22nd & 23rd of January, 8:30 PM 

Museum of Cycladic Art 

This is a collaboration between the independent artist run space 3 137 and the Museum of Cycladic Art. The aim is to highlight a new ways of support, partnership and artistic production between established institutions and cultural developments in the city of Athens. It has an experimental character and it aims to create original and unexpected encounters.

First act: Paky Vlassopoulou
*Dress code: total black*
Having ceramic art of ancient civilisations as the starting point, Paky Vlassopoulou manufactures objects that redefine the classical format of a formal dinner. Design meets primitivism whilst objects become ceremonial rather than just utilitarian. Through a series of  unexpected episodes the dinner evolves into a ritual that invites us to handle our primal instincts. Serving utensils, materials, dishes, and our dining companions are placed in a new sequence which is known to us but also unprecedented.

images (c) 2018 by Ilias Seferlis-Frantzis


Smoking and waiting. Waiting and smoking.(The Stranger I)
perfomance in public space
Monday 25.09.2017 – Thursday 28.09.2017
from 4.30 p.m until sunset
at BRDG, Antwerp
Special thanks to Mathias Mu

Revisiting the public space as a space where strange and accidental encounters take place every second, this performance explores the daily use of public space and questions the proximity between individuals that share the same cityscape.
In a moment where mobility rights are threatened what does it mean to stand still in a city like Antwerp for quite long without any justification?

images (c) Mark Rietveld

The anti angelic host

@The Pink House, Antwerp

a project by Danai Giannoglou, Ersi Varveri, Paky Vlassopoulou, Gijs Waterschoot

&release of the PHp 1 magazine
contributions by
Gregor Andzelm, Machteld Bernaert, Jo Camino, Valentin Cernat, Camille Cluzan, Lynn Depreeuw, Voebe de GruyterMichaella Del Brollo, Nico Dockx, Fabio Ramirez Enrique, Casper Fitzhue, Adam Galach, J.Krissis, Erik Hagoort, Erin Helsen, Rien Schellemans, Idris Severans, Sorry Future Proof, Vasilis Papageorgiou, Zena Van De Block, Danielle Van Zuijlen


The hostess as a hostage
A text by Danai Giannoglou

I am in an empty house which is full of people, I do not know what to do with my hands nor my mouth. When I wake up I pretend to sleep for a little longer and every time I need to use the bathroom I do the same thing.

I feel like a mother who thought she wanted children, because she thought they were something else than what they actually are. I feel like a mother who doesn’t like her kids.

This summer I woke up from a terrible nightmare. The nightmare was that the people living in my guest house had drunk water from the tap which I forgot to tell them that wasn’t potable.

In French the same noun is used to describe the host and the guest. This noun is masculine. When the noun is used in feminine it only evokes the hostess.

My mother used to say to my father «what would you like to do for your birthday honey?» and she would go on «just do not tell me you want to invite people over»

I wonder if we spend all of our lives being either hosts or guests. What do you do better?

Yesterday night I googled: Ideas on how to be a good hostess when at the same time you feel like a stranger.

A hot host held a hostess hostage, the hostage hostess shot the host, it was hot.


*The title of the show is borrowed from The Anti-Angelic host – On Virginia Woolf and the politics of hosting by Jan Verwoert

If Future a Dead Loss, 2017
Werft 5 – Raum für Kunst, Cologne, Germany
installation, performance

2 hours approx.
Opening night. The waitresses stop serving drinks at a certain point of the night for no apparent reason. The visitors of the exhibition get involved in a particular frustrated transaction because of not being informed in advance.

Flip books
10 cm x 5 cm
Available for public to take away.
David Bowie, Muhammad Ali, Mark Fisher (all died the same year)

«What happens if the young are no longer capable of producing surprises?»*
Conceived as a sculptural gesture, If Future a Dead Loss plays with the notion of a tribute to personal and collective expectations of western cultural production. How does cultural history shape our notions of past, present, and future? Is there any time left to envision the future? Is future a dead loss?

*Mark Fisher, Capitalist Realism: Is There No Alternative?, John Hunt Publishing, 2009

Flip Book with David Bowie’s «Heroes» album cover, released in 1977

Cause love is such an old fashioned word (Δουρειος Ίππος), 2016
@Enterprise Projects
Installation, fanzines
A text commenting on the installation written by the artist Kosmas Nikolaou was displayed close to the benches. Πεζοτράγουδα για την Καλλιόπη (ή διαφορετικά το πένθος ταιριάζει στη Ηλέκτρα)

With a contemplation that begins with the case of the Kalabsha temple in Egypt and with the old story of the Trojan Horse, Cause love is such an old-fashioned word (Δούρειος Ίππος) is an exhibition about the ideas of monument and moving, of ruin and time and ultimately about war and seduction. The exhibition space becomes a false historical site where everything that is used for its construction is either found randomly in the space or brought from the artist’s studio mostly as leftovers. The Welcome banner imposes the in-between moment that any encounter holds.

δελτίο τύπου / press release

photos: Stathis Mamalakis

Be quiet, 2016
Wood venner, plastic bags, marbles, prints, screwdriver, staryfoam, wheels, plastic bottles
NEVAN CONTEMPO, Prague/ Czech Republic
curated by Edith Jeřábková

For this exhibition pieces of marbles inside plastic bags were transported from Greece to Prague. Images of the studio and the house of the artist showed movement and immobility, a collage of wood veneers delimited the space and bottles with water where balancing on wheels.

«I imagine a performer whispering “be quiet” in the ears of visitors, I imagine a male figure screaming at his desk, a psychotherapist with his client, a group of people in danger, a mother and child, and an artist in an empty room. All of these incarnations are stereotypical, since they live in us like archetypes from the past, though their irruption creates an uncertain tension. Fear of the historical means enslavement in the present. Controlled repetition has the ability to affect other recognition receptors. This exhibition should be both a particular and a universal starting point for individual considerations.»
part of the curatorial text by Edith Jeřábková, read the full text/CZ_EN

images by Peter Fabo