Teaching a workshop at the Architecture School Paris-Malaquais (8–12th of February 2021). By Madlen Anipsitaki

I have stretched ropes from bell-tower to bell-tower; garlands from window to window; chains of gold from star to star, and I dance.

Arthur Rimbaud, Illuminations

In Fairy tales, Francis Alÿs unfolded his pull-over’s thread in the city. Fairy tale, idea, limit, bond, trail, the thread makes up a light and ephemeral architecture in the city.

Context and objectives

The confinement reveals the need for public spaces to meet people outside one’s “strict family nucleus” or even strangers. Biopolitical power (i.e., power over the lives…


An essay by Panos Giannikopoulos

“ Feel then that I’m near springs, pools and waterfalls, all with abundant waters. And I free.
Hear me, hear my silence. What I say is never what I say but instead something else. When I say “abundant waters” I’m speaking of the force of body in the waters of the world.”

Clarice Lispector. “Água Viva”.

Madison Bycroft, The Fouled Compass, 2020, Single Channel digital video, Colour, Sound, 23:28

We start with a body and its skin, a boundary, a way of detaching oneself from the rest of the world, or a porous membrane, an opening of fluid exchanges with it. We align ourselves with a flow of…


An essay by Angeliki Tzortzakaki

Selin Davasse, performance documentation, , Istanbul, 2018. Courtesy of the artist.

Dear,

“A lone island is part of an endless free-thinking and lost imagination. However, an archipelago signifies relations of un-relation between each island. Humans often think each island in an archipelago resembles the others. It is not true. Although each island forms part of a terrestrial totality, they are not all the same. An archipelago creates conditions that function to justify exceptions.”²

I recently read this, and it made me think of our endless conversations about islands, a recurrent theme in our friendship in the past years. As we often spoke about ways to enact…


An essay by Christian Oxenius

Alkistis Mavrokefalou. Photo courtersy of the artist

What I am proposing to read Alkistis Mavrokefalou’s work is a curious short story of darkness and light. It is a story that begins with some of contemporary philosophy’s darkest and nihilistic lines about civilisation, western thought and even humanity as a whole brought to us by Emil Cioran. There is one specific passage from his “A short history of decay” which I want to go back to:

“What complicity, what bonds extend us into an intimacy with time? Life would be intolerable without the forces that deny it.”

(Emil Cioran, “Certain Mornings” in A…


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…


Maria Sideri’s

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…

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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