ΕΡΓΑ/ WORKS
Φανή Μπήτου - Fani Bitou
Πλατεία Βικτωρίας,“υγειονομική βόμβα”/ Square of Victoria: “a danger to public health”, 2012
Βίντεο, διάρκεια 3':42'', έγχρωμο, ήχος/ Video, duration 3':42'', color, sound
Αυτό το έργο είναι ένα σχόλιο πάνω στην διαμάχη που αναπτύχθηκε απο την έντονη παρουσία των μεταναστών στην πλατεία Βικτωρίας. Αυτή η πλατεία βρίσκεται στο κέντρο της Αθήνας. Η γύρω περιοχή χαρακτηρίζεται σαν γκέτο μεταναστών. Tο έργο βασίστηκε στο γεγονός της αγοραπωλησίας ψωμιού παλαιότερων ημερών μεταξύ των μεταναστών, σε χαμηλότερη τιμή. Αυτή η κίνηση χαρακτηρίστηκε από έλληνες πολίτες σαν “υγειονομική βόμβα”./
This work is a comment on the controversy raised by the presence of refuges in Victoria Square. Victoria square is located in the center of Athens in an area described as an immigrant ghetto. This work evolves around the trade of outdated bread among the immigrants at the west side of the square. This trade was broadcast by the Greek media as a “danger to public health”.
Sriwhana Spong
Beach Study, 2012
16mm transferred to HD video, duration 7’30
Camera: Louise Menzies
The Auckland beach documented in Beach Study is where the artist spent summers as a child. In recent years this public space has seen access to it prohibited due to private ownership of the surrounding land. Now the only way to access it is by boat or the act of trespassing. The small choreographies, taken from both classical training and everyday movements, describe an attempt to reconcile and collapse the habits formed by a body colonised through a particular philosophy of movement learned during the artist’s early training in ballet. Treating this imbedded structure like an unwanted possession, the body attempts to destabilise itself, yet the muscle’s memory of line and balance counter these attempts, creating a tussle at the heart of these movements. In addition to the idiosyncrasies of the 16mm film stock used in Beach Study, the use of coloured filters bring intense flashes of magenta, violet and amber that flicker and morph with the landscape they celebrate, and the 16mm frame embedded within an HD 16:9 format points to the way shifting technologies of representation influence the way we frame the world.
In this work Spong makes a personal observation of disappearance—that of a once loved childhood beach now made inaccessible to a local community through private ownership. Beach Study, together with its partner film Learning Duets, uses fleeting moments and corporeal recollections to form an exploration of the precarious relationship between memory and experience, the public and private, possession and letting go.
Rilène Markopoulou
Royal Games + Fairy Tales = Europe’s Bread (no butter, please), 2016
performance εγκατάσταση, βιβλία, μακρύ παλτό, ψίχουλα/ performative installation, books, long coat, breadcrumbs,
'Οπως ο ήρωας Stefan Zweig του “die Schachnovelle” ξεφεύγει πνευματικά από την αναγκαστική απομόνωσή του, δημιουργώντας ειδώλια σκακιού σε γλυπτά από ψίχουλα ψωμιού ή όπως η μάταιη πράξη των Χάνσελ και Γκρέτελ να σηματοδοτήσουν την πορεία τους με ψίχουλα από το μικρό Κοντορεβυθούλη χωρίς να οδηγούνται σε ασφαλή επιστροφή τους αλλά σε μία ακούσια χειραφέτησης, έτσι και το έργο της Rilène διερευνά παρόμοιες χρήσεις του "Τὸν ἄρτον ἡμῶν τὸν ἐπιούσιον δὸς ἡμῖν σήμερον καὶ ἄφες ἡμῖν τὰ ὀφειλήματα ἡμῶν, ὡς καὶ ἡμεῖς ἀφίεμεν τοῖς ὀφειλέταις ἡμῶν καὶ μὴ εἰσενέγκῃς ἡμᾶς εἰς πειρασμόν, ἀλλὰ ῥῦσαι ἡμᾶς ἀπὸ τοῦ… "/
As the hero of Stefan Zweig’s “die Schachnovelle” resources into mentally fleeing from his enforced confinement by using chess-figurines sculpted out of bread crumbs - or the futile act of trying to mark their path with crumbs by the little Thumbling, Hänsel and Gretel - that results not in their safe return, but an involuntary emancipation - Rilène’s work delves into similar uses of “Give us this day our daily bread; and forgive us our trespasses as we forgive those who trespass against us; and lead us not into temptation, but deliver us from …”
Πάνος Προφήτης - Panos Profitis
Grisps, 2016
Πυλός, κεραμικό, διαστάσεις μεταβλητές/ clay, ceramic, dimensions variable
Bασίλης Ζωγράφος - Vasilis Zografos
'Ατιτλο, 2012/ Untitled, 2012
διαστάσεις 50 x 35 εκ., λάδι σε καμβά/ dimensions 50 x 35 cm., oil on canvas
Το έργο είναι αφιερωμένο στη Louise Bourgeois. Έχει να κάνει με το καθημερινό οικογενειακό τραπέζι, τις αναμνήσεις της για τα πρώτα της γλυπτά από ψωμί και τις ψυχαναλυτικές προεκτάσεις σε σχέση με την πατρική φιγούρα. Η γλυπτική εγκατάσταση "The Destruction of the Father" (1974)είναι ένα τραπέζι κρεβάτι. Στο έργο "Costume pour un banquet" 1978, η Louise φοράει ένα τέτοιο τραπέζι. Στο δικό μου έργο, βάζω τον Freud να φοράει το κουστούμι της, συνδέοντας με χιούμορ τις θεωρίες του ενός με το έργο της άλλης. Όλα αυτά ξεκινούν από ένα φούρνο όπου ένας πατέρας συνήθως, αγοράζει καθημερινά το ψωμί για το οικογενειακό τραπέζι./
Louise Bourgeois
On sculpture; "At the dinner table when I was very little, I would hear people bickering – the father saying something, the mother choosing to defend herself. To escape the bickering, I started modeling the soft bread with my fingers. With the dough of the French bread – sometimes it was still warm – I would make little figures. And I would line them up on the table and this was really my first sculpture."
Louise was greatly affected by her father, a man who was very dominating within the family, but was not trustworthy, as he had an ongoing affair with the family’s nanny. The duplicity of the structure as a bed and as a table is extremely interesting. They both function as important parts of the home, but in very different ways. One is a semi-public space, the dining table, and the other, private, the bed (especially the bed that the parents share). The table, according to Louise, is “the table where your parents made you suffer. And the bed where you lie with your husband, where your children were born and you will die.” The bed seems to also represent the bed of the father. Louise creates the image of the disgusting, skin-like bed which reflects her feelings about her father corroding the bed that he shares with her mother by cheating with the nanny. The father is destroyed by what he has done in the bed. Louise also often speaks of eating, her children for example, and is possibly using the dining table reference as a suggestion that she would eat her father in order to destroy him and end his infidelity. This piece not only speaks about her father, but about Freud’s theories about women. To my understanding, this is a retort to Freud, saying that she did not want to kill her mother and marry her father, in fact maybe she wanted to destroy her father. At the same time, the desire to eat her father could reflect a desire to always keep him with her, to never allow him to leave her or betray her.
Ντόρα Οικονόμου - Dora Economou
THE HORROR, THE HORROR (B & W), 2016
Ελαφρόπετρα, χρώμα/ Pumice, color
Τα δύο δίδυμα λεμόνια -το πρώτο, κίτρινο αυτό, έμεινε σε μια μικρή συλογή στην Ιταλία- τα έφτιαξα από δύο ελαφρόπετρες που κουβάλησα πέρσι το καλοκαίρι από τα ηφαίστια της Νισύρου. Η ελαφρόπετρα είναι μαλακιά, κόβεται εύκολα με πριονάκι, βάφεται ωραία με μελάνι ή σκόνη χωρίς κόλα γιατί ρουφάει το χρώμα σαν γύψος, είναι ελαφριά, ζεστή και αφράτη στην υφή σαν καρβέλι. Η καταγωγή της όμως είναι σκοτεινή, σχετίζεται με τη ρωγμή που διατρέχει την πλάκα σ'αυτήν τη μεριά της γης, την Καρδιά του Σκότους../
The two twins lemons -the first, yellow, remains in a small collection in Italy- I made them out of two pumices I carried last year in the summer from the volcanos of Nisyros island. Pumice is soft, can be easily cut with a small saw, can be painted beautifully with ink or fine art powder without the usage of glue because it sucks the color just as gypsum, and it is light, warm and fluffy in texture like a loaf. But the origin of it, is obscure and associated with the crack running through the plate in this part of the Earth, in other words the Heart of Darkness.