- The Netherlands
Eva Fotiadi
AKV St. Joost, School of Art & Design, Faculty Member
- Contemporary Art, Public Space, Curating, Art Theory, Visual Arts, Performance Art, and 20 morePerformance Studies, Civil Society and the Public Sphere, Art History, Nationalism, Urban Studies, Migration Studies, Aesthetics, Museum Studies, History of Exhibitions, CONTEMPORARY GREEK ART, Art and Activism, Curatorial Practice (Art), Athens, Public Art, Exhibition Histories, Curating contemporary art, Theatre Studies, Socially Engaged Art, Relational aesthetics, and Any one wants to contribute for a Congress about City and Culture in Crisis times?edit
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In 1943 the Wehrmacht executed all men over the age of fourteen and burned down the town of Kalavryta in Greece. Various monuments commemorate this event that is inscribed in national history as one of the most traumatic events of WWII.... more
In 1943 the Wehrmacht executed all men over the age of fourteen and
burned down the town of Kalavryta in Greece. Various monuments
commemorate this event that is inscribed in national history as one
of the most traumatic events of WWII. Here we discuss the project of
artistic and anthropological research The Present as a Result of the
Past (PRP; 2012–ongoing) by Fotini Gouseti, that presents a more
inclusive mapping of trauma in Kalavryta and possible ways to address
it. Using the seemingly incompatible concepts of the “agonistic public
sphere” and “safe spaces” we show how PRP creates spaces for
silenced and neglected histories helping bring them to the surface.
burned down the town of Kalavryta in Greece. Various monuments
commemorate this event that is inscribed in national history as one
of the most traumatic events of WWII. Here we discuss the project of
artistic and anthropological research The Present as a Result of the
Past (PRP; 2012–ongoing) by Fotini Gouseti, that presents a more
inclusive mapping of trauma in Kalavryta and possible ways to address
it. Using the seemingly incompatible concepts of the “agonistic public
sphere” and “safe spaces” we show how PRP creates spaces for
silenced and neglected histories helping bring them to the surface.
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The fourteenth edition of documenta, the international exhibition of contemporary art, introduced in the cultural field of Greece a strong statement about the country being part of the Global South. Traditionally, documenta takes place... more
The fourteenth edition of documenta, the international exhibition of contemporary art, introduced in the cultural field of Greece a strong statement about the country being part of the Global South. Traditionally, documenta takes place every five years in the German city of Kassel. Yet the fourteenth iteration in 2017, titled 'Learning from Athens', was equally split between Kassel and Athens. As docu-menta is considered the world's most important manifestation of contemporary art, already for more than two decades its artistic directors try to make the exhibition project globally relevant. As every edition, so also the fourteenth, was accompanied by several publications that constructed a rich theoretical framework. Four years after the exhibition project's finissage, this article revisits the magazine of documenta 14, titled South as a State of Mind, in order to reflect on the conception of the terms 'South' and 'Global South' proposed there in relation to the situated Athens-based perspective. As the documenta 14 motto reassured, this was an exercise in 'learning from Athens' between 2013 and 2017: how productive did this perspective render conceptualizations of the South for the past, present or future? And what role did the intense context of the 2010s in Greece play in such conceptualizations, in the midst of the country's sovereign debt crisis, waves of refugees and social and political turmoil.
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Το βιβλίο αναφέρεται στη δημόσια τέχνη και τη διεύρυνση της συσχέτισή της με τη δημόσια σφαίρα, αποτέλεσμα της διεύρυνσης των ίδιων των καλλιτεχνικών μέσων και μεθόδων. Ο όρος «δημόσια τέχνη» (public art) εμφανίστηκε τη δεκαετία του 1960... more
Το βιβλίο αναφέρεται στη δημόσια τέχνη και τη διεύρυνση της συσχέτισή της με τη δημόσια σφαίρα, αποτέλεσμα της διεύρυνσης των ίδιων των καλλιτεχνικών μέσων και μεθόδων. Ο όρος «δημόσια τέχνη» (public art) εμφανίστηκε τη δεκαετία του 1960 και εξαρχής συνδέθηκε με τον δημόσιο χώρο και την κρατική χρηματοδότηση, στην Ελλάδα δε για πολύ καιρό ταυτιζόταν αποκλειστικά με τη δημόσια/υπαίθρια γλυπτική. Η «νέα δημόσια τέχνη» διευρύνει το πεδίο των καλλιτεχνικών δραστηριοτήτων που περικλείει ο όρος, συμπεριλαμβάνοντας την τέχνη με την κοινότητα, τη συμμετοχική/σχεσιακή τέχνη, τη net art κ.λπ., ενώ ταυτόχρονα διατηρεί τη συσχέτισή της με τις έννοιες του δημόσιου, του κοινωνικού και του πολιτικού και υποβαθμίζει τον χωρικό της προσδιορισμό.
Στο βιβλίο γίνεται η διερεύνηση των παραπάνω μέσα από μελέτες περίπτωσης, ξεκινώντας από τη γλυπτική του βάθρου, και συνεχίζοντας με έργα που παρήχθησαν στη συνέχεια της σχεσιακής, της επιτελεστικής και της αρχειακής στροφής. Καθώς δε η βιβλιογραφία για τη σύγχρονη τέχνη προέρχεται κυρίως από τον διεθνή χώρο, αγνοώντας την ελληνική σκηνή, κρίθηκε σημαντική γι’ αυτόν τον τόμο η αναφορά σε εγχώρια παραδείγματα και εντοπισμένες ιδιαιτερότητες. Εξετάζεται έτσι η τέχνη στο αστικό τοπίο ως μνήμη, ιστορία και εικόνα μέσω της ανάλυσης παραδειγμάτων από τις πόλεις της Αθήνας και της Θεσσαλονίκης (Χάρις Κανελλοπούλου, Παναγιώτης Μπίκας, Θανάσης Μουτσόπουλος). Μελετώνται βασικές έννοιες όπως οι έννοιες του δημόσιου και του ιδιωτικού, του τόπου και του χώρου καθώς και η αναπαράσταση των τελευταίων (Κώστας Βασιλείου, Δήμητρα Χατζησάββα, Ευφροσύνη Τσακίρη). Συζητούνται διευρυμένες τεχνολογικά χωρικές και επιτελεστικές πρακτικές, περιπατητικές επιτελέσεις, έμφυλες χωρικότητες και διαδράσεις μνήμης στη δημόσια σφαίρα (Βασίλης Ψαρράς, Μαρία Κονομή, Πάνος Κούρος). Τέλος, οι Εύα Φωτιάδη, Ελπίδα Καραμπά, Κώστας Ντάφλος επικεντρώνονται στο πεδίο της νέας δημόσιας τέχνης και της (ψηφιακής) δημόσιας σφαίρας.
Στο βιβλίο γίνεται η διερεύνηση των παραπάνω μέσα από μελέτες περίπτωσης, ξεκινώντας από τη γλυπτική του βάθρου, και συνεχίζοντας με έργα που παρήχθησαν στη συνέχεια της σχεσιακής, της επιτελεστικής και της αρχειακής στροφής. Καθώς δε η βιβλιογραφία για τη σύγχρονη τέχνη προέρχεται κυρίως από τον διεθνή χώρο, αγνοώντας την ελληνική σκηνή, κρίθηκε σημαντική γι’ αυτόν τον τόμο η αναφορά σε εγχώρια παραδείγματα και εντοπισμένες ιδιαιτερότητες. Εξετάζεται έτσι η τέχνη στο αστικό τοπίο ως μνήμη, ιστορία και εικόνα μέσω της ανάλυσης παραδειγμάτων από τις πόλεις της Αθήνας και της Θεσσαλονίκης (Χάρις Κανελλοπούλου, Παναγιώτης Μπίκας, Θανάσης Μουτσόπουλος). Μελετώνται βασικές έννοιες όπως οι έννοιες του δημόσιου και του ιδιωτικού, του τόπου και του χώρου καθώς και η αναπαράσταση των τελευταίων (Κώστας Βασιλείου, Δήμητρα Χατζησάββα, Ευφροσύνη Τσακίρη). Συζητούνται διευρυμένες τεχνολογικά χωρικές και επιτελεστικές πρακτικές, περιπατητικές επιτελέσεις, έμφυλες χωρικότητες και διαδράσεις μνήμης στη δημόσια σφαίρα (Βασίλης Ψαρράς, Μαρία Κονομή, Πάνος Κούρος). Τέλος, οι Εύα Φωτιάδη, Ελπίδα Καραμπά, Κώστας Ντάφλος επικεντρώνονται στο πεδίο της νέας δημόσιας τέχνης και της (ψηφιακής) δημόσιας σφαίρας.
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Published on the blog of the Disability Studies in the Netherlands Foundation on 31/08/2019 https://disabilitystudies.nl/en/blog/otherabilities-festival-amsterdam The OtherAbilities is a series of public and semi-public events that have... more
Published on the blog of the Disability Studies in the Netherlands Foundation on 31/08/2019 https://disabilitystudies.nl/en/blog/otherabilities-festival-amsterdam The OtherAbilities is a series of public and semi-public events that have started in Amsterdam in March 2019 by artist Adi Hollander, were curated by Adi Hollander in collaboration with art historian Eva Fotiadi. The blog shares some thoughts from the perspective of curating a Festival that included projects of art, design, music, sound art and technology.
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Since the mid-2000s, site-specific interventions in public space by artist collectives have become a frequent phenomenon in Athens. Less known and discussed are the earliest examples of this phenomenon. Three such performative... more
Since the mid-2000s, site-specific interventions in public space by artist collectives have become a frequent phenomenon in Athens. Less known and discussed are the earliest examples of this phenomenon. Three such performative interventions took place in the so-called refugee houses on Alexandras Avenue (construction 1933–1935), two by the group Αστικό Κενό (Urban Void) and another by Λάθος Κίνηση (Wrong Movement). They took place in 2000 and 2003, in parallel with a citizen protest againstgentrification plans for the houses' demolition. Being site-specific meant that they were intervening in the physical, architectural site, as well as in a public debate mobilized by the protest and focused mainly on the site's significance as a monument. The article argues that through the form of their interventions, the groups approached the site through the experience of the past in the present. They foregrounded the experience of time and space in the instant of their actions, in which past and present come together and dynamically interact with one another, but without offering a coherent historical narrative. This approach deviated significantly from the dominant public discourses that saw the houses primarily as markers of national, political, and social history, often characterized by selectively constructed and ideologically laden narratives of historical continuity from the 1930s to the present.
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The article argues that after December 2008 the continuous presence in public space in Athens, as well as the spectacular mediatization by news media, of various forms of so-called “anomie” and since 2012 of its spectacular and violent... more
The article argues that after December 2008 the continuous presence in public space in Athens, as well as the spectacular mediatization by news media, of various forms of so-called “anomie” and since 2012 of its spectacular and violent repression by the police, were instrumentalized by the Greek austerity government in an attempt to enhance and manipulate already existing feelings of precarity and insecurity among the population. Organized police operations in public space were turned into ‘media events’. Specifically ‘affective precarity’ is considered as a way of demobilizing precarity as a politically and economically operative concept. The article adopts Lauren Berlant’s analysis of the relation between ‘precarious people’ and the ‘austerity state’, as well as her concept of ‘cruel optimism’. Further, it draws on Paul Virilio’s approach to the administration of fear in relation to contemporary instantaneous means of communication that allow a synchronization of emotions beyond geographical limitations, as well as on Frank Esser and Jeroen Strömbäck’s notion of the contemporary mediatization of social reality and politics.
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Written during winter 2014-15
http://nomadikiarxitektoniki.net/en/texts-en/flesh-stone-and-contemporary-artistic-practices/#more-1056
http://nomadikiarxitektoniki.net/en/texts-en/flesh-stone-and-contemporary-artistic-practices/#more-1056
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Κάθε απόπειρα να ασχοληθεί κανείς σήμερα με τον συλλέκτη Αλέξανδρο Ιόλα και τη συλλογή του ξεκινά από μια σημαντική αφετηρία. Μετά τον θάνατο του Ιόλα το 1987 και τη σταδιακή εξαφάνιση της συλλογής, κάθε νέα προσέγγιση συνιστά ουσιαστικά... more
Κάθε απόπειρα να ασχοληθεί κανείς σήμερα με τον συλλέκτη Αλέξανδρο Ιόλα και τη συλλογή του ξεκινά από μια σημαντική αφετηρία. Μετά τον θάνατο του Ιόλα το 1987 και τη σταδιακή εξαφάνιση της συλλογής, κάθε νέα προσέγγιση συνιστά ουσιαστικά μια «μυθική» αφήγηση που βασίζεται στη μελέτη προηγούμενων αφηγήσεων – αφηγήσεων μέσα από λέξεις και εικόνες, παραδείγματος χάριν σε συνεντεύξεις, άρθρα εφημερίδων, εκπομπές και τη βιογραφία του. Η απουσία ως αφετηρία μπορεί, ωστόσο, να λειτουργήσει και ως ερευνητικό εργαλείο. Διότι ποιός είναι ο λόγος που ο συλλέκτης και η συλλογή από έργα τέχνης, αρχαιότητες, αντίκες, πολύτιμα αντικείμενα, αλλά και από ιστορίες, εμπειρίες και σχέσεις επανέρχονται μέχρι σήμερα στην επικαιρότητα, αν όχι οι κοινωνικές, πολιτισμικές, οικονομικές και ακόμη και πολιτικές σχέσεις που καθόρισαν τη συμβολική και υλική αξία της συλλογής; Με αφορμή τις πρόσφατες δράσεις της Ομάδας Φιλοπάππου (2011), σε αυτό το κείμενο θα αναφερθώ στον «μύθο» του Ιόλα μέσα από τρία είδη αφηγήσεων από παλαιότερα έτη στον Τύπο, στην τηλεόραση και σε εκθέσεις.
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A photo essay
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Η συγγραφή της ιστορία της επιμελητικής δραστηριότητας στο χώρο της σύγχρονης τέχνης έχει βασιστεί κυρίως στη μελέτη της δουλειάς λίγων πρωτοπόρων επιμελητών όπως ο Harald Szeemann, η Lucy Lippard και ο Seth Siegelaub, οι οποίοι έχουν... more
Η συγγραφή της ιστορία της επιμελητικής δραστηριότητας στο χώρο της σύγχρονης τέχνης έχει βασιστεί κυρίως στη μελέτη της δουλειάς λίγων πρωτοπόρων επιμελητών όπως ο Harald Szeemann, η Lucy Lippard και ο Seth Siegelaub, οι οποίοι έχουν αποκτήσει το κύρος δημιουργού, ενίοτε συγκρινόμενου με τον καλλιτέχνη ως δημιουργό. Ωστόσο μέσα από μια συστηματική μελέτη της ιστορίας πρωτοπόρων εγχειρημάτων στην επιμέλεια εκθέσεων σύγχρονης τέχνης –και ιδιαίτερα εκείνων χάρη στα οποία η επιμελητική δραστηριότητα καθιερώθηκε ως ανεξάρτητο επάγγελμα – διαπιστώνει κανείς πως η εικόνα του χαρισματικού επιμελητή ως «δημιουργού» είναι ως ένα βαθμό κατασκευασμένη. Πολύ συχνά, σημαντικά καινοτόμα εγχειρήματα στην ιστορία της επιμέλειας εκθέσεων προέκυψαν από εγχειρήματα συλλογικά, όχι ατομικά, ακόμη και αν στην ιστορία τους τέθηκε η σφραγίδα του ονόματος του επικεφαλής επιμελητή.
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WHAT DO I HEAR? was a collective artistic research project that aimed to prototype tools for sensory translation from audible sound to vibrotactile stimuli. These tools should potentially be embeddable in the architecture of spaces where... more
WHAT DO I HEAR? was a collective artistic research project that aimed to prototype tools for sensory translation from audible sound to vibrotactile stimuli. These tools should potentially be embeddable in the architecture of spaces where works of visual or performing arts are presented to the public. The sensory translation is a fascinating possibility offered to anyone interested in exploring relations between one's sensory experience of art. At the same time, the project served a vision of inclusion: to enable individuals with diverse hearing abilities to 'sense' sound haptically with their bodies while using the space just like everyone else.
This booklet contains instructions to construct and use the prototypes created during the artistic research project WHAT DO I HEAR?. Some of the prototypes were later taken to the next stage of use in order to build walls, floors, bannisters and other architectural surfaces as part of the project, HAPTIC ROOM STUDIES #1 #2 #3.
Edited by Adi Hollander & Eva Fotiadi
Texts by David Bobier, Eva Fotiadi, Mark Ijzerman, Adi Hollander, Ildikó Horváth, Rebecca Kleinberger, Alina Ozerova, Jim Ruxton, Andreas Tegnander, Akito van Troyer.
ISBN 978-90-9036703-3
This booklet contains instructions to construct and use the prototypes created during the artistic research project WHAT DO I HEAR?. Some of the prototypes were later taken to the next stage of use in order to build walls, floors, bannisters and other architectural surfaces as part of the project, HAPTIC ROOM STUDIES #1 #2 #3.
Edited by Adi Hollander & Eva Fotiadi
Texts by David Bobier, Eva Fotiadi, Mark Ijzerman, Adi Hollander, Ildikó Horváth, Rebecca Kleinberger, Alina Ozerova, Jim Ruxton, Andreas Tegnander, Akito van Troyer.
ISBN 978-90-9036703-3
Research Interests: Deaf studies, Disability Studies, Film Music And Sound, Diversity & Inclusion, Interdisciplinary mixed media multisensory performance art; and the influence of sensory and cognitive idiosyncrasies in Autism on creative process., and 4 moreMultisensory Design, Arts and Disability, Sensory Augmentation, and Museum Studies: Museums and Social Inclusion
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In 1943 the Wehrmacht executed all men over the age of fourteen and burned down the town of Kalavryta in Greece. Various monuments commemorate this event that is inscribed in national history as one of the most traumatic events of World... more
In 1943 the Wehrmacht executed all men over the age of fourteen and burned down the town of Kalavryta in Greece. Various monuments commemorate this event that is inscribed in national history as one of the most traumatic events of World War II. In this paper we discuss the project of artistic and anthropological research 'The Present as a Result of the Past' (PRP; 2012 ongoing) by Fotini Gouseti, which attempts a more inclusive mapping of trauma in Kalavryta and ways to address it. Using the seemingly incompatible concepts of the ‘agonistic public sphere’ and ‘safe spaces’ we discuss how PRP creates spaces for silenced and neglected histories to surface.
Fotini Gouseti & Eva Fotiadi
Fotini Gouseti & Eva Fotiadi
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Conference program 'Modern Greek Studies in the 21st Century. Perspectives and Practices in Cultural Analysis'. University of Oxford, 31 Jan - 1 Feb 2020.
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paper presented at the closing conference of the two-year art and anthropology research project Learning from Documenta, held in Athens 4-8 October 2017. http://learningfromdocumenta.org/
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Paper for the Workshop. Buying the marvellous: Galleries, Collectors and dealers of Surrealism 1945-1969. Paris : Deutsches Forum für Kunstgeschichte 28-29 Sept 2017.
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A lot has been heard in recent years about contemporary art in Athens. In the international press it is often portrayed as a vibrant scene that resists the financial crisis. By now there is even a fetishism around experiencing Athens,... more
A lot has been heard in recent years about contemporary art in Athens. In the international press it is often portrayed as a vibrant scene that resists the financial crisis. By now there is even a fetishism around experiencing Athens, boosted also by large-scale artistic events that mobilize a mix of international interdisciplinary professionals from the arts and the creative industries, art-activists and so on. In this lecture I will talk particularly about artists' groups and the rise of collectives since roughly 2000. Similarly to other phenomena that the ongoing anomalous social, political and financial situation has accentuated, collectivity in art has also its own continuities and discontinuities with the years before.
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Eva Fotiadi Abstract Promoting in public discourse the idea of being in a temporary state of emergency due to an exceptional situation is an easy way for a state to allow itself to take more freedoms, introducing measures that should be... more
Eva Fotiadi Abstract Promoting in public discourse the idea of being in a temporary state of emergency due to an exceptional situation is an easy way for a state to allow itself to take more freedoms, introducing measures that should be unthinkable under " normal " circumstances in a democratic state. European states have too long a tradition of democracy to justify extremes such as Mohamed Morsi's act of granting himself unlimited powers. After six years of " Greek Crisis " it seems obvious to economists as much as to many citizens that the measures imposed by the troika in agreement with the Greek governments since 2008 do not offer a sustainable solutions, especially after the last package of support will have been delivered but without much investment in forms of economic development. The current government has been precarious from the start—a coalition of yesterday's opponents with a low majority—a large part of the population lives under precarious conditions, but somehow governmental interventions and measures seem to diffuse and disperse certain understandings of precarity. In this paper I will refer specifically to measures concerning public spaces. For instance, the targeting of certain groups of the population, such as sex workers found to be HIV positive and characterised in public as " hygiene bomb " ; or regularly taken temporary measures such as temporary closing metro stations and roads in the centre, reducing lights in public spaces etcetera on occasions of sensitive political, especially international meetings. The promotion of a certain understanding of causes of precarity in public space operates as tool for a locally rather weak government to sustain itself, while not addressing in sustainable ways actual causes of precarity that have transformed areas of the city centre into unwelcoming, sometimes also dangerous zones.
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In 1963 the director of the Stedelijk Museum Amsterdam, Willem Sandberg, proposed as his successor the Swede Pontus Hultén, then director of Stockholm's Moderna Museet. The idea didn't flourish, however it was indicative of the... more
In 1963 the director of the Stedelijk Museum Amsterdam, Willem Sandberg, proposed as his successor the Swede Pontus Hultén, then director of Stockholm's Moderna Museet. The idea didn't flourish, however it was indicative of the interesting, yet largely overlooked relations between two pioneering figures in the establishment of museums of modern art in Europe. Both directors had opened their museum collections and exhibitions to international artists, both had paid special attention to publications as a medium for the dissemination of contemporary art and culture, and both supported innovative and unprecedented ways of working with artists, that stirred public controversy in their time (e.g., Sandberg's Cobra and Dylaby shows, Hultén's " replicas " of Marcel Duchamp's works). In our paper we will retrace relations between (the stories and practices of) Willem Sandberg and Pontus Hultén. In the context of the recent interest in the histories of exhibitions and of curating, we will attempt to revisit and re-evaluate the legacy of their unique collaboration. Could one speak of tendencies of neglect, in the context of European inter-and transnational histories of modern art museums and networks? Could their retracing be relevant for the contemporary global art world and its perception of Western art institutions and their historical canons?
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This event is the second conference organized by the “Greek Studies Now” Cultural Analysis Network. The conference brings together scholars from all career stages whose work is (partly) situated in Modern Greek Studies, with a particular... more
This event is the second conference organized by the “Greek Studies Now” Cultural Analysis Network.
The conference brings together scholars from all career stages whose work is (partly) situated in Modern Greek Studies, with a particular emphasis on graduate students, postdoctoral researchers and early career scholars. It will offer young scholars the opportunity to showcase their work, give and receive feedback, and create networks leading to further collaborations and joint projects.
By inviting speakers situated in Modern Greek studies alongside speakers working (partly) in other fields, we will explore how cases from modern and contemporary Greek culture, literature, politics, and history can be brought to bear on broader theoretical, cultural, social debates. We will ask how Modern Greek studies could be repositioned through an engagement with such global debates and through comparative perspectives.
We aim at inclusivity and diversity in speakers and audiences and at stimulating interdisciplinary dialogues that will take scholars outside the comfort zones of their disciplines.
The conference brings together scholars from all career stages whose work is (partly) situated in Modern Greek Studies, with a particular emphasis on graduate students, postdoctoral researchers and early career scholars. It will offer young scholars the opportunity to showcase their work, give and receive feedback, and create networks leading to further collaborations and joint projects.
By inviting speakers situated in Modern Greek studies alongside speakers working (partly) in other fields, we will explore how cases from modern and contemporary Greek culture, literature, politics, and history can be brought to bear on broader theoretical, cultural, social debates. We will ask how Modern Greek studies could be repositioned through an engagement with such global debates and through comparative perspectives.
We aim at inclusivity and diversity in speakers and audiences and at stimulating interdisciplinary dialogues that will take scholars outside the comfort zones of their disciplines.
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Up until a few decades ago the humanities were conceived around canons of Western history, culture and thought spanning from ancient Greek antiquity to the present day. Eurocentrism structured disciplinary narratives and academic... more
Up until a few decades ago the humanities were conceived around canons of Western history, culture and thought spanning from ancient Greek antiquity to the present day. Eurocentrism structured disciplinary narratives and academic programs, and assigned importance and value to the humanities since the latter legitimized a hierarchical organization of the world around nations, cultures, races, religions, genders, centers/peripheries and so on. As geopolitics change and the dominance of the West is confronted with its impact on human and non-human ecosystems around the globe, a more symbiotic approach to diverse cultures, identities, beliefs and narratives in the plural is gaining ground in academia.
Amidst this rapidly shifting social, political, conceptual and epistemological framework, we want to revisit the workings of art and its histories seeing them as a timely, relevant field which has a part to play 'in the cultural and social study of the Greek world in the 21st century.' How do processes of globalization in tandem with the specific historical and geopolitical position of Greece affect the production, display and theorization of art and artistic practices? In turn, how can we use art's products and histories to talk about Greece in the 21st century? And in what ways do fields such as anthropology, cultural analysis or economy intersect with contemporary art and art theory?
Amidst this rapidly shifting social, political, conceptual and epistemological framework, we want to revisit the workings of art and its histories seeing them as a timely, relevant field which has a part to play 'in the cultural and social study of the Greek world in the 21st century.' How do processes of globalization in tandem with the specific historical and geopolitical position of Greece affect the production, display and theorization of art and artistic practices? In turn, how can we use art's products and histories to talk about Greece in the 21st century? And in what ways do fields such as anthropology, cultural analysis or economy intersect with contemporary art and art theory?
Research Interests:
OPEN CALL FOR PARTICIPATION -SEMINARS ON HYDRA, GREECE Exhibition Histories from the 17th century to the present Athens School of Fine Arts & Hydra 21 1 ST Seminar with ASAD RAZA. Deadline for applications July 1st. For application... more
OPEN CALL FOR PARTICIPATION -SEMINARS ON HYDRA, GREECE Exhibition Histories from the 17th century to the present Athens School of Fine Arts & Hydra 21 1 ST Seminar with ASAD RAZA. Deadline for applications July 1st. For application instructions see attached cfp.
Organizers: Irini Marinaki, Konstantinos Stefanis, Eva Fotiadi
ASFA scientific advisors: Prof. N. Daskalothanasis, Prof. Zafos Xagoraris
The seminar WHAT DO EXHIBITIONS WANTS? is part of the "Exhibition Histories from the 17th century to the present" events, which are organised under the auspices of the Athens School of Fine Arts and in collaboration with the not-for-profit association Hydra 21.
Organizers: Irini Marinaki, Konstantinos Stefanis, Eva Fotiadi
ASFA scientific advisors: Prof. N. Daskalothanasis, Prof. Zafos Xagoraris
The seminar WHAT DO EXHIBITIONS WANTS? is part of the "Exhibition Histories from the 17th century to the present" events, which are organised under the auspices of the Athens School of Fine Arts and in collaboration with the not-for-profit association Hydra 21.
Research Interests:
March 2nd: A day of lectures with Wendy Jacob, David Bobier, Rebecca Kleinberger, Marlon Miguel, Simon Dogger, Marleen Hartjes, David Smeulders. Moderator Jules Sturm.
Curated by Adi Hollander and Eva Fotiadi.
Curated by Adi Hollander and Eva Fotiadi.
Research Interests:
The workshop will focus on city-scapes that have recently been radically reconfigured through pervasive frameworks of crisis – financial, political, humanitarian etc. We want to explore alternative experiences of urban space, new artistic... more
The workshop will focus on city-scapes that have recently been radically reconfigured through pervasive frameworks of crisis – financial, political, humanitarian etc. We want to explore alternative experiences of urban space, new artistic imaginaries, and innovative cultural initiatives emerging from such urban crisis-scapes by centering on two distinct but interrelated thematic lines:
Day one : Ruins
Day two : Walks
Day one : Ruins
Day two : Walks
The Professorship of art and public space organizes a symposium on the transformations of the public realm and the possibilities for art and design to play a role there since the 1960s. Dutch policies regarding public space have a long... more
The Professorship of art and public space organizes a symposium on the transformations of the
public realm and the possibilities for art and design to play a role there since the 1960s.
Dutch policies regarding public space have a long history of ideas on the communal and
educational potentials of visual art. Shifts in concepts and practices of public space as well as
concepts of art have given this tradition new directions.
During the last decades artworks have for instance been functioning as stimuli for the senses, as
demarcations for specific places and spaces, and as agents for social change. This symposium
focuses on the relation between art and the public domain in the post-industrial societies and
more specifically on the transformations during the last 40 years.
public realm and the possibilities for art and design to play a role there since the 1960s.
Dutch policies regarding public space have a long history of ideas on the communal and
educational potentials of visual art. Shifts in concepts and practices of public space as well as
concepts of art have given this tradition new directions.
During the last decades artworks have for instance been functioning as stimuli for the senses, as
demarcations for specific places and spaces, and as agents for social change. This symposium
focuses on the relation between art and the public domain in the post-industrial societies and
more specifically on the transformations during the last 40 years.
Research Interests:
In contemporary artistic, media and philosophical discourses the notion of the 'event' has gained considerable currency. Since the 1990s the event has been central to a range of performative, media-based, socially and politically engaged... more
In contemporary artistic, media and philosophical discourses the notion of the 'event' has gained considerable currency. Since the 1990s the event has been central to a range of performative, media-based, socially and politically engaged artists' work, as well as in artists' involvement in/with non-artistic projects and practices ranging from political protest to scientific research. The growth of interest towards the potentials of art openly working with reception and/or participation as its methods has also lead to institutional commissions of this type of artistic work. For the institutions event-based art has triggered entirely new questions about the documentation and preservation of artistic practices. While the concept of the 'event' has been extensively elaborated upon in some fields – for instance, in theatre studies, urban studies and especially in philosophy, in recent art history and cultural theory, there are still few attempts of theorization. This conference sets out to articulate the meaning of the 'event' in relation to artistic, media-based and performative cultural practices. We invite presentations articulating the range of performative, conceptual, media-based, game-based, relational, participatory and other practices that can be approached as events. Elaborations on the methodological issues of studying events are also welcomed.
Research Interests:
The PUBLIC DOMAIN is a project by Lo and Behold and consists in 50 interventions in the public space of 25 different cities, and has been presented in 2 phases: first in Stockholm Supermarket Independent Art-Fair in 2012 and successively... more
The PUBLIC DOMAIN is a project by Lo and Behold and consists in 50 interventions in the public space of 25 different cities, and has been presented in 2 phases: first in Stockholm Supermarket Independent Art-Fair in 2012 and successively in Geneva Milkshake-agency project space in 2014.//////
Curated by: Artemis Potamianou and Giorgos Papadatos.
Essays by: Elpida Karaba, Costantina Theodorou, Eva Fotiadi and Kostis Stafylakis
Graphic Design: Delia Potamianou//////
Participating artists:
Lanfranco Aceti - Elena Bajo - Ludovic Bernhardt - Bianco-Valente -
Marc Bijl & Alejandro Vidal - Erik Binder - Campus Novel - Dimitris Christidis - Common Culture - Julie René de Cotret - Benoît Delaunay - Alix Delmas -Guillaume Durand - Yiannis Grigoriadis - Gaël Grivet - Guerrilla Girls - Giorgos Gyparakis - Emma Hammarén - Internationale Surplace - Yiannis Isidorou - Lilli Kinnunen - Thanos Klonaris - Stephen Lee - Maria Lianou - Tea Mäkipää - Sanna Marander - Eva Marathaki - Jenny Marketou - Dimitra Marouda - Maro Michalakakos - Tanja Ostojic - Eftihis Patsourakis - Celine Peruzzo - Derrick Piens - Iris Plaitakis - Theo Prodromidis - Luke Ralphs - Erika Rothenberg –
Société Réaliste - Vassiliea Stylianidou - Yorgos Taxiarchopoulos - Lina Theodorou - Magnus Thierfelder - Eugenio Tibaldi - Sofia Touboura - Nikos Tranos - Alexia Turlin - Andreas Voussouras -
Theodoros Zafeiropoulos - Italo Zuffi
The publication was realized with the support of NEON.
Curated by: Artemis Potamianou and Giorgos Papadatos.
Essays by: Elpida Karaba, Costantina Theodorou, Eva Fotiadi and Kostis Stafylakis
Graphic Design: Delia Potamianou//////
Participating artists:
Lanfranco Aceti - Elena Bajo - Ludovic Bernhardt - Bianco-Valente -
Marc Bijl & Alejandro Vidal - Erik Binder - Campus Novel - Dimitris Christidis - Common Culture - Julie René de Cotret - Benoît Delaunay - Alix Delmas -Guillaume Durand - Yiannis Grigoriadis - Gaël Grivet - Guerrilla Girls - Giorgos Gyparakis - Emma Hammarén - Internationale Surplace - Yiannis Isidorou - Lilli Kinnunen - Thanos Klonaris - Stephen Lee - Maria Lianou - Tea Mäkipää - Sanna Marander - Eva Marathaki - Jenny Marketou - Dimitra Marouda - Maro Michalakakos - Tanja Ostojic - Eftihis Patsourakis - Celine Peruzzo - Derrick Piens - Iris Plaitakis - Theo Prodromidis - Luke Ralphs - Erika Rothenberg –
Société Réaliste - Vassiliea Stylianidou - Yorgos Taxiarchopoulos - Lina Theodorou - Magnus Thierfelder - Eugenio Tibaldi - Sofia Touboura - Nikos Tranos - Alexia Turlin - Andreas Voussouras -
Theodoros Zafeiropoulos - Italo Zuffi
The publication was realized with the support of NEON.
Research Interests:
THREE PODCASTS “Critical reflections on sound as a multi-sensory experience” “Art from one sense to the other” “Tangible sound” In News from the World, a series of podcasts for Radio Utopia – The Ball of Sounds a week of research... more
THREE PODCASTS
“Critical reflections on sound as a multi-sensory experience”
“Art from one sense to the other”
“Tangible sound”
In News from the World, a series of podcasts for Radio Utopia – The Ball of Sounds a week of research and creation 1-5 August 2023.
18th Venice Architecture Biennale
As part of the French Pavilion
Ball Theater / The party is not over
“Critical reflections on sound as a multi-sensory experience”
“Art from one sense to the other”
“Tangible sound”
In News from the World, a series of podcasts for Radio Utopia – The Ball of Sounds a week of research and creation 1-5 August 2023.
18th Venice Architecture Biennale
As part of the French Pavilion
Ball Theater / The party is not over