Training drills, 2019
memory of the world, 2019
marker on taverna table cloths
Slogans found written on the walls in the exiles self-organized dining-room or school-room of Anafi during the 1930’s.

@Phenomenon 3, a biennial project for contemporary art held in the Aegean island of Anafi, Greece

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A breakfast hosted at Apollo Temple at Anafi island


Poster at the bus station, part of Phenomenon 3


All images by Alexandra Masmanidi

Tonight, we’re going to do some very gentle whispers (with elements of haircut), 2019
wine tasting event conceptualized & curated by Eleni Tranouli @Dexamenes Seaside Hotel (more info)


One is Not Born a Dolphin, 2019
performance, 20 minutes
performed by An octopus, a dolphin and others**

One is Not Born a Dolphin, refers to Monique Wittig’s text One is Not Born a Woman and together with using role playing and camouflage as simple tools, this performance questions “natural identifications” while at the same time tries to reveal different power structures.

**An octopus, a dolphin and others is a collaborative project aiming to intervene and interact with the exhibition space and to invite different creatures to its projects.

10.One is Not Born a Dolphin, 2019 by An octopus, a dolphin and others3.One is Not Born a Dolphin, 2019 by An octopus, a dolphin and others2.One is Not Born a Dolphin, 2019 by An octopus, a dolphin and others1.One is Not Born a Dolphin, 2019 by An octopus, a dolphin and others

Practising Pleasure Where Possible, 2018
Ceramics, steel, electric wire, kitchen towels

@Geometries, curated by Locus Athens/ produced by the Onassis Cultural Center

The ceramic exhibits borrow their forms from modern and ancient breast pumps as well as sound producing objects such as megaphones and fifes. The metallic grids that function as showcases make reference to the “gossip table”*. The ceramics hanging on electric cables highlight the idea of information or/and physical substance transmission.

This work acts as a score, an ode to the idea of care that is emphasized through the use of soft towels, which is also a very useful material in sculpture. With the piece Practising Pleasure Where Possible I try to explore the transformation of society from agricultural to industrial, underlining the different roles the woman takes on patriarchal western societies.

*Gossip table: is a piece of furniture that consists of a seating area stretching out to a table where the telephone is located.

Practising Pleasure Where Possible, 2018 ©DimitrisParthimos_0213Practising Pleasure Where Possible, 2018_©DimitrisParthimos_0220Practising Pleasure Where Possible, 2018©DimitrisParthimos_0224
images (c) 2018 by Dimitris Parthimos

Hello Mrs Ramsay (Things Don’t Change That Fast), 2017

in the occassion of the launch of the new issue of the biannual publication, On the Run, Ecologies of Gaze by the art & research platform, hd.kepler, at Hot Wheels Projects Athens

Ecologies of Gaze is conceived as a study of attention through the spectrum of proximity and care. The departure point was the book “For an Ecology of Attention” where the thinker, Yves Citton, uses the theory of the economists George Franck and Maurice Goldhaber considering attention as a currency. Citton proposes a change of direction from the “One” to the “Other” and from the “We” to our environment. We have asked artists and curators how they practice attention in a world governed by automatism.

An initiative of the art research platform hd.kepler.
Graphic design: Chrysanthi Koumianaki

Texts from Mirela Baciak (Austria- Poland), Bikini (France), DEDAZO (Mexico), Montecristo Project (Italy), Εleni Riga (Greece), SUPER (Germany)

images (c) 2018 by Alexandra Masmanidi
February 17, 2018


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.
First act: Paky Vlassopoulou
*Dress code: total black*

Stemming from ceramic art of ancient civilisations, I created objects that could redefine the classical format of a formal dinner. Running along the full length of the table, there was a consistent grey surface onto which a three-legged rack was placed, one for each guest. The soup, first plate, was served in bowls placed on top of the racks. The second plate, fried baby shrimps, arrived, before even realising that no cutlery was provided until then. Finally, the main course lands directly on the grey surface together with the anticipated forks and knifes.

The dessert was granite served in a ceramic semi-feeding bottle, semi-bong device. Design meets primitivism whilst objects become ceremonial rather than just utilitarian. Through a series of unexpected episodes the dinner evolves into a collective performance that invites us to negotiate our primal instincts. Serving utensils, materials, dishes, and dining companions are put in a new sequence, known but 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

Taking as a starting point the public space, as a place where, each second, unexpected/ absurd and random encounters take place, this work aims to explore the daily use of public space and questions the vicinity between the people sharing the same public urban landscape.
What does it mean for someone to stand still at the same spot for a long time in a city like Antwerp, seemingly for no reason, under the current (turbulent) political climate and aggressive immigration policies?
For four days, at the junction between Oostenstraat and Mercatostraat, a performer stands still, waits and smokes.
At the request of the residents and on the last day of the performance the police approached the performer to investigate his intentions. At the same time a woman that resides in the neighborhood was surprised to hear that the performer was part of a visual arts project. Until then, she thought the performer was homeless, who for reasons of dignity did not ask for help.

images (c) Mark Rietveld

The anti angelic host*

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

A project by Danai Giannoglou, Ersi Varveri, Paky Vlassopoulou, Gijs Waterschoot
@The Pink House, Antwerp

The hostess as a hostage
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.

a text by Danai Giannoglou

Hello Mrs Ramsay (Things Don’t Change That Fast), 2017
30 min.
@The Living Room XL, AIR Antwerpen, curated by Alan Quireyns
Special thanks to Frederiek Weda and Kim Snauwaert

Stemming from the distance between the person who is serving and the person who is being served, this work touches upon the woman’s role as a caretaker and questions social work regardless gender.

Two performers, a professional performer and the exhibition coordinator, are taking on the role of the hosts and serve the audience wine and sea snails. However, the utensils are deformed. The ceramic carafe used to serve the wine is 80cm long and the platter’s handle is almost one meter long. Attached to their shoes they have bricks and they wear neck ruffs highlighting the role of the servant. The title of the work is referencing the protagonist of Virginia’s Woolf “To the Lighthouse”, Mrs Ramsay, a role model for wife, woman and hostess.

(c) 2017 by Alena Schmick

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

«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.

The central piece of this exhibition is 33,478 (2014-18), a sculpture comprised of a large wooden table that showcases books spines. The surface of the table alternates from glass blocks to wooden finish. I started by tearing pages of books, mostly encyclopedias, history books and dictionaries, only to keep the book spines, in order to question the manual labor behind the intellectual one. The work is using scenography, something between a staged funeral and a fashion defile, in order to unveil the void I face in contemporary cultural production.
At the opening night, 3 performers were taking orders and serving the audience but gradually failing purposefully to deliver. My ultimate goal was to infuse a feeling of temporary frustration in order to highlight the sentiment of reward over anticipation. Most of the audience left earlier due to bad service.
Lastly, the exhibition included 3 take away flipbooks with David Bowie, Muhammad Ali και Mark Fisher, who all died in the same year. The flipbooks bring the characters into motion through quick hand movements that bring back the gesture of manual labour.

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

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