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LANDMARK / Nikos Kessanlis Exhibition Hall – ASFA

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What you always take in when you encounter George Stamatakis’ work is the feeling of something familiar and the recollection of a personal experience or memory. We could argue that his installations are built in the same way that a society’s collective memory is built. Consisting of individual artworks which draw inspiration from a personal stimulus, they turn out to be complete suggestions that refer to universal experiences, memories and emotions.

We may witness his personal perspective of things, but at the same time we can relate to the stories he narrates and engage emotionally in his work. After all, Stamatakis’ fundamental goal is the surfacing of an experience’s memory and the emotion it triggers for us. It is worthy of our attention how a series of independent works ultimately adds up to a whole which points to an obvious collective experience, because isn’t that one of art’s main reasons of existence?

The condition mentioned above is achieved not only through the selection of his work’s concept, but also through the selection of his artistic means and techniques. His constant progress and the incorporation of elements from the historical imprint of various cultures, enhance the ability of the viewer to relate to his work, while preserving his skilful thoroughness and personal idiom.

Galini Lazani Athens, June 2019

Coffins of Black, Coffins of Luck /ILEANA TOUNTA Contemporary Art Center

Curated by Galini Lazani

As Tom was a-sleeping, he had such a sight, –
That thousands of sweepers, Dick, Joe, Ned, and Jack,
Were all of them locked up in coffins of black.

And by came an angel who had a bright key,
And he opened the coffins and set them all free;

Excerpt from William Blake’s poem “The Chimneysweeper”
(Songs of Innocence, 1789 and Songs of experience, 1794)



The inspiration for this exhibition was drawn from a vague interest/fixation of mine for chimney sweepers, which came from reading many years ago Freud’s Interpretation of Dreams. In a footnote on his search for symbolism in dreams, he lists various lucky symbols and their own interpretation, including the chimney sweeper.

The existence of the chimney sweeper as a symbol of good luck seemed odd to me. In search of this, two very different result fields emerged. The first one, which dominated the results, concerned the extraordinary luck that, according to the belief of many European countries, could come from engaging with a chimney sweeper. Various websites came up, selling amulets in the form of a chimney sweeper dressed in the popular black and white suit, the semi-high hat and the characteristic broom. And also websites where one could hire a chimney sweeper, but not to clean the fireplace chimney, but to appear on a wedding day or a house on New Year’s Eve to bring good luck. Some have reported that even Prince Philip on his wedding day with Queen Elizabeth came storming out of the palace to shake hands with a chimney sweeper that was passing by in order to bless their marriage. Most stories that look for the origin of this symbol as a lucky one include a “blue blood”, while few mention the more realistic version of the fact that at one time the chimney sweeper’s work was very important for a house, since it eliminated the risk of fire.

However, none of these commercial websites mention the true nature of a chimney sweeper’s job, especially at its origins. A research on this field will only draw dreadful results; smoked from the soot faces of people who mostly died early from cancer; orphaned children from 4 to 12 years old at most, which were hired by professional chimney sweepers from the local parish to send them climbing up hot chimneys. Practices such as scraping their knees and elbows in order to be able to withstand the high temperature and pinching them with a needle to keep them from fainting from the fumes while they were in the narrow tube of a fireplace were quite common. Cases of children who developed disabilities due to the abnormal posture they spent most of their day in and children who died of asphyxia in a chimney are now historical facts.


How, then, is this so harsh reality, valid for at least four centuries, forgotten and transformed into something as hopeful as a symbol of good fortune? If we engage more with the symbols we consider lucky, we will discover that it is not the only time we encounter this unpleasant combination. The cut-off legs of a rabbit, the horseshoe that is nailed straight on a horse’s bare heel, the tooth from a killed alligator, aren’t they all the result of an act of cruelty? Does one have to “walk over dead bodies” to gain good luck? How does the fortune of one being entail the misfortune of another? How do we combine in our society the lucky with the brutal, the delicate with the harsh, the beautiful with the ugly, the good with the evil?

This adversity of the existence of two such contradictory elements in a single treaty is intended to be captured in this exhibition through artworks that create a paradoxical atmosphere. An atmosphere of pompous quality, like the folk prejudices of people, joyous and optimistic, but at the same time dark and threatening.


Participating artists:

Dimitris Andreadis, Pantelis Chandris, Katerina Christidi, Christos Delidimos, Eri Dimitriadi, Dimitris Foutris, Giorgos Gerontides, Alkistis Mavrokefalou, Yiannis Sinioroglou, George Stamatakis, Takis, Yiannis Theodoropoulos, Costas Varotsos



(invitation image: Dinos Xingas)

“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

KUNSTRAUM AM SCHAUPLATZ

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.