Aemilia/Αιμιλία Papaphilippou/Παπαφιλίππου
CONCISE CV
Aemilia Papaphilippou
http://www.aemiliapapaphilippou.com
https://independent.academia.edu/AemiliaPapaphilippou
https://www.youtube.com/channel/UCyknuARZJx97FKufKyMRbaA?view_as=subscriber
https://www.aemiliapapaphilippou.com/site/iPad/
Aemilia Papaphilippou is a visual artist/thinker.
Born in 1961 in Asmara, Eritrea, East Africa.
Currently residing in Athens, Greece.
Graduated from the Athens School of Fine Arts, Greece, in 1985, (MA), and New York University, New York, USA, in 1989, (MA), with an Onassis scholarship and a tuition remission teaching assistantship from NYU.
Officially represented Greece at the 21st Sao Paolo Biennale in Brazil in 1991, curated by Maria Maragkou, in 2000,
at the exhibition «Europe Exists» at MoMus in Thessaloniki, curated by Harald Szeemann and Rosa Martinez,
and in 2002, at the exhibition «Open» in Lido, Venice, curated by Lina Tsikouta and Paolo de Grandis.
Commissions and selection of exhibitions
In 2010, she designed and oversaw construction of the installation in situ «Liquid Sky» at the Onassis Cultural Center in Athens. This was an architectural installation that combined the aesthetic and the functional, as it was both a solution to the space's existing tilted ceiling and a functional bar.
In 2014, she took part in the exhibition of the Greek Presidency of the EU, "Nautilus: Navigating Greece," at Bozar in Brussels, where she was tasked with creating a piece that offered the first and last impressions of the entire exhibition - at the entrance and exit of the space.
In 2014, she realized the first contemporary art intervention in Athens' Ancient Agora, titled "Pulsating Fields," with the support of the NEON organization as their first commission for public art, in which she presented an interactive marble platform, a video-projection on the museum of the Stoa of Attalos, and a performance.
In 2015, she was featured in the exhibition "South to Southeast: A Further Surface," curated by Patrick D. Flores and Anca Verona-Mihulet, at the Guangdong Times Museum in China, and she was also asked to write a text about her work and its relationship to feminism for the magazine issued by the Museum’s annex.
In 2017, she took part in the Documenta 14 exhibition "Antidoron-The EMST collection," curated by Katerina Koskina.
In 2017, she was invited to speak as a keynote speaker at the Raumwelten Architecture, Scenography, and New Media Conference in Stuttgart, Germany, where she was also commissioned and realized "Chaosmos," a video-projection with performative elements in the courtyard of the Ludwigsburg Palace.
In 2018, she presented "Interweaving/Interfolding," a string performance connecting people, at Nieuw Dakota in Amsterdam, along with a video that intertwined disparate information sent from the public following an open call.
Under the auspices of the French Institute, the South Aegean Region, the National Tourist Organization, and the invitation and support of Rodos Palace Hotel, she realized "Chess Continuum: The Everlasting Now" in 2019 at the Fortification Walls of the island of Rhodes, which is a UNESCO World Heritage Site.
In 2021, she took part in the exhibition "Thesis-Antithesis-Synthesis: In the Belt of Change," curated by Katerina Koskina, in which Greece was the honored country as part of the general exhibition "The Tides of the Century" at the Hainan Ocean Flower Museum. She was tasked once more with creating the "initiation" piece, which would serve as the exhibition's entrance.
In 2021, commissioned by the Athens Epidaurus Festival, she realized the interactive installation/performance "Sacred Tales/COVID-19" at the Little Ancient Theater of Epidaurus.
She has taught as a teaching assistant at New York University, as an adjunct professor at the postgraduate level of the Athens School of Fine Arts, and privately.
She has been invited to give talks about her work all over the world.
Artist’s Statement
Although drawing is definitive in my thinking, my work has primarily been installations/performances, frequently site-specific and interactive in nature, with viewers/participants physically engaging with the system of the work itself. Nowadays, with technology determining both representations, as perceptions of reality, but also reality itself, we are called to understand that all culture is meta-nature.
Conceptually I've been interested in the relationship of Opposites Forces; mutually defining as much as negating each other, in the formative power of Logos as Eros. This dynamic interplay has formed Chess Continuum, an ideogram central to my work that reintroduces chess as a nexus, setting aside supremacy for interconnectivity for both the individual and the collective.In this sense, it alludes to the emergence of Net Consciousness; a reality that may alter our understanding of the world and how we interact with it.
Aemilia Papaphilippou
http://www.aemiliapapaphilippou.com
https://independent.academia.edu/AemiliaPapaphilippou
https://www.youtube.com/channel/UCyknuARZJx97FKufKyMRbaA?view_as=subscriber
https://www.aemiliapapaphilippou.com/site/iPad/
Aemilia Papaphilippou is a visual artist/thinker.
Born in 1961 in Asmara, Eritrea, East Africa.
Currently residing in Athens, Greece.
Graduated from the Athens School of Fine Arts, Greece, in 1985, (MA), and New York University, New York, USA, in 1989, (MA), with an Onassis scholarship and a tuition remission teaching assistantship from NYU.
Officially represented Greece at the 21st Sao Paolo Biennale in Brazil in 1991, curated by Maria Maragkou, in 2000,
at the exhibition «Europe Exists» at MoMus in Thessaloniki, curated by Harald Szeemann and Rosa Martinez,
and in 2002, at the exhibition «Open» in Lido, Venice, curated by Lina Tsikouta and Paolo de Grandis.
Commissions and selection of exhibitions
In 2010, she designed and oversaw construction of the installation in situ «Liquid Sky» at the Onassis Cultural Center in Athens. This was an architectural installation that combined the aesthetic and the functional, as it was both a solution to the space's existing tilted ceiling and a functional bar.
In 2014, she took part in the exhibition of the Greek Presidency of the EU, "Nautilus: Navigating Greece," at Bozar in Brussels, where she was tasked with creating a piece that offered the first and last impressions of the entire exhibition - at the entrance and exit of the space.
In 2014, she realized the first contemporary art intervention in Athens' Ancient Agora, titled "Pulsating Fields," with the support of the NEON organization as their first commission for public art, in which she presented an interactive marble platform, a video-projection on the museum of the Stoa of Attalos, and a performance.
In 2015, she was featured in the exhibition "South to Southeast: A Further Surface," curated by Patrick D. Flores and Anca Verona-Mihulet, at the Guangdong Times Museum in China, and she was also asked to write a text about her work and its relationship to feminism for the magazine issued by the Museum’s annex.
In 2017, she took part in the Documenta 14 exhibition "Antidoron-The EMST collection," curated by Katerina Koskina.
In 2017, she was invited to speak as a keynote speaker at the Raumwelten Architecture, Scenography, and New Media Conference in Stuttgart, Germany, where she was also commissioned and realized "Chaosmos," a video-projection with performative elements in the courtyard of the Ludwigsburg Palace.
In 2018, she presented "Interweaving/Interfolding," a string performance connecting people, at Nieuw Dakota in Amsterdam, along with a video that intertwined disparate information sent from the public following an open call.
Under the auspices of the French Institute, the South Aegean Region, the National Tourist Organization, and the invitation and support of Rodos Palace Hotel, she realized "Chess Continuum: The Everlasting Now" in 2019 at the Fortification Walls of the island of Rhodes, which is a UNESCO World Heritage Site.
In 2021, she took part in the exhibition "Thesis-Antithesis-Synthesis: In the Belt of Change," curated by Katerina Koskina, in which Greece was the honored country as part of the general exhibition "The Tides of the Century" at the Hainan Ocean Flower Museum. She was tasked once more with creating the "initiation" piece, which would serve as the exhibition's entrance.
In 2021, commissioned by the Athens Epidaurus Festival, she realized the interactive installation/performance "Sacred Tales/COVID-19" at the Little Ancient Theater of Epidaurus.
She has taught as a teaching assistant at New York University, as an adjunct professor at the postgraduate level of the Athens School of Fine Arts, and privately.
She has been invited to give talks about her work all over the world.
Artist’s Statement
Although drawing is definitive in my thinking, my work has primarily been installations/performances, frequently site-specific and interactive in nature, with viewers/participants physically engaging with the system of the work itself. Nowadays, with technology determining both representations, as perceptions of reality, but also reality itself, we are called to understand that all culture is meta-nature.
Conceptually I've been interested in the relationship of Opposites Forces; mutually defining as much as negating each other, in the formative power of Logos as Eros. This dynamic interplay has formed Chess Continuum, an ideogram central to my work that reintroduces chess as a nexus, setting aside supremacy for interconnectivity for both the individual and the collective.In this sense, it alludes to the emergence of Net Consciousness; a reality that may alter our understanding of the world and how we interact with it.
less
InterestsView All (16)
Uploads
Papers by Aemilia/Αιμιλία Papaphilippou/Παπαφιλίππου
While my practice is fundamentally conceptual, it also engages viewers on a sensory level. The context and architectural setting are essential to my process, with each piece evolving from the last to shape the final outcome.
My artistic practice is characterised by an evolving trajectory, with each piece informing the next. While fundamentally conceptual, my work also actively engages the viewer/participant on a somatosensorial level. Context is integral to my process, and I carefully consider the circumstances and architectural setting, which ultimately shape my final proposals.
Το παραθέτω με την άδειά της.
Oι εικόνες είναι από το έργο μου «Ιεροί Λόγοι/COVID-19” που πραγματοποιήθηκε με ανάθεση του Φεστιβάλ Αθηνών Επιδαύρου στο μικρό αρχαίο θέατρο Επιδαύρου την περίοδο μεταξύ 13/8 έως 5/9/2021.
Αιμιλία Παπαφιλίππου
Both surprised and moved, I received the following text about my work from Dr. Efi Papaefthymiou, Archeologist-Museologist, Dep. Head of the Directorate of Culture and Tourism of the Municipality of Lamia.
I present it herewith with her permission.
The English translation can be found after the Greek text.
The images are from my work "Sacred Tales/COVID-19," which was commissioned by the Athens and Epidaurus Festival and took place at the Little Ancient Theater of Epidaurus between 13/8 and 5/9/ 2021.
Aemilia Papaphilippou
• “Liquid Sky”, including the functional elements, bar, and seating arrangements, was designed, constructed and supervised, in its entirety and all its phases, by the artist Aemilia Papaphilippou.
The pdf Includes a link to a making of video.
When I was a child, I was not aware that what I perceived as a constant source of aggravation was nothing else than my denial to accept, and comply, with what was commonly considered to be " the natural order of things ". Within this context, everything was expected to fall, as if by gravity, into its appropriate place -on and in our heads apparently-where, of course, we were to act accordingly, and all I simply had to do is be a " girl ". (The same of course applied to " boys" for that matter.) And yet when I was electrocuted by accident at the age of 9 -and this was indeed a natural order of things which happened while trying to read a newspaper and moving the brass lamp closer to where I was sitting- I found myself entangled in the most bizarre experience, where clarity of consciousness and a sense of expansion of time, did not deter me from realizing (later on) that my flesh burnt (and smelled) as any other flesh forgotten on the fire.
Net consciousness as an extended awareness where individuality gets reshaped through exosomatic memory.
Net consciousness as an extended awareness where individuality gets reshaped through exosomatic memory.
Talks by Aemilia/Αιμιλία Papaphilippou/Παπαφιλίππου
A concise presentation of my work including drawings, installations, indications of performances, and video links to either one channel video or video-projections
While my practice is fundamentally conceptual, it also engages viewers on a sensory level. The context and architectural setting are essential to my process, with each piece evolving from the last to shape the final outcome.
My artistic practice is characterised by an evolving trajectory, with each piece informing the next. While fundamentally conceptual, my work also actively engages the viewer/participant on a somatosensorial level. Context is integral to my process, and I carefully consider the circumstances and architectural setting, which ultimately shape my final proposals.
Το παραθέτω με την άδειά της.
Oι εικόνες είναι από το έργο μου «Ιεροί Λόγοι/COVID-19” που πραγματοποιήθηκε με ανάθεση του Φεστιβάλ Αθηνών Επιδαύρου στο μικρό αρχαίο θέατρο Επιδαύρου την περίοδο μεταξύ 13/8 έως 5/9/2021.
Αιμιλία Παπαφιλίππου
Both surprised and moved, I received the following text about my work from Dr. Efi Papaefthymiou, Archeologist-Museologist, Dep. Head of the Directorate of Culture and Tourism of the Municipality of Lamia.
I present it herewith with her permission.
The English translation can be found after the Greek text.
The images are from my work "Sacred Tales/COVID-19," which was commissioned by the Athens and Epidaurus Festival and took place at the Little Ancient Theater of Epidaurus between 13/8 and 5/9/ 2021.
Aemilia Papaphilippou
• “Liquid Sky”, including the functional elements, bar, and seating arrangements, was designed, constructed and supervised, in its entirety and all its phases, by the artist Aemilia Papaphilippou.
The pdf Includes a link to a making of video.
When I was a child, I was not aware that what I perceived as a constant source of aggravation was nothing else than my denial to accept, and comply, with what was commonly considered to be " the natural order of things ". Within this context, everything was expected to fall, as if by gravity, into its appropriate place -on and in our heads apparently-where, of course, we were to act accordingly, and all I simply had to do is be a " girl ". (The same of course applied to " boys" for that matter.) And yet when I was electrocuted by accident at the age of 9 -and this was indeed a natural order of things which happened while trying to read a newspaper and moving the brass lamp closer to where I was sitting- I found myself entangled in the most bizarre experience, where clarity of consciousness and a sense of expansion of time, did not deter me from realizing (later on) that my flesh burnt (and smelled) as any other flesh forgotten on the fire.
Net consciousness as an extended awareness where individuality gets reshaped through exosomatic memory.
Net consciousness as an extended awareness where individuality gets reshaped through exosomatic memory.
A concise presentation of my work including drawings, installations, indications of performances, and video links to either one channel video or video-projections