EMST's performance for the International Museum's Day
Το Εθνικό Μουσείο Σύγχρονης Τέχνης στο πλαίσιο του εορτασμού της Διεθνούς Ημέρας Μουσείωντο Σάββατο 18 Μαΐου 2013 παρουσιάσε στις 9μμ το έργο / δράση Ελένη των Ρένας Παπασπύρου και Άσπας Στασινοπούλου.
Ένα παλιό κέντημα του 1882 της μικρής Ελένης Κασάσογλου μετατρέπεται από την Ρένα Παπασπύρου σε ένδυμα (από χαρτί) που θα φορεθεί από την Άσπα Στασινοπούλου σε ένα περίπατο μέσα και έξω από το μουσείο στο κτίριο του Ωδείου Αθηνών.
Το έργο / ρούχο δημιούργησε η Ρένα Παπασπύρου από τις εκατοντάδες φωτοτυπίες των σταυροβελονιών του κεντήματος του μικρού κοριτσιού. Η Άσπα Στασινοπούλου ενδύεται το έργο κουβαλώντας ακούσια ή εκούσια τον κώδικα της ανθρώπινης εμπειρίας της μικρής Ελένης η οποία στα τέλη του 19ου αιώνα επέδειξε σε ένα μικρό κομμάτι ύφασμα τις κεντητικές της ικανότητες και συνάμα τις γραμματικές της γνώσεις. Τα κεντήματα εκείνη την εποχή ήταν συχνά ένας τρόπος για να μάθει ένα νεαρό κορίτσι να διαβάζει και να γράφει στο σπίτι. Η ικανότητα αυτή αποτελούσε τότε εφόδιο ζωής.
Η Ρένα Παπασπύρου και η Άσπα Στασινοπούλου, εικαστικοί που ξεκίνησαν την δραστηριότητά τους τη δεκαετία του ΄70, συνεργάζονται για πρώτη φορά για να μεταφέρουν δύο αιώνες μετά μέσα στην δική τους πόλη την μνήμη ενός μικρού κοριτσιού, το οποίο δεν ξέρουμε που έζησε.
Η δύναμη του χάρτινου ενδύματος /έργου της Ρένας Παπασπύρου, η κίνηση της Άσπας Στασινοπούλου, η βιντεο- προβολή στην είσοδο του ΕΜΣΤ και οι ήχοι από τους δρόμους της πόλης συνθέτουν την εικόνα ενός κόσμου γνώσης και δημιουργίας, όχι μόνο γυναικείας.
Thrace. So close, so far away : The Muslim world of western Thrace)
What does the contemporary Greek know about the closed-off world of Muslim Thrace?
The photographer Pepi Loulakaki, gaining access to the Muslim community (Pomaks, Turks, Roma and Sudanese), succeeds – for the first time – in focusing her lens on the personal life of modern Muslim women, on children in minority schools and on their playtime. In doing so she introduces us to our “unknown” fellow citizens in their daily lives. For when people and cultures come into contact, the space for dialogue and cultural exchange grows, and, vice versa, the extent of prejudice shrinks. Fellow worker and traveler in this project, which has also produced a book of the same name, is the journalist Elena Moschidi, who wrote the texts.[ info ]
The Epitaphios (Greek: Ἐπιτάφιος, epitáphios, or Ἐπιτάφιον, epitáphion; Slavonic: Плащаница, plashchanitsa) is an icon, today most often found as a large cloth, embroidered and often richly adorned, which is used during the services of Good Friday and Holy Saturday in the Eastern Orthodox Churches and those Eastern Catholic Churches which follow the Byzantine Rite. It also exists in painted or mosaic form, on wall or panel.
The Epitaphios is also a common short form of the Epitáphios Thrēnos, the "Lamentation upon the Grave" in Greek, which is the main part of the service of the Matins of Holy Saturday, served in Good Friday evening.
Near the end of Matins, during the Great Doxology, a solemn procession with the Epitaphios is held, with bells ringing the funeral toll, commemorating the burial procession of Christ. In Slavic churches, the Epitaphios alone is carried in procession with candles and incense. It may be carried by hand or raised up on poles like a canopy.
Many Greek churches, however, will carry the entire bier, with its carved canopy attached. In societies where Byzantine Christianity is traditional, the processions may take extremely long routes through the streets, with processions from different parishes joining together in a central location. Where this is not possible, the procession goes three times around the outside of the church building.
The procession is accompanied by the singing of the Trisagion, typically in a melodic form used at funerals. Those unable to attend the church service will often come out to balconies and sidewalks where the procession passes, holding lit candles and sometimes hand-held censers.
At the end of the procession, the Epitaphios is brought back to the church. Sometimes, after the clergy carry the Epitaphios in, they will stop just inside the entrance to the church, and hold the Epitaphios above the door, so that all who enter the church will pass under it (symbolically entering into the grave with Christ) and then kiss the Gospel Book. [ source ]
We are currently being bombarded by news and analysis packed with obscure terms like spreads, cds, troika, which enforce new terms, question our up-to-date way of life and challenge the status quo. A group of so-called, self-proclaiemed experts surface in order to explain these newly-introduced words, giving advice as well as orders in relation to pretty much everything, ranging from the field of the economy to social life in general.
Does this subjugation of the public sphere to a such a series of terms signal a new era, which challenges the dominant western, liberal model of today’s society?
This violent invasion of terms and symbols in everyday life as well as the brutal cuts and changes in the social fabric, also have an effect in the imaginary institution of society. We can see changes in the common places of thinking and communicating are taking place as new symbols and theories are being introduced. At the same time concepts and thoughts that were once considered taboo, now resurface.
Faced with these novel circustances that are formulated by the violent changes that are taking place in everyday life the participating artists aim to give new meanings and to produce new symbols, taking into account not only the political and financial circumstances but also the personal and internal searches caused by these changes.
The artists redefine through a dialogue set up between the works, the space and the public, terms as the occult, the obvious, utopia, the reformulation of the community and individuality under today’s economical and political circumstances.
Curated by: Apostolos Zerdevas
Participating Artists: Apostolos Zerdevas, Vasilis Hlibatsos, em kei, Ian Devilde
Slipping Signs Resurfaces
Hotel PINDAROS 2nd floor
Last year’s group exhibition at Penindaplinena Gallery, titled Slipping Signs, showcased five multi-media artists working from scapes to escapes, scopes, styles and space, as the artists seized these at shifty and slippery moments. Working from seismic landscapes of burning colours from the sky, expressionistic strokes of thick oil paint enveloping the canvas, and acrylic on cardboard, to refined pencil on paper drawings, Slipping Signs’ explosive remnants of material, rephrased interruptions and formed fresh beginnings. Random and anticipated transformations transpired from dark to light, from reflection to position, from networks of lines to swelling surfaces, addressing matters of identity and continuation, repetition and inscription, site and interiority, frame and de-centralization.
A starting point, at the time, for many of the artists’ works, took off from a given inner place, or city, where, although the intention seemed to be to move in this identifying place of ‘rest’, there was also a longing to explore disruptions that ‘promising’ sites do not anticipate. The works composing the first exhibition, Slipping Signs, evoked a new habitat to revive vision, to dream another dream, to embark on re-constructing intimate possibilities where the impulse of identifying insists on slithering. Comfortable in zones of indefinite and infinite connections, the works exhibited a vigour, surfacing through this distinct treatment of pencil, paper, ink, acrylic, canvas and cardboard.
On a global level, we are experiencing, more than ever, a social, personal, economic, institutional, and collective volatility, during which the only way to look forward is through a critical reevaluation of a past system of secure structural powers immune to fluid forms of being human and publicly productive.
Participating artists: Anastasia Mina, Dimitra Bista, Konstantino Dregos, Clemens Behr, Socrates Fatouros, Maria Aristotelous, Kyriakos Kousoulides
Curated by: Tasos Stylianou
Pindaros / Third Floor
Hotel PINDAROS 3rd floor
The work Pindaros/Third Floor by Augustus Veinoglou and Irini Bachlitzanaki presented on the top floor of the deserted Athenian hotel is a site-specific installation, which sets as its basic premise the treatment of space as a sculptural object.Taking as their starting point the exploration of the third floor of the hotel, the artists aim to integrate the architectural built environment and other elements in the viewer’s visual and perceptual field into a single, unified experience. The chromatic interventions and sculptural additions function as tools of comprehending the space; Rather than fragmenting it they unify it and ultimately transform it.
Through the re-appropriation of the third floor the public is offered the opportunity to empirically experience the space, wandering around it and embarking upon an exploration of their own. The work aims to create an atmosphere of reflection and interiority, opening up a dialogue with its immediate city centre surroundings to which it is juxtaposed. The contemplative attitude proposed is further impelled by the employment of archetypal shapes through which the almost domestic environment is infused with elements of monumentality.
A project by Augustus Veinoglou and Irini Bachlitzanaki