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