An essay by Christian Oxenius

Ionian Bisai. Photo credit: Kanaris Tsiganos

Moving image, since its first use, has given artists and cineastes a tool to link the real and the phantastic, the experienced and the unimaginable, the monumental and the deepest individual feeling. The monumental and the individual, it is from this dichotomy that I’d like to start to reflect on the work of Ionian Bisai and by extension of the collective Latent Community which he formed with Sotiris Tsiganos in 2017. I want to do so because although diverse in subject and style many of the works I had the pleasure to see, present us…


How Maria Sideri’s work and research confronts the archive as a space of action rather than accumulation

An essay by Christian Oxenius

(Above) Portrait of Valentine de Saint Point Agence de presse Meurisse, Bibliothèque nationale de France. (Below) Album Reutlinger de portraits divers, vol. 42, photographie positive, Valentine de Saint, Date: between 1875 and 1917, National Library of France (BnF)

In a text until recently largely forgotten by critics and historians one of the fathers of Futurism Filippo Tommaso Marinetti, with a light-hearted tone be it undeniably imbued with sexist and misogynist remarks, describes in under two hundred pages the art of seduction, for the ideal futurist. The short pamphlet “Come si seducono le donne” [How to seduce women, translation by the author][1] serves as a mirror to glimpse at the evolution of one of the main characters behind the futurist movement who, just a few years prior in the Futurist Manifesto (point 9) had…


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

An essay by Christian Oxenius

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.

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.

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. …

ARTWORKS Fellows

Essays, texts and interviews about contemporary Greek artists and the Stavros Niarchos Foundation Artist Fellowship Program. www.art-works.gr

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