightening – the visitors, who were standing in front of the paintings. He also called on his compatriots to ring bells and bells with the song “All the bells in the country rung as quickly and as loudly as possible for three minutes”, which marked the start of the 2012 Olympic Games.
The awesome child of contemporary British art provokes with his work, not with his attitude towards life. Low-key, discreet, reminiscent of Bob Dylan he admires. His phrases come out with the dropper. “I was probably influenced in this by my Quaker parents, religiously and politically active, who believed that if you did not have something substantial to say, do not say it. I do not want to flood the space with words and also I do not want to flood the halls with works. “I do not like gossip in life and in art”, the 47-year-old artist tells us. He is in Athens this month. A guest of the Kappatos gallery creates a work especially for Greece, which will be unveiled on March 27.
Born in Wakefield, raised in Glasgow, he studied in London (Slade School of Art) and enjoys traveling. He is visiting Athens for the first time and here he sought his inspiration. He walked around the alleys of the historic center, the market in Monastiraki, went up to the Acropolis, visited the Acropolis Museum and Benaki in Kolonaki, gave a lecture at the Fine Arts for students. He works intensively. She designs on the computer, spreads fabrics in the gallery loft, operates an old sewing machine and plays the guitar in his sanctuary. “Athens is accessible, the people are very friendly,” he tells us. “Of course in England I hear a lot about the financial crisis, which excites me to search and find out. “My first impression is of a healthy city.”
However, his long-distance relationship with Greece is long-standing. “The philosophical thought of the ancients has fascinated me since I was a student, as well as classical art focusing on the human body, as well as architecture. At first I was scared by the idea of coming to Greece, with its long history, richness of ideas and art. The idea of the project, which I am doing now, is based on all this. Mainly in the body, but in a minimalist process. What you will see will include paintings, pieces of fabric, without cuts and seams, that will form human bodies. A dancer will be in conversation with these figures, in combination with the new songs that I am preparing “.
• What things have defined you as a creator since your youth?
From my adolescence I read a lot, I was interested in psychology, I was learning music, I wanted to study art. I was particularly interested in Austrian Secessionist artists, such as Gustav Klimt and Joseph Hoffmann. The combination of fine and applied arts. I do not separate high culture from popular culture, it is one. A painting, a pop song, fashion, everything is art for me.
• The impression is created that for you emotion is more important than matter.
I believe that emotions dominate the world. Thought and logic is a desperate attempt to manage emotions, to put them under control. But, in the end, emotions always win. Because it is magic. The problem when I work is that I have to be reasonable enough. For example, to come to Athens I had to get on a plane and then get organized where I live, think about what I will do, find the materials … I had not decided anything in advance. It would be very restrictive, very boring! In the end, a job is good when it is “alive”, that is, the opposite of logic.
• Are you anxious every time to show something different?
I try to do new things, but many times this is a way to solve an old problem. At this stage I try to be more direct as I implement an idea. I do not want to be complicated. When I play music I want the stage and the audience to become one, as well as my exhibitions, to be in direct communication with the world.
• Is it easy to communicate with the public, especially if they are not familiar with contemporary art?
I believe that spectators are always involved even when they are standing and looking at a painting. You go to a museum, to a gallery and you walk, you look, you breathe, you think. Paintings are not static, because people move, so art is kinetic. I try to intensify the energy, when, say, I make them walk between balloons, I seek their participation and an experience that makes you ask and wonder.
• And what role does music play in your works?
I play with my band often, and other times alone. My music works both independently and in relation to a project. I grew up with classical music at my parents’ house and then got into pop and folk, which is popular in Scotland. I like Johnny Cass and the simplicity of country, but especially Bob Dylan, because he managed to stay true and honest.
• How much has the Turner Prize changed your life?
He definitely changed it … it had an effect on me, but also on those around me, because I no longer had to introduce myself. If you win such an award, others trust your work, you do not need to try to prove it. I noticed, however, that the younger curators did not include me in their reports, because I suddenly became part of an established, even though I was young. Maybe they found me boring …
• Does the award keep its momentum today?
When I got it I was constantly on the channels with hourly tributes and interviews. It was considered something “big” then, but now it does not surprise much and does not make so much noise. However, he has created a great art scene, to which I am glad to belong.
Do you think that some Turner Prize winners or nominees, such as Damien Hirst or Tracy Emin, used it to promote themselves more than their work?
The truth is that some British artists, especially Brit Art representatives, have escaped, become ostentatious. Of course, artists by definition seek the attention of others, narcissism is innate. It’s ridiculous, perhaps, that what you do is so important that it has to go into a gallery. It is an illusion that you must control. The best works I have seen have been done by vulnerable, sensitive people and reveal humanity.
• Has the criticism that you have received from the media, both praiseworthy and sometimes negative, affected you?
I have not read anything written about me for two years. When I read them I was very upset. I think writing about art is creative, but also dangerous because words are a means in themselves. When I watch the news on TV I feel it is dangerous, because words do not really tell what is happening. A story based on reality comes out, but it is not reality, it is an interpretation of it, a fabricated story.
• Last year was your first retrospective exhibition at the Hayward Gallery. What is it like to choose and see 25-year-old works together?
The choice was difficult and finally when the exhibition opened I felt as if they were not the same works I had done. For example, a painting from when I was 15 years old and was in my parents’ room, when I saw it in the museum I thought it was something completely different, as if someone made an exact copy.
• Would you describe your work as autobiographical?
I do not separate life from art. I feel that my art is the way I live. My works show a simple, clean approach to life and help me survive in a chaotic world.
The exhibition opens on March 27, at the Kappatos Gallery (Athinas 12, tel. 210 3217931), as part of the Artists and Art Personalities Hospitality Program in Athens. Curator: Sozita Goudouna, artistic director of the program, Nefeli Skarmea, independent curator.
Professor Semir Zeki visited Kappatos Athens Art Residency on Wednesday 19 of March 2014, in conjunction with the honorary doctorate that he was granted by the Medical School of the University of Athens:
Semir Zeki FMedSci FRS is a British neurobiologist who has specialized in studying the primate visual brain and more recently the neural correlates of affective states, such as the experience of love, desire and beauty that are generated by sensory inputs within the field of neuroesthetics. He was educated at University College London (UCL) where he was Henry Head Research Fellow of the Royal Society before being appointed Professor of Neurobiology. Since 2008 he has been Professor of Neuroesthetics at UCL.
His early work was mainly anatomical in nature and consisted in charting visual areas in the primate (monkey) brain by studying their connections, leading him to define several visual areas lying anterior to the primary visual cortex (area V1) of the brain. This was followed by recording from single cells in these areas, which led him to the view (a) that there is a functional specialization in the visual cortex, with different visual areas undertaking different visual tasks, such as the processing of colour, motion and form  and (b) that the visual brain processes these different attributes in parallel.
He later showed, using brain imaging techniques, that the same principles apply to the organization of the human visual brain. In recent work he has shown that parallel processing appears to extend beyond the mere processing of visual signals to their grouping in parietal cortex. His work on colour vision was influenced by the work and methods of Edwin Land, whose techniques he employed in his physiological and brain imaging experiments, and which led him to the view that colour is constructed by the brain and that a specialized visual area, area V4, is critical to this process.
These findings raised the question of how the signals processed in these separate visual areas are integrated to give a unified picture of the visual world. In psychophysical experiments undertaken with colleagues, he showed that we perceive, and become aware of, different visual attributes at different times, with colour preceding motion by about 80 ms and form (orientation) by about 40 ms, leading to the view that there is a temporal asynchrony in vision which is the result of different processing speeds for different attributes. This in turn led him to suggest that visual consciousness is not unified; rather there are many visual micro-consciousness which are distributed in time and space, and that activity in each visual area can acquire a conscious correlate without the necessity of reporting to another cortical area, though acknowledging that there must be other enabling systems, possibly located in the reticular formation. Thus, functional specialization manifests itself in the temporal sequence with which we see different attributes such as colour
More recently he has also studied the brain reaction to affective states generated by sensory inputs, such as the experience of love and hate. His studies of the experience of visualand musical beauty has led him to suggest that a specific part of the emotional brain, field A1 of the medial orbito-frontal cortex, is critical for such experiences.
He has lectured widely across the world, giving over 60 named lectures, including the Ferrier Lecture (Royal Society 1995); The Philip Bard Lecture (Johns Hopkins University, 1992); The Woodhull Lecture (Royal Institution, London, 1995); The Humphrey Davy Lecture (Académie des Sciences, Paris, 1996); The Grass Foundation Forbes Lectures (Marine Biological Laboratory, Woods Hole, USA 1997; Carl Gustave Bernhard Lecture (Royal Swedish Academy of Science, Stockholm, 1996; and the Tizard Lecture (Westminster School, London, 2004) among others.
He has published three books, A Vision of the Brain (Blackwell, Oxford 1993 – translated into Japanese and Spanish), Inner Vision: an exploration of art and the brain (OUP, 1999); Splendors and Miseries of the Brain (Wiley-Blackwell, Oxford 2009) and co-authored La Quête de l’essentiel, Les Belles Lettres, Archimbaud, Paris, 1995 (with Balthus, Count Klossowski de Rola) and La bella e la bestia, 2011, Laterza, Italy (with Ludovica Lumer).
He held an exhibition of his own art work at the Pecci Museum of Contemporary Art in Milan in 2011 (Bianco su bianco: oltre Malevich).
He was Editor of the Philosophical Transactions of the Royal Society (B) from 1997 to 2004.
He has been a Trustee of Fight for Sight, a Guarantor of the neurological journal Brain, a member and then Chairman of the Wellcome Trust Vision Panel and a member of the National Science Council of France (1998-2002).
He has been a Visiting Fellow or Professor at St Andrews University; Ludwig-Maxilmilians University, Munich; Duke University, USA, University of California (Berkeley), among other institutions. He has conducted a number of public dialogues with writers, artists and art historians, including Dame Antonia Byatt, Balthus, Hans Belting, Peter Sellars, Michelangelo Pistoletto and Tetsuo Miyajima.
He is a Fellow of the Royal Society (1990), Member of the Academia Europeae (1991), Member of the European Academy of Sciences and Arts (Salzburg) (1993), Foreign Member of the American Philosophical Society (1998), Founding Fellow of the Academy of Medical Sciences (1998), Fellow of University College London (2000) and Honorary Member of the Physiological Society (2013).
D.Sc. (honoris causa) from Aston University, Aberdeen University and University of Athens.
Prizes include The Golden Brain Award (1985), Prix Science pour l’art (1991), Rank Prize in Opto-Electronics (1992) (jointly with A. Movshon and T. Adelson), Zotterman Prize (1993); Koetser Foundation Prize (1997), Award in Electronic Imaging (2002); King Faisal International Prize in Biology (2004), Erasmus Medal (Academia Europeae, 2008), Aristotle Gold Medal (2011) and Rome Prize (Atena Onlus) (2012).
Zeki’s scientific achievements include:
Discovery of the many visual areas of the brain and their functional specialisation for different visual attributes such as colour, motion and form.
Finding neurons in a part of the monkey visual system that would respond only when a particular colour, rather than a particular wavelength, was in their receptive fields. For example, he showed that a red-sensitive neuron would continue to respond to a red stimulus, even when it was illuminated mainly by green light. This was the first study relating colour perception to single cell physiology in the brain.
Showing that processing sites in the visual brain are also perceptual sites.
Showing that we see different attributes of visual input at different times.
Charting the activity of the brain in time and showing that different visual areas have different activity time courses.
Studying the neural correlates of subjective mental states, such as love  and beauty, and more recently, hatehttp://profzeki.blogspot.com/
Performance Philosophy School of Athens, a two-day symposium of lectures, workshops and performances organized by Stefania Mylona in collaboration with Michael Klien to be held 10.00-21.00 Saturday 15th and 11.00-19.30 Sunday 16th March 2014 at Ε.Δ.Ω. in Keramikos and in association with Performance Philosophy invites artists and scholars interested in the relationships of performance and philosophy to participate. Entrance is free so there will be priority upon arrival for registration. Registration will take place on Saturday 15th March 9.30-10.00. Additionally, please note that lunch will be provided and that the event will be recorded so, by registering you provide permission for recording and reproducing the material.
Performance Philosophy School of Athens aims to introduce current concerns of performance philosophy in Athens, emanating from the undisputed importance of Greece in the field of philosophy. It aims to bring together people, both nationally and internationally, who are interested in the emergence of Performance Philosophy as a field. The proposed symposium will invite artists interested in philosophy and philosophers interested in performance to participate in a mutual understanding of the current concerns of this emerging and fast growing field. Its main objective is to develop new creative dynamics in thinking and performance and explore the potentialities presented by Performance Philosophy in the face of local and global sociopolitical change.
In line with the above we have already programmed, Dr Sophia Lycouris (UK), Dr Anna Tsichli Boissonnas (GR), Dr Bojana Cvejic (CR), Dr Eve Katsourakis (UK), Dr Sozita Goudouna (GR), Dr Konstantina Georgelou (NE), Dr Sophia Efstathiou (NO), Dr Danae Theodoridou (BR), Dr Mischa Twitchin (UK), Dr Paul Clark (UK), Dr John Blamey (UK), Stella Dimitrakopoulou (UK), Stefan Apostolou-Holscher (GE), Katerina Paramana (UK), Owen G Parry (UK), Giorgos Gyparakis (GR), Theo Prodromidis (GR) and Miriam Simun (US)
As an alternative site of learning, the symposium will focus on creative, performative and alternative tropes of learning about and through performance philosophy. Instead of teaching performance philosophy, it will work as a site of ‘doing’ performance philosophy in order to create new understandings of it. Attention will be given to creating space for thought and reflection that engages us into creatively thinking of new ways of making and learning through performance philosophy.
The two-day event will address the ways in which performance artists engage with and find inspiration from philosophical perspectives. Some of the questions to be asked (but not only) will be:
– How to make sense of philosophy in relation to performance?
– How to understand philosophical rhythms, dynamics, images, and uses of language, spacing, timing and the shaping of philosophy?
– How might artists work with and artistically respond to philosophical perspectives?
– Can there be performance philosophies as a kind of meta-philosophy and/or how might artists ‘philosophize’?
– How can philosophical – or not – ignorance as a state of a lack of knowledge be a prerequisite to learning?
– How could we by identifying our ignorance add creatively to knowledge formation?
– What might ignorance teach us as a site of performance of the intellect?
Some possible thematic exploration of the conceptual intersections between ‘thinking’ and ‘making’ Performance Philosophy School of Athens could involve: alternative teachers, collective thinking, philosophical dramas, post-dramatic learning, archaeologies of sense, philosophies of culture, philosophical ignorance, doubt, philosophical beats, philosophical demon-stration, proximity learning, philosophical schools of thought, post-thematic lessons, content vs con-texts, durational classes, the weight of philosophy, philosophical work-shops, caring as thinking, choreographies of thought, movement questions, thinking qualities, jumping into beginnings, tasting theories, phenomenologies of knowledge, masters of affects, subtexts, foot-notes, dramatourgies of quoting, practice-based plagiarism, post-continental mistakes, meta-philosophy as after philosophy, affirmative arguments, paradoxa of difference, performances of semblance, assessing being, existential assignments, processes of submitting, alternative sub-missions, deterritorialized prerequisites, ethics lessons, amphitheatres of perception, twisted students, experimental curricula, dys-courses, deconstructions of knowledge production, imaginative concepts, experimental notations, philosophical marks and grades as well as assessment theatres of unknowing touching upon ‘πίστευε και ερεύνα’, ‘μακάριοι οι πλούσιοι το πνεύματι’.
The symposium’s language will be English.
Performance Philosophy began as a working group of Performance Studies international conference and had its inaugural conference as an independent organization in 2012 at the University of Surrey (UK). Due to the high interest towards Performance Philosophy the international committee offered awards for local interim events in Athens among others happening in Paris-Sorbonne, Groningen, Prague, Beirut, London, Wisconsin and Peru.
In association with Performance Philosophy http://performancephilosophy.ning.com/
In-kind support of E.D.W. http://e-d-w.gr/
In-kind support by Kappatos Athens Art Residency
Supported by Prosenghisi and Domaine Zafeirakis
bio: Stefania Mylona, practitioner-scholar in performance philosophy and performance dance studied communication at the American College of Greece, performed with Magnitis Dance Company and was awarded a BA in dance in Athens (GR). On a scholarship awarded from The State Scholarships Foundation of Greece (I.K.Y.) she completed an MA in European Dance Theatre Practices at Laban and a PaR PhD in performance studies entitled Dancing Sculptures: Contractions of an Intercorporeal Aesthetic (2011) at the University of Surrey. During her PhD study, she lectured in dance at the Dance and Cultures HE program and became an associate of The British Higher Education Academy. She received the Glynne Wickham Award from SCUDD (UK) and the Graduate Award from SDHS (US) while presenting her research and performance practice internationally. Currently she is organizing Performance Philosophy School of Athens symposium in association with Performance Philosophy while working as a freelance movement teacher, artist and scholar.
bio: Michael Kliën¹s artistic practice encompasses interdisciplinary thinking, critical writing, curatorial projects, and centrally, choreographic works equally at home in the Performing as well as the Fine Arts. His works have been performed and situated in many countries across the world. Commissions include Ballett Frankfurt, ZKM (Karlsruhe), Tanzquartier Wien and the Vienna Volksoper; exhibitions include IMMA (Irish Museum of Modern Art) and Hayward Gallery (London). He received a PhD from the Edinburgh College of Art in 2009 and, as a committed teacher, has been lecturing about his findings at numerous distinguished academic and non-academic institutions. He has been co-founder and Artistic Director of the London based arts group Barriedale Operahouse (1994‹2000) and Artistic Director/CEO of Daghdha Dance Company (2003‹2011). Based in Greece and Ireland, he is currently working as an independent artist. www.michaelklien.com
The Art Residency is quartered in two floors of the building, the 320sq.m exhibition space is situated on the 2nd floor and the accommodation on the 7th floor a 111sq.m space with a panoramic view of Athens, in particular of the Archaeological sites of the Parthenon, of Thission and Lycabettus. The exhibition space of the residency and the space for the production of works by the artists is located on 2nd floor while on the 7th floor the art-professionals are accommodated in an astonishing flat with a 150sq.m terrace.