“Dialogues: Between tangible and intangible” /Maison de la Grece / Paris

The online art magazine www.dreamideamachine.com invites you on Tuesday, May 14, 2019, at the Communauté Hellénique de Paris et des Environs, Maison de la Grece, 9 Rue Mesnil 75116, Paris in the Opening of the group exhibition “Dialogues: Between tangible and intangible”. In the exhibition participate, contemporary Greek artist of a different generation, with a variety of expressive media such as drawing, painting, photography, sculpture, video, and performance, aiming to trigger a creative dialogue between the different generations with a central axis the dividing line between what looks like and what is true.

The works of the exhibition are an invitation-provocation between pictorial and abstraction, color and achrome, giving meaning essentially at the endpoint of the retina between what is seeing and which thinks it sees. In the red thin line when the mind defines something as existent and to what he considers to be true through what he knows and reads. The stepping stone of the exhibition started during a noon of December 2018, between the two Curators of the exhibition

The idea began at midday in December 2018, between the two chambers, walking on the Alma Marceau Bridge, in a dialogue about what they really see and what they would like to see, about the things they like and about what they think they would like, for a world that exists and is visible and another that while is nor visible nor invisible, but exists in between. In this very delicate balance that inhabits: the dream, the imagination, the consciousness, the obsession, the illusion, the personal truth and art as a whole.

Participating Artists: Aidonidis  Ilias, Angelopoulos Dimitris, Asargiotaki Kalliopi, Asimakopoulou Gitsa, Asoniti Voula, Avraam Christos, Bafaloukos Zannis, Bafaloukou Giouli, Basdeki Evangelia, Belivanaki Lila, Betsou Vicky, Bloukou Vassia, Cambani Lila, Chanioti Dimitra, Chaniotis Angelos, Charalampakis Ilias, Chatzisavva Erato, Chrisou Maria, Deli Eleni, Dimakogianni Christina & Chatzogloy Vera, Dounia Konstantina, Drakopoulou Katerina & Revah Renee, Eleftheriadou Vicky, Fertaki Vana, Gaitani Sofia, Gardeli Vivi, Gavalas Stelios, George Harvalias, Kampanis Markos, Kanellopoulou Athina, Karali Angela, Kassaveti Katerina, Kazazis Giorgos, Kirmakidoy Efi, Kotika Giota, Koulouras Panagiotis, Kretsis Dimitris, Kryonidis Nikos, Kyrkoy Evdokia, Ladogianni Ioulia, Lagou Maria, Lefkaditi Vasiliki, Louizou  Maria, Maltezou Marina, Mantziorou Natassa, Maragoudaki Maria, Maurokefalou Alkistis, Michalarou Katerina, Michalopoulou Stavrooula, Michalos Konstantinos. Moulidou Viki, Nakou Alexandra, Nikolaidou Niki, Papadimitriou Vivi, Papadopoulou Sofia, Papadopoulou Thekla, Pappas Panagiotis, Paraschi Georgia, Pashalis Anargyros, Petranaiki Ada, Petrova Margarita, Poulis Vangelis, Rimpatsiou Katerina, Ritoridou Phaidra, Siagkri Rafaella, Siagreece Panagiotis, Sotirchos Stathis, Spatoulas Alexandros, Stamatakis Giorgos, Tapinou Maya, Taxiarchopoulos Yorgos, Terlega Sophie, Theodorou Yiorgos, Theodropoulos Yiannis, Trepekli Tania, Tsiblaki Maritssa, Tsougari Emi, Tsouloucha Margarita, Vasiliou Vicky, Vidali Athanasia and Vogiatzidis Theodoros.

Curators: Efi Michalarou

Junior Curator: Athina Kanellopoulou

Assistant Curator: Liakopoulou Vassiliki

Dialogues: Between tangible and intangible”

14-19 May, 2019

Weekdays: 16.30 – 20.30

Saturday : 15.30 – 18.30

Maison de la Grece, 9 Rue Mesnil 75116, Paris

Organization: www. dreamideamachine.com

With the support of the Association of European Journalists (AEJ) [Greek Section]

Curved Arrows

The Daily Lazy Projects


curated by Kostis Velonis and Faidra Vasileiadou

A curved arrow stresses its ambiguity through the symbolic difference of masculine and feminine design . The arrow is used here as a metaphor of the god Eros in Greek mythology, whose thin, long and pointed objects in our case do not hit their targets. An arrow that always misses reminds us that the imaginary demands are by definition, unsatisfiable and that the original desire is sustained by its lack.  This exhibition is the continuation of a recent show (Stopping Point, 2018) based on a poem by Antoine Tudal, which describes the difficulty of love through the acoustic and verbal similarity of “love” (l’amour) and “wall” (le mur) in French. The“love-wall” (l’a-mur) in the second part of this visual research is titled as “Curved arrows” .

Shopping point – Daily Lazy project (Gallery)

Curated by:  Kostis Velonis
Assistant Curator:  FaidraVasileiadou

Antoine Tudal, Paris enl’an2000

In erotic literature, we often find descriptions of the impasse of a relationship based on sexual difference. The exhibition takes as its point of departure a poem by Antoine Tudal, Paris enl’an2000, which describes the difficulty of love through the acoustic and verbal similarity of “love” (l’amour) and “wall” (le mur) in French.

However, Jacques Lacan’s reference to the poem as a semiology of difference and similarity provides a basis in order to justify the relationship through the two lovers’ blunders and fumbles, their vain and unfulfilled reveries, even through excruciating pain (la douleurexquise) that turns into tragicomedy when there is no mutual response.

The exhibition reveals what pushes away instead of uniting, what stands as an obstacle and makes relationships incompatible uniting instead of pushes away. Archaic and biblical references about the eternal battle of sexes, as well as the rhetoric of contemporary psychology on “complementary” relationship, become the ingredients of an indirect acceptance of the separation caused by biological difference.

The emergence of divergence between desire and the obstacle that annuls it conveys the comical or melancholic outcome of an event that echoes not just the division of the relationship, but also the conflict, the struggle and the effort surrounding it. Here, there may be winners and losers, but in reality both sides annihilate each other, since idealizations and erotic frenzies are altered and extinguished in the corrosive flow of time.

In perceiving the wordplay of l’a-muras an insurmountable “love-wall”, or even as a temporarily surmountable obstacle, the exhibition aims at parodying discontinuity in this libidinal architecture of delimitation and cut.

THE TROJANS – Benaki Museum – support of EMST & NEON

🔴 THE TROJANS | ANIMA CAPTUS Benaki Museum | Pireos 138


Long Durational Performance inside an installation (96 hours)
Rafika Chawishe- Mihalis Argyrou
George Stamatakis- peripheral visual space curating.
With the support of NEON.

Forty naked human bodies packed in a sterilized space resembling a crematorium, a morgue, a place for storing meat∙ bodies exposed to risk. A room full of mouths reproducing excerpts from political speeches and prophecies confirmed or disproved by History. Ten performers –souls trapped in an arid place, using every means possible, even silence, to bring forth wounds acquired from their personal or ancestral involuntary translocations, discussing the concepts of citizenship, nationality and “belonging”.

It is a fleeing picture of the universe of a multidimensional performance/ installation, conceived by actress and director Rafika Sauis and creative artist Michalis Argyros, titled “Anima Captus-Trojan women”. The 96-hour performance is taking place inside a labyrinthine structure people can visit in the New Benaki Museum, where it will be housed.

Reference to Euripides’ drama “Trojan Women” is inevitable, since the unsurpassed work of ancient Greek Literature is about war and persecuted people.

In a lengthy performance focused on the notion of the” geographic scar”, the artists use their bodies to participate in a stasimon of “Trojan women”.

In this work the spectator is following a four day-long interactive route. The ten main performers, originating from Greece, Afganistan, Syria and Iran will be living inside the museum, in total silence, for four days. However, people can visit the installation only during the museum’s opening hours.


Integral II – Ileana Tounta Contemporary Art Center

Curated by: Ileana Tounta, Galini Lazani,DimitriosAntonitsis

Integral II is the second part of the exhibition presented at the Ileana TountaContemporary Art Center in April 2017. Both shows refer to the current socio-political reality, not only in our country but also in the whole world, through the presentation of artworks by Greek artists of an earlier generation, in dialogue with the work of younger artists.

The internationally acclaimed artists JannisKounellis, George Lappasand Lucas Samaras always created works that derived from personal and political turmoil. The curators of the exhibition chose the most discerning of them to comment on the present dark atmosphere, result of the social and political situation.

JannisKounellis’ imposing metallic installation with burlap sacks full of charcoal is a classic example of how he perceived art, as a means of social, political and humanitarian commentary. George Lappas, with his “headless / dislocated” traveler, and Lucas Samaras with Reconstructions – works which bring to mind traditional burial customs – accomplish the same commentary. However, Lappasdraws his inspiration from his experiences as a perpetual refugee and Samaras from his deep mourning for a family member.

Accordingly, the works of the young artists of the exhibition express with sharpness and clarity insightful ideas, despite the harsh conditions in which they were created. By selecting these specific works, the curators of the exhibition attempt to emphasize that contemporary artistic expression does not suffer, but that, on the contrary, in times of crisis art is called upon to adopt a wider look and to constantly invent new ways and new sources of creation.

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Dimitris Andreadis, with his painting installations, depicts the light that can originate from the void, while, with similar sensitivity, George Stamatakis and Katerina Kotsalarefer to a blending and alternation of places and landscapes. The description in Kotsala’swork is developed by thematic deductions in which cold color pallets are leading, while in Stamatakis’ canvases we encounter dreary, yet hopeful narratives.

Dimitris Foutrisexpresses the same hopeful ideas in a more conceptual way: the indisputable continuity of things and the belief that nothing ever dies out completely, without leaving traces. Kostas Bassanosalso presents an oxymoron, in the form of confusion and optimism at the same time, which arises from conditions of trapping, but also from a possibility of expanding / collapsing the limits caused by the sense of imperfection.

Andreas Lolisoverwhelms us with marble sculptural hallucinations, where everyday compositions put together by low value objects acquire a monumental nature. In the same way, Socrates Fatourosuses multiple layers of building materials of the modern city (bitumen sheets, polyurethane) as remnants and reminders of our initial experience in it. Katerina Komianou, as a post-romantic urban explorer, a modern flanneuse, proposes a night scenery with prominent public space statues and dried palm trees – remnants of decorating the recent Olympic grandeur.

Dimitris Baboulis, while maintaining a shady content, works with clear-cut lines and shapes that refer to geometric and scientific practices, without unnecessary elements, expressing a purely personal consciousness level.

It is a distinctive feature of the new generation of Greek artists to dare and constantly battle with originality. They use in their art the repository of the modern civilization of our country and attempt to reconstruct it, in order to comment on today’s everyday life.

As Oscar Wilde quoted, we are all in the gutter, but some of us are looking at the stars…

Participating artists:

Dimitris Andreadis, Dimitris Baboulis, Kostas Bassanos, Socrates Fatouros, Dimitris Foutris, Katerina Komianou, Katerina Kotsala,JannisKounellis, George Lappas, Andreas Lolis, Lucas Samaras, George Stamatakis