Maria Mavropoulou’s reflection on the eerie world of our digital lives

An essay by Christian Oxenius

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Maria Mavropoulou , SNF ARTWORKS Fellow 2019, portrait courtesy of the artist

As most interactions these days, the conversation between Maria Mavropoulou and myself about her practice happened virtually. Nothing out of the ordinary in these times you may rightfully argue. And yet never has the virtual space been more appropriate to discuss someone’s work as with Mavropoulou it seems. Throughout the past four years in fact, she has reflected through a variety of lenses on our relationship with the digital, it’s pervasiveness in our daily lives, the complex ways through which we have developed a symbiotic connection to devices that seem to start taking up a…

Some thoughts on the artist’s work by Andreas Ragnar Kassapis

In psychoanalysis, it is common for patients to repeatedly relate the same events. A slight change in the structure of a sentence or a word used mistakenly in the course of one of the many iterations can shift the patient’s way of thinking and force them to see themselves in the reality of the situation, now presented under a different light. Something completely obvious to one’s milieu may remain unperceived by the person in analysis. Once aware of this otherwise conspicuous trait, the patient becomes frightened. It is a little…

Interview by Argyro Mpozoni

Art historian, exhibitions and event curator and collaborator of the City of Athens Culture, Sports and Youth Organisation (OPANDA), Christoforos Marinos is behind the open-air group exhibition ‘Unhappy Monuments’, running between 10 and 20 October at Parko Eleftherias.

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Installation view, Unhappy Monuments, 2020 | Anastasia Douka, Crocodile, 2020; Spyros Kokonis, Models (Steel Beams)”, 2016–2020; Konstantinos Kotsis, When we opened our eyes 2020; Marina Papadaki, Bread and Butter 2020 | Photo: Nikos Alexopoulos

Drawing inspiration from iconoclast Marcel Duschamp’s pivotal work ‘Unhappy Readymade’ (1919), Marinos invited 14 of the 45 artists selected by ARTWORKS for the 2019 Stavros Niarchos Foundation Artist Fellowship Program to tackle the notion of the anti-monument. If ordinary monuments exude permanence, monumentality and reverentiality, an anti-monument is ephemeral, fragile and does not actively seek out the attention…

An essay by Christina Petkopoulou

“So someone would have to wait for the perfect society before daring to speak? Or perhaps speak while disguising their meaning. Or altogether assume the risk and speak in order to lie,” remarks the protagonist of Theo Prodromidis’ film Towards the Bank of the Future, 2013(2013). As bodily presence in the public sphere tragically reemerges as a right needing to be constantly reaffirmed, we are called on to invent new ways through which we will be able to speak about participatory, political or public art. What do we really mean, or what are we trying…

Review by Kiriakos Spirou

In his latest solo gallery show, multidisciplinary artist Yorgos Maraziotis lures the viewer into an environment where not everything is what it seems. The exhibition Monroe Springs at Antwerp’s Base-Alpha Gallery consists of paintings and sculptures of different sizes, installed unorthodoxly to create a carefully-planned spatial choreography that puts the viewer’s body into different situations. The deeper visitors delve into the exhibition, the more they realise that behind the show’s apparent softness and playfulness hides a much darker layer, one that is full of violence, social injustice and late-capitalism ennui.

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Installation view, Yorgos Maraziotis, Monroe Springs, 3 September — 10 October 2020. Photography by WeDocumentArt

The exhibition’s title refers to an…

An essay by Evita Tsokanta on the artistic practice of visual artist and digital media professional Theodoros Giannakis.

The imminent threat of the collapse of cultural subjectivities that has steadily been looming, partially due to the torrent of digitization, has brought about a resurfacing of the study of the universality of the senses by multiple disciplines. The sensorial revolution, as defined by anthropologist David Howes, endorses a “more relational, less holistic perspective on “the body” and its various modes of “being-in-the-world”[2]. At the same time several concerns surrounding issues of disembodiment and dematerialization have been explored in theoretical research internationally…

Εssay by Evita Tsokanta about the work of Eleni Papanastasiou

Picture yourself in front of a masterful work of art. Standing there startled, paralyzed, silenced. The flow of emotions take control, words seem to fail you and the only thing left to do is pause in unsettling peace in a desperate attempt to take it all in, not to miss a single second of being there with it, of existing in the presence of ambiguity. Now imagine that work of art surrounding you, allowing you to immerse yourself in its three-dimensional plane while its sheer dimensions remind you of and…

Essay By Jacob Moe

On February 8, 1926, filmmaker John Grierson reviewed Robert J. Flaherty’s Moana, an early docufiction film shot on the Samoan island of Savai’i, in the New York Sun. “Being a visual account of events in the daily life of a Polynesian youth and his family, [the film] has documentary value,”[1] he declared. This phrase is often cited as the first usage of the term “documentary” in relation to a filmic work, and has since then been most closely associated with the medium of film. …

Εssay by Evita Tsokanta about the work of Christos Massalas

Christos Massalas is a pleasure to talk to about all matters but most of all cinema. The force of joy that emanates when he describes his projects carries with it a life-affirming vivacity for the art of filmmaking and creativity in general. He is an endless resource of cinematic references that are not limited to the typical obscure mid-century cinematographers a director usually name-drops, but includes mainstream cinema made for popular consumption that you’ve actually seen. A rare treat if you are embarrassingly unsophisticated in art house cinema. The same…

Εssay by Evita Tsokanta about the work of Sasha Streshna

“This is what we’ve waited for
This is it, boys, this is war
The president is on the line
As ninety-nine red balloons go by

Everyone’s a super hero
Everyone’s a captain Kirk
With orders to identify
To clarify and classify

If I could find a souvenir
Just to prove the world was here”[1]

Born in 1987, two years before the fall of the Iron Curtain, in Soviet Ukraine, Alexandra/Sasha Streshna moved to Athens, Greece at the age of 11. It shouldn’t therefore come as a surprise that Streshna is…


Essays, texts and interviews about contemporary Greek artists and the Stavros Niarchos Foundation Artist Fellowship Program.

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