If Future a Dead Loss, 2017
Werft 5 – Raum für Kunst, Cologne, Germany
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.
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
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
Desert bloom, 2015
cactus, insulating (electrical) tape, greenhouse-kit, clay, marble
At the Baths, Sterna Nisyros Residency,
curated by Xenia Kalpaktsoglou,
Is it all white?
@Athens School of Fine Arts, “Nikos Kessanlis” Exhibition Hall, 2014
All photos by Mariza Nikolaou
Θέλω να κάνω σαματά/ σαν τον κακό Γενάρη/να ρίξω χιόνια και νερά/ άλλος να μην σε πάρει./ Twinkle, twinkle little star./ how I wonder what you are./Up above the world so high/ like a diamond in the sky, 2014/ Clay, wood, wire, twine, book pages, fabric, tape/ Dimensions variable
photos by Natalia Tsoukala