THE END Markgräfliches Opernhaus, Bayreuth (27 2009 - 21.00)

You are cordially invited to the performance
THE END
which will take place on June 27 2009 at 21.00
at the Markgräfliches Opernhaus in Bayreuth
The performance is the last chapter of
Christodoulos Panayiotou's exhibition at Künstlerhause Bethanien
Due to limited seat availability reservations are required
If you are interested in attending please write to:

cp@christodoulospanayiotou.com
schultef@bethanien.de
sylvia@rodeo-gallery.com

A confirmation letter will be sent in response
(a first come, first served policy will be kept)

Goodbye Michael Jackson - Goodbye Ben

Berlin

Hydra

Slow dance marathon at Time-Challenger curated by Adnan Yildin at HISK

TIME-CHALLENGER
an exhibition about critical reconstruction

with

GÖKÇEN CABADAN, ANDRÉ CATALÃO, ASLI ÇAVUŞOĞLU, OLOF DREIJER, FELIX GMELIN, LAUREN VON GOGH, ROMEO GONGORA, SUSANNE KRIEMANN, MAKODE LINDE, CHRISTODOULOS PANAYIOTOU, RINUS VAN DE VELDE, VIRON VERT AND A VIDEO INTERVIEW WITH ULUS BAKER BY ARAS ÖZGÜN
CURATED BY ADNAN YILDIZ

OPENING ON SUNDAY 21.06.09
FROM 11:00 UNTIL 18:00

A TOUR BY THE CURATOR ADNAN YILDIZ AT 15:00
PERFORMANCE BY LAUREN VON GOGH AT 15:30

Time-Challenger was born as an exhibition proposal for the open call of the Curator Curator project, which is a collaborative organization between Enough Room for Space from Rotterdam and HISK, a post-graduate program currently located in Ghent. The original proposal was based on the idea of opening a space-time for a discussion of how artistic reconstruction has been operating today through diverse conceptual approaches and contextual references in relation to current image politics. Recently, there have been numerous exhibition projects addressing artistic re-enactments, remakes, reproductions, and reinterpretations …Time-Challenger takes into consideration the art historical and analytical framework of these projects while taking a different direction by connecting the discussion to Antonio Negri’s concept of the “reconstruction of hope.” Just after the proposal was selected by Enough Room for Space, I did a research visit to the exhibition space and engaged in discussion with the residents of the studios and post-graduate students there during the Open Studio Week. Finally, the proposal has been crystallized by these discussions and aspects of the artistic production at HISK and has now turned into an exhibition about critical reconstruction. The term “critical reconstruction” is borrowed from Gary Wolf (Venture Kapital, Wired Magazine, 1998) who writes about the reconstruction of Berlin following the fall of the Berlin Wall. Coincidentally, or perhaps as a sign of Zeitgeist, this proposal was completed in Berlin’s Kreuzberg neighbourhood, the site of much of the most dynamic reconstruction in Berlin since 1989.

In Seven Easy Pieces (2005), Marina Abramovic acts out select historical performance artworks from 1970’s artists (such as Vito Acconci, Joseph Beuys etc.) including two of her own. The series of performances at Guggenheim Museum (New York) sharpened the tendency of questioning the timing of re-enactments, remakes and reinterpretations etc. in the art world. In an interview in the New York Times in early November, 2005, Abramovic explained the impetus for her most recent performances, stating that she “felt a strong need to preserve the memory of performances that influenced [her] as an artist. ‘There’s nobody to keep the history straight ... I feel almost, like, obliged. I felt like I have this function to do it.’ And this sense only grew stronger when she began to see ideas behind many important performances borrowed with no credit given, or appropriated by advertising and fashion.”

Many artists today have been using similar approaches and strategies of reinterpreting ar t history as well as transforming world history and culture. Rather than framing the discussion as a form of artistic production through an art historical perspective, Time-Challenger aims to deal with the timing of these productions to relate these tendencies to the repositioning of contemporary politics, image culture and digital-visual capital. As an exhibition about critical reconstruction, Time-Challenger reformulates the critique as an open-ended process of personalizing the situation, performing artistic know into a synthesis of many perspectives. To make things public, there always needs to be a personal position. The process of making things public in contemporary art practice not only brings together art works but also makes dialogues visible in order to create a physical experience for potential interactions.

To deal with the monsterous experience of global capital, Antonio Negri proposes the term “reconstruction of hope” in his Time for Revolution (2005): “how can a revolutionary subjectivity form itself within the multitude of producers? How can this multitude make a decision of resistance and rebellion? How can it develop a strategy of re-appropriation? How can the multitude lead a struggle for the self-government of itself?” He responds to these questions through reconstructing hope: “In the biopolitical postmodern, in this phase that sees the transformation and productive enrichment of labour-power, but on the other hand sees the capitalist exploitation of society as a whole, we thus pose these questions. As for the answers, I certainly do not possess them. But ... probably a few bricks toward the reconstruction of hope (or better, as in Alma Venus, dystopia) have been laid. (144-45).” Time-Challenger shares a common conceptual ground with the exhibition project, There is no audience, an exhibition about public imagination (22.05.09-30.08.09, Montehermoso, Spain) and focuses on the same terms on a different level.* Here, Time-Challenger is more interested in the possibility of reformulating the discussion of artistic reconstruction in relation to the political atmosphere of our time and integrating the strategy of reconstructing hope into the process.

Through rethinking modernism, Time-Challenger will display some artistic reconstructions that challenge pre-given definitions and realities of our past and present time — related the problematic of timing. In the exhibition, Gökçen Cabadan displays paintings that depict contemporary visions of family and health and transform the ready-made images at an abstract level of reconstructive criticality. Developing a conceptual identity and an expressive quality, Viron Vert’s drawings and collages include elements of history and culture through personal memories and attachments. Aslı Çavuşoğlu’s video A Turkish Doctor: Ömer Ayhan ironically fictionalizes a success story reflecting the power of the media over content via an evening news program. Romeo Gongora’s Prison is composed of monologues from four prisoners and establishes a critical dialogue on society and models of justice (punitive/rehabilitative). By using a level of abstraction through ready-made images and painting, André Catalão’s installation is a reflection of the artist’s cultural memory. Olof Dreijer’s sound installation is composed of animal sounds and provides a fictional space through reconstructing the perception of nature and the elements of evolution.

As an unforgettable gesture, Felix Gmelin’s Farbtest II, Die Rote Fahne, Colour Test II, The Red Flag is composed of the original shot and the remake of Gerd Conradt’s tracking shot of students running through the streets of West Berlin from 1968. Gmelin’s father had been one of those waving the flag, and the two-channel video loop directly reflects on Negri’s point. Lauren von Gogh conceptualizes a personal story, and reconstructs an everyday experience for the audience in order to create a social critique. Susanne Kriemann’s publications presented on a table include different strategies of recontextualizing the form of images; they are unique examples of experimenting on the format of publication and reading images. Makode Linde’s silk screen prints stimulate a contemporary critique of the history of culture and identity: logos from global sport industry delicately installed into the illustrative portraits of African figures remind us of the exploitation of labour. Christodoulos Panayiotou works with archives and personal memories of sound and image, recreating new dimensions in the perceptive levels of the audience through his installation. Borrowing the images from the world of exploration and discovery (in this instance, National Geographic) Rinus Van de Velde performs his artistic research through his charcoal drawings. There is also a video interview with Ulus Baker by Aras Özgün, What is an opinion? presented in the exhibition that opens a channel to the audience regarding the social process behind the construction of any opinion.

This discussion will be linked to the question: “how does any form of artistic reconstruction develop a level of criticality through its production process, and how does this criticality embody a public challenge?” within the framework of the exhibition, which is designed on the basis of Paul Virilio’s strategic methodology: “Play at being a critic. Deconstruct the game in order to play with it. Instead of accepting the rules, challenge and modify them. Without the freedom to critique and reconstruct, there is no truly free game: we are addicts and nothing more.” (from the interview with Paul Virilio by Jérôme Sans).

by Adnan Yıldız

Fantom celebrated the premier issue - aturday 20 June 7 - 11PM at Via Monte di Pieta 11, Milano

If tomorrow never comes on the first issue of Fantom

Heaven - 2nd Athens Biennale 2009

2008, Christodoulos Panayiotou, shredded paper (Cyprus bank notes after the entrance of Cyprus in the eurozone), 2009, Installation view from the Athens Biennale (Splendid Isolation - Curated by Cay Sophie Rabinowitz )

2nd Athens Biennale 2009
HEAVEN
15 June - 4 October 2009
Preview: 13 & 14 June
Esplanade Building (next to Tae Kwon Do Court),
Water Plaza, Faliron Olympic Complex – Flisvos Building – P. Faliron Beach
http://www.athensbiennial.org

The 2nd Athens Biennale 2009 HEAVEN is conceived as a multifaceted contemporary art festival that extends along the coastline of Athens, in the central areas of Palaio Faliro and Kallithea. XYZ, the founders and artistic directors of the Athens Biennale have invited a select group of curators to contemplate Heaven, in a time that arguably is one of disappointment and conflict. The six exhibitions of the 2nd Athens Biennale 2009, designed by architect Andreas Angelidakis, take the form of autonomous approaches to this broad subject, that nevertheless communicate creatively and claim a degree of narrative cohesion. These six exhibitions are complemented by a series of performative events lasting all through the summer.


"Live"
curated by Dimitris Papaioannou & Ζafos Xagoraris
Temporary installations form successive theatrical scenes, screens and floating stages, while the spectators and the spectacle interchange, as residents and users of the aquatic limit are invited to attend actively in the configuration of communal spaces. New uses of the spaces are triggered, under the surface of the sea, in the street or in the roofs of neighboring buildings, without impeding the ones already existing.
Artists: An Architektur, Νikos Arvanitis, Barking Dogs, Broadcast Group, Eloisa Cartonera, Centre for Research Architecture - Goldsmiths College, Cesare Pietroiusti & Matteo Fraterno, Collective Actions, Coti K. , The Errands , Filopappou Group, Tadeusz Kantor, Reijo Kela, Antti Laitinen, Tea Mäkipää, Jennifer Nelson & Dimitris Kotsaras, NSK, Lucy & Jorge Orta, Anna Ostoya, Palaio Faliro artists group, Superflex, Water Girls, Water Boys [Jili Traganou & Eleni Tzirtzilaki], Krzysztof Wodiczko, Ykon.

"World Question Center"
curated by Chus Martinez
The departure point of Chus Martínez's exhibition is to expand the limits of know through the development of working hypothesis; it will be entirely dedicated to the radical importance of questions. Heaven could be understood as a space for mere speculation. It seems easy but is not. Nothing is more difficult nowadays than to escape the logic of the 'what for'. The logic of the show is simple: every one of the artists is requested to submit a work, a question, a thinking hypothesis in their own terms. Nonetheless, the show should be here conceived not from the artistic response to a topic, but as an assemblage of very different thinking logics. Logics that hopefully will help the viewer, but also the artists to develop further different interpretations of the near future.
Artists: Alexis Akrithakis, Michel Auder, Thomas Bayrle, Erick Beltran, The Callas, Jef Cornelis, Roberto Cuoghi, Marianna Castillo Deball, Luke Fowler, Dora García, Andrea Geyer, André Guedes, Dorothy Iannone, Ferdinand Kriwet, Maria Loboda, Babette Mangolte, Rosalind Nashashibi & Lucy Skaer, Maria Pask, Lisi Raskin, Natascha Sadr Haghighian, Lasse Schmidt Hansen, Sue Tompkins, Kostis Velonis.

"For the Straight Way is Lost"
curated by Diana Baldon
Diana Baldon's exhibition is arranged around a framing device represented by the eight circles of the anti-chamber of heaven: the purgatory. According to Dante Alighieri's Divine Comedy, a mountain brings souls to heaven through a series of tests visualised in "gironi". Beyond being a geographically situated place, purgatory is a human condition, a process of purification or temporary punishment where souls of those who die depend on self-achievement, compassion and imagination to be prepared for redemption. However, her concept distances itself from Dante's epic poem simply using its structure as a tool to organise works inside what we could imagine is a horizontal representation Mount Purgatory, that is a vessel, or Nautilus shell that gets smaller and smaller as it grows to end up in a rabbit hole, which could stand for the Pearly Gate.
Artists: Mark Aerial Waller, Athanasios Argianas, Athanasios Argianas & Nick Laessing, Adam Chodzko, The Errorists, Anja Kirschner, Domenico Mangano, Tom McCarthy, Christoph Schlingensief, Carolee Schneemann, Michael Stevenson.

"Splendid Isolation, Athens"
curated by Cay Sophie Rabinowitz
As one of the curators invited to contemplate the subject of Heaven, Cay Sophie Rabinowitz oriented her approach to this immeasurably broad topic by naming her exhibition Splendid Isolation, Athens. Guided by an immersive approach rather than a topical or thematic one, her selection and presentation let the viewer ponder if and how creative activity, social practices, and aesthetic experience may be directed. Splendid Isolation, Athens includes a number of art works that employ some formal or structural principle, whether it be as rigid as scaffolding, as symbolic as a monetary exchange, as modular as blocks, or as flexible as narrative. For many artists in the show, some existent form—be it physical or immaterial, biographical or contrived, religious or scientific—offers a means by which to re-consider, re-form, re-imagine or even re-structure a momentary or lifelong place of inspiration.
Artists: Lara Almarcegui, Anastasia Douka, Michael Gibson, Benita-Immanuel Grosser, Hsuan Hsuan Wu, Em Kei, Kalup Linzy, Miltos Manetas, Ryan McNamara, Malcolm McLaren, Martin Oppel, Christodoulos Panayiotou, Mai-Thu Perret, Angelo Plessas, Ry Rocklen, Willem de Rooij, Ettore Sottsass, Adrian Williams.

"Hotel Paradies"
curated by Nadja Argyropoulou
Between the only common certainty that is death and the endless possibility that is after-life, there is a kind of terrible tension, the very spark of everything that is: Desire. In this light, Paradise can be understood as "Desire unleashed". Not as an idyllic place (island, garden, Arcadia) of bliss and innocence regained. As a monument constantly rising towards its ruination, as something equally rooted in and free of the land, as a paradox that punctures time, the Hotel Paradies is such a lair of Desire. The name derives from a rather common language corruption; one which serves as a starting and end point for the conceptual references of this exhibition. Paradies: This which lies next to and beyond death. It is therefore a name that invokes an era when no names existed.
Artists: Kenneth Anger, Apophenia, Daniel Arsham, Zoe Beloff, Manfredi Beninati, Paul Chan, Savvas Christodoulides, EVP, Zoi Gaitanidou, Yiannoulis Halepas, Infinite Library (Harris Epaminonda & Daniel Gustav Cramer), International Necronautical Society (INS), Vassilis Karouk, Dionisis Kavallieratos, Joachim Koester, Sandra Kranich, Robert Kuśmirowski, Cristina Lei Rodriguez, Paul Noble, Saskia Olde Wolbers, Nikos Gavriil Pentzikis, Saprophytes, Markus Selg, Robert Smithson, Christiana Soulou, Jan Švankmajer, Alexandros Tzannis, Unknown Artist, Marie Wilson Valaoritis & Nanos Valaoritis
Jakub Julian Ziolkowski.

"How many Angels can Dance on the Head of a Pin?
curated by Christopher Marinos
How many angels can dance on the head of a pin? is one of the six curatorial projects of the 2nd Athens Biennial. The exhibition traces the spiritual meaning of paradise more as a 'possibility' or 'promise' within the daily spectre of life and less as a redemptive phenomenon located in an afterlife. Divided into three sections, the exhibition features works which together explore the idea of a domesticated heaven: The first section is equivalent to reality enforcement and the way one remembers Paradise through a glass darkly; in stark contrast, the second section corresponds to psychedelic journeys, decadent dreams, theatrical gestures and utopian constellations; while the last one is symbolized by an overwhelming feeling of loneliness, a sense of foreboding melancholy as well as an irrepressible impulse of repetition.
Artists: Bruce Baillie, Mieke Bal, Lydia Dampassina, Dora Economou, Angus Fairhurst, Harun Farocki, Leon Frantzis, Lothar Hempel, Andreas Kassapis, Panayiotis Loukas, Ursula Mayer, Kris Martin, Marc Nagtzaam, OMIO, Adrian Paci, Nina Papaconstantinou, Angelos Papadimitriou, Société Réaliste, Kostas Roussakis, Yannis Skourletis, Christian Tomaszewski, Mark Wallinger.

Stuart photographing the sunset in Andreas and Angelo's house

"Τι κρύβεται πίσω από τον φοίνικα" (Φιλελεύθερος 30/5/2009 - Πολίτης 31/5/2009)

(απάντηση στο άρθρο: http://www.sigmalive.com/simerini/politics/155849)

Θα ήθελα να επιχειρήσω μια δεύτερη προσπάθεια σχολιασμού σειράς άρθρων που δημοσιεύτηκαν στις κυπριακές εφημερίδες σχετικά με την συμμετοχή της Κύπρου στην Μπιενάλε Βενετίας και ειδικά με την πρόσκληση που παρουσιάζει φωτογραφία, έργο του καλλιτέχνη Σωκράτη Σωκράτους που μας εκπροσωπεί φέτος στην εν λόγω διοργάνωση. (Στις 23/5/2009 απέστειλα απαντητική επιστολή στο άρθρο τις εφημερίδας «Η Σημερινή» με τίτλο "Με... τούρκικη φρεγάτα στην Μπιενάλε" (22/5/2009), η οποία δεν έχει ακόμη δημοσιευτεί).

Η άποψη που βλέπουμε να υποστηρίζεται συστηματικά τις τελευταίες μέρες σε διάφορα έντυπα αφορά στην παρατήρηση ότι "απρόσεχτα" το Υπουργείο Παιδείας και Πολιτισμού "επέτρεψε" (και σε κάποιες περιπτώσεις "επιδίωξε") την προβολή μιας εικόνας που προσβάλλει και βλάπτει τα εθνικά μας συμφέροντα. Οι θέσεις που εκφράστηκαν πρώτα στο ανυπόγραφο άρθρο της «Σημερινής» (22/5/2009) και που αναπτύχθηκαν στην συνέχεια σε δημοσιεύσεις άλλων εφημερίδων πιστεύω να είναι συμπτωματικές του προβληματικού κριτικού αποπροσανατολισμού που χαρακτηρίζει την κυπριακή κοινωνία και άσχετες ως προς την λειτουργία της σύγχρονης εικαστικής γλώσσας. Η ανάλυση πάνω στην οποία βασίζεται αυτή η θέση διέπεται από μια σειρά παραδρομήσεων που υποβαθμίζουν άδικα το έργο του καλλιτέχνη σε μια τόσο χρωματισμένη τοποθέτηση, έργο που εξάλλου δεν έχουμε δει και στο οποίο δεν μπορούμε να αναφερόμαστε παρά με εικασίες. Έχοντας πει τα πιο πάνω είναι σημαντικό να υπογραμμίσουμε ότι η συγκεκριμένη φωτογραφία, που απεικονίζει ένα τουρκικό πολεμικό πλοίο και τον κορμό ενός φοίνικα, αποτελεί μέρος του έργου, θα υπάρχει στο περίπτερο τις κυπριακής εκπροσώπησης και έχει επιλεγεί από τον ίδιο τον καλλιτέχνη, που κατά συνέπεια σημαίνει ότι αντιπροσωπεύει τόσο το έργο όσο και τις προθέσεις του.

Ο Donald Richie στο κείμενο του σχετικά με το Rashomon του Akira Kurosawa λέει τα εξής: "Οι άνθρωποι ερμηνεύουν μια ιστορία, και κάθε ερμηνεία είναι διαφορετική. Γιατί με το να την λένε και να την ξαναλένε, οι άνθρωποι δεν αποκαλύπτουν την ιστορία, αλλά τον εαυτό τους". Αντικαθιστώντας την καθημερινή ιστορία, στην οποία αναφέρεται ο Richie, με την Ιστορία με «Ι» κεφαλαίο, μας παρουσιάζεται τελικά αυτό που με "αφέλεια" θέλω να δεχτώ πως “παρεξηγήθηκε”: Ότι δηλαδή μια τέτοια εικόνα θέλει να πει τόσα πολλά υπέρ των "άλλων" και σε βάρος “ημών”, έτσι που τελικά τέτοιου είδους τοποθετήσεις να λένε πιο πολλά για “εμάς” πάρα για τους “άλλους”.

Για να γίνω πιο συστηματικός, επιχειρώ την εξής αντίθετη ανάλυση (ξεκαθαρίζοντας ότι αποτελεί μόνο παράδειγμα και όχι θέση): "Ένας φοίνικας σε πρώτο πλάνο – ριζωμένος για χρόνια στο νησί όπως και ο Ελληνισμός – αποκαλύπτει το εκτός εστίασης τούρκικο πλοίο που εισβάλει απειλητικά στα ήρεμα νερά της Κερύνειας”. Ανάλυση που πιστεύω ότι είναι πολύ πιο πιθανό να προκύψει στο μυαλό κάποιου αποστασιοποιημένου “αναγνώστη” (εξάλλου είναι κλασικό κινηματογραφικό στερεότυπο, κυρίως σε ταινίες τρόμου και γενικότερα σε σκηνές απειλής, ο επικίνδυνος – κακός εισβολέας να έρχεται στο χώρο αντίληψης μας από μακριά και εκτός εστίασης). Η πιο πάνω σύντομη ανάλυση (αντίθετη στις προθέσεις του καλλιτέχνη, που δεν πιστεύω να επιδιώκει μανιχαϊστικές απλοποιήσεις αυτού του τύπου) αποτελεί απλή άσκηση απόδειξης του πόσο εύκολο είναι να αντιστραφεί μια τέτοια παρατήρηση. Διερωτώμαι λοιπόν τι μπορεί να προκαλεί τις τόσο έντονες τοποθετήσεις που συμμερίζονται μεταξύ άλλων ο Μιχάλης Παπαδόπουλος (Σημερινή 25/5/2009), ο Ευθύμιος Δίπλαρος (Σημερινή 25/5/200 - Πολίτης 26/572009), ο Νίκος Τορναρίτης (Σημερινή 23/5/2009) και ο Μιχάλης Χατζηστυλιανού (Φιλελεύθερος 23/5/2009), ότι δηλαδή αυτή η φωτογραφία “εκβάλλει ατυχώς στην εύλογη… παραδρομή της αντίληψης ότι η Κύπρος είναι τουρκική”; (ανυπόγραφο, Σημερινή, 22/5/2009). Πως μπορεί μια τέτοια εικόνα που καταγράφει μια πραγματικότητα γνωστή σε όλους μας (το ότι δηλαδή στην κατεχόμενη Κερύνεια υπάρχουν φοίνικες και πλέουν από το ‘74 τουρκικές πολεμικές φρεγάτες) να αποδίδεται σε τόσο ακραία θέση (ή επικίνδυνη απερισκεψία) από μέρους του καλλιτέχνη και του Υπουργείου Παιδείας και Πολιτισμού. Η συγκεκριμένη ανάλυση, ενδυναμωμένη από δηλώσεις και "πηγές" του Υπουργείου Άμυνας, καταλήγει σε λεπτομέρειες σχετικά με τον τύπο της φρεγάτας και γεννά τα δυο εξής ερωτήματα:

Μήπως μας ήταν άγνωστο ότι τουρκικές φρεγάτες πλέουν στην Κερύνεια; Και γιατί η φωτογραφική καταγραφή τους πρέπει να σημαίνει την υποστήριξη μιας τέτοιας πράξης και όχι την προσβολή της (καθώς ανάλογες εικόνες έχουν χρησιμοποιηθεί ακριβώς για αυτό τον σκοπό στο παρελθόν); Δεδομένων των πιο πάνω, οι δηλώσεις του Υπουργείου Άμυνας, όπως μεταφέρονται και αναλύονται, καταλήγουν στον εξής παράλογο συλλογισμό: Το να φωτογραφίσουμε τις τούρκικες φρεγάτες στο λιμάνι τις Κερύνειας σημαίνει ότι η Κύπρος είναι "τουρκική επικράτεια". Χρειάζεται περισσότερη προσοχή σχετικά με απλοποιημένες αναλύσεις αυτού του τύπου, καθώς τελικά οδηγούν σε διαλεκτικούς μονόδρομους αντίθετους με τις θέσεις που θέλουν να υποστηρίξουν.

Και ενώ όλα αυτά θα ήταν ασήμαντο να σχολιαστούν σε ένα πραγματικό επίπεδο ουσιαστικής ανάλυσης του καλλιτεχνικού έργου, καθώς είναι βασικό χαρακτηριστικό της δημιουργικής προσπάθειας να προκαλεί διάλογο σαν μια υποκειμενική δυνατότητά κατανόησης της πολυπλοκότητας που διέπει τις κοινωνικές μας πρακτικές (κάτι απαραίτητο για την κοινωνική και πολιτική πραγματικότητα στην Κύπρο), ο αναλυτικός παραλογισμός οδήγησε στην αναμενόμενη πολιτική απάντηση του Υπουργείου Παιδείας και Πολιτισμού και στην θεμιτή αλλά για την περίσταση μη βοηθητική σιωπή του καλλιτέχνη έτσι που τελικά, όπως πάντα, μέσα στο αυτοφάγο κλίμα εσωτερικής κατανάλωσης να μας ξεφεύγει η ουσία, ότι δηλαδή η επιδίωξη, όσο αφορά τον χώρο της τέχνης και της διανόησης, δεν είναι το παιχνίδι των εντυπωσιασμών, αλλά η προσπάθεια του να κοιτάξουμε τι κρίβεται πίσω από αυτούς.

Χριστόδουλος Παναγιώτου
Εικαστικός καλλιτέχνης,
Βερολίνο, 28/5/2009

A storm in Venice

Venice

on the way


To Pinault's opening with Sylvia and Ilias


Roses at Giardini



Stuart photographing the beautiful sunset at John Wesley opening (Isle of San Giorgio)


A gondola boy at work


The Bridge of Sighs suffocating in the sky of Sisley


Everything eaten at the Dutch reception. With Louli and Marika


The chandeliers at Hotel des Bains in Lido


Fountains at Elmgreen and Dragset party in Lido airport



The beautiful rose garden of the cypriot party


With Danis and Theo at the sleeping market


With fool moon venice gets flooded


November's skirt


Choosing out of the Menu Turistico with Stuart, Bart, Johannes, Emre, Banu and Ilias


The beautiful arms of a stranger


Goodbye Venice

Gondolier - Dalida

Singrou highway

The dogs of the Faliro Port

Philip the day we finished working