Kick The Bucket

We all kick the bucket in the end!

The end!

All the girls kick the bucket in the end!

The end!

And the boys kick the bucket in the end!

The end!

Yep! We all kick the bucket in the end!

 

 

Blew up my TV.

It' was numbing my brain to be thinking the same as million other people all feeling afraid of the same thing.

But there's nothing to lose, 'cause we're all on a bike and we're cycling through, getting off on our injuries - but you gotta get back on it and live it and live it to love it and live and love life.

Cause we all kick the bucket in the end!

The end!

I don't mean to preach or to sound like a teacher. No! I only wanna cut the crap and looking back, everybody's had to face the facts.

That we all kick the bucket in the end!

The end!

Charlie Winston

Evening/Morning

 

 Always adrift, there are trips to make,

the night won't break, if the day won't break,

But I was out, did you get in, did you

Draw the right stamp on your skin, saying

 

I am ready to owe you anything,

Keep with me I hope you'll see that,

We can speak at slower speeds,

When I wake up it will always be that,

I am ready to,

 

I am ready to owe you anything,

 

Bombay Bicycle Club

The Error

 

Beetroot / The Error

An error derives from an attempt, an experiment, a respect for the random and the unexpected. The error takes us by surprise, shocks and terrifies us.

The error hides in the beginning to attack in the end. The error destroys a direction to create many.

Opposite to the culture of awarding the probable, the predictable, the “right”, Beetroot’s new and exciting exhibition demonstrates the power that lies in the “right to error”.

The error is arguably the most important step in human progress, as only through error can we demonstrate our determination to feel, understand and make it…right…

….until the next error.

Behind

Lover, if you're scared from this nightmare, insane,
oh, lover, we stay to remind.
Trembling when I see in my darkest despair,
oh, lover, we stay to remind.

Crying if you stand with the madness to say
oh, lover, please, stay to remind.

And I know that time I was stupid, let me die,

Mother, you can feel all my problems you create,
oh, mother, despair's behind.
Brother, you can see all the troubles you have made,
oh, brother, despair's behind.

Lover, you can reach all the darkness you can fear,
oh, lover, despair's behind.

And I know that time I was stupid, let me die,

And I know that time I was stupid, let me behind,

And I know, and I know, and I know you're lying,

Catpeople

The Void, the Country and Intimate Coasters

 

The Void and the Country / Paris Petridis

The photographs which were included in Paris Petridis’ exhibition entitled “The Void and the Country”, were realised over four monthly visits to Egypt between February 2009 and March 2011. These series of photos started out as a documentation of the Greek diaspora.

The vacancy in the pictures is a visual metaphor for this abandonment: a country devoid of its people.

Tourists are insensitive, Canetti once wrote. Right, but travelers?

 

Intimate Coasters / Fani Sofologi

 

Fani Sofologi presented a series of drawings on paper, which has emerged from a creative process of solitary performances in the studio without spectators. At a first stage, Sofologi through a process of mental introspection, introduces her liberated feelings on the paper with no inhibitions, conscious control or filtering of the gesture. At this stage, she uses her bodily fluids as witnesses – bearers of the mental state she is in. By using blood and tears as raw material as well as by the ripping, rubbing and crumpling of the paper, she translates these feelings into an aggressive and at the same time mentally discharging energy.

The disastrous attack on the paper surface is followed by a second stage; that of the restoration and caring cover-up of the violent action with the controlled gesture of drawing and adding colour. The artist proceeds at this phase to the restoration of the work, by masking through drawing the “wounds” and by decorating the works using glitter and intense, happy colours.

[ source ]

Bullets

 

Come touch me like I'm an ordinary man

Have a look in my eyes

Underneath my skin there is a violence

It's got a gun in its hands

Ready to make

Ready to make sense of anyone anything

Anyone anything

Blistering sky

Bullets are the beauty of the blistering sky

Bullets are the beauty and I don't know why

Personal responsibility

Come find me

Let me be the lesser of a beautiful man

Without the blood on his hands

Come and make me a martyr

Come and break my feeling

With your violence

Put the gun in my hand

Ready to take...

...Out anyone, anywhere

Anyone, anywhere

Personal responsibility

Archive

Studios

TAF presented the annual exhibition Studios with a selection of works by recent graduates of the Athens School of Fine Arts and emphasized on the artistic practices that are currently developed in Greece. Most exhibits constituted part of the artists’ thesis.

 

The artworks of the exhibition covered a wide spectrum of means, techniques and themes, while combined they are attempting to showcase the educational incentives that have determined the early work of the artists that graduate from the domestic art schools.

The annual exhibition Studios aimed to create a dialog on the work of young artists and to underline both the social influences as well as the artistic references that form today’ s Greek artistic production.

 

The need to introduce recent graduates came up by the lack of exhibitional field for researching the conceptual content and the formal qualities of the upcoming local art production.

[ source ]

Participants

Vasiliki Anastasiou, Ersi Varveri, Sofia Vasiliadou, Konstantinos Dareios, Anthi Koga, Alexandra Kottaki, Andriani Krimitza, Eratia Meletiou, Nikos Mytilinios, Artemis Kassiani Papadima, Alexandra Sinopoulou, Antonis Stoatzikis, Marilia Fotopoulou, Spyros Charalambopoulos (Kleitoras), Dimitra Psarrou

Curating: Evangelia Ledaki

Absence

Qbox Gallery is pleased to present the second solo exhibition in Greece of the video artist Ali Kazma (Until 31/03/2012).

Ali Kazma (Istanbul, 1971) is known for his Obstructions series where he meticulously documents different human activities related to production and labor. His unbiased viewpoint depicts with the same visual clarity and neutrality the violent process of animal slaughtering (Slaughterhouse, 2007), the dexterity and patience of clock-making (Clock Master, 2006) and brain surgery (Brain Surgeon, 2006) as well as the rapid and repetitive movement of stamping (O.K, 2010). Through a discrete way he enters into the realm of artists, artisans and professionals such as a taxidermist, a dancer, a painter, a cook, a studio ceramist, textile workers and elucidates with verisimilitude their work in process.

 

In his exhibition entitled Absence the artist has chosen to present his latest works called Absence (2011) and Written (2011). The first piece is displayed by two video projections where Kazma captures through multiple perspectives NATO’s old facilities, in which the intrinsic dynamic between human presence and absence recreates, but also reenacts another stream of consciousness towards the identity of the specific location. The latter work is depicted in a simultaneous six-channel video that records the burning process of written pieces of paper. The editing of the burning paper veils and unveils at the same time several phrases that instantly turn into ashes.

 

The paradoxical interrelation between life and death is enhanced in the Absence’s mute stillness combined with the subtle nature sounds that indicate the slightest evidence of life. Additionally, the disintegration of the paper and the included text is in a constant state of becoming that hovers between form and formlessness, growth and decay.

[ source ]

Meet me in the city

Is your town a better place to be

rest my head rest my feet

be lazy

hey pretty girl you are awful hard to meet

make me weak right in my knees

my lady

up all night cant get no sleep

kept awake by the chatter in my teeth

I' m crazy

I see your eyes light up ahead in tail lights

no one cries till someone dies

I'm high  n' I'm cryin

take a black bird and paint him white

he wont let me win the night

keep flying

hospital wall dont look so good

im too young to feel like i do

keep tryin

hey there little pretty

hey gonna get you down

hey dont you feel shitty

when your little church goes down

meet me in the city

wont you meet me down town

meet me in the city

wont you meet me right now

The Babies

Melted Butter

Photos are from the Greek play: "Melted Butter: Revisited"

Λιωμένο Βούτυρο, Revisited
Κοινωνικό του Σάκη Σερέφα
Σκηνοθεσία: Σ. Κακάλας
Ερμηνεύουν: Σ. Κακάλας, Δ. Κούζα, Έλ. Μαυρίδου.
Σκην.-κοστ.: Κ. ΜακΛέλαν, Μ. Φωκά.
Μουσ.: Ν. Βελιώτης.