Investigating The Contemporaty Art Scene Of Athens

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The Ileana Tounta Contemporary Art Center is a large warehouse space over two floors dating back to 1988. It has hosted many important exhibitions in the city. During my visit I attended the opening night of a new exhibition, Integral II, the second part of a two exhibitions themed around not just the current political and economic situation enfolding Greece, but also the situation throughout the world. In the first room I enter I am greeted by a giant installation created by the well known Greek born artist Jannis Kounellis who was one of the main figures of the Arte Povera movement in the 1960s and 1970s in Italy. The installation features a large square industrial steel plate resting on one of its edges surrounded by burlap sacks containing charcoal. In the background to the right of the installation are a series of paintings by George Stamatakis and to the left is a tall vertical relief by Socrates Fatouros comprising of bitumen sheets and elastic liquid membrane.


Polish- Greek artistic workshops FREEDOM !

what the past tells the future? – reflection on the contemporary meaning of the term Freedom in reference to history and the present approach covering many levels. Organizer – Art Academy in Athens, Polish Embassy in Athens patronage Conducting – Pedagogues of the Academy of Fine Arts in Łódź Participants- ASFA and ASP Łódź Students //Historical context: Both countries – Poland and Greece will celebrate the anniversary of regaining of their independence. In 2018 Poland will celebrate the 100th anniversary of regaining of its sovereignty and Greece is approaching the celebrations of the 200th anniversary in 2021.

Coordinated By George Stamatakis
Curated by Odette Kouzou

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For both countries these events are very important and build their own history and identity. Nowadays, in European countries, the concept of freedom expands its meaning. Young people living in the 21st century understand the meaning of freedom differently – they are born in free countries, they are part of a united Europe, they have access to free media, ease of communication and mobility, the possibility of creative expression and are constantly active on social platforms. Can the young people appreciate the concept of freedom? Are we really free in the age of advanced technology? This questions will be asked to the participants of the workshops – students of both universities. From literally understood freedom, we move to the reflection of freedom in other aspects of the life of a prosperous society, thus in fine arts and design. Together, we want to reflect on the freedom of the artist or a designer in the times of consumerism and corruption with various conditions from political to religious. What risks do the celebration of freedom in the spirit of unbalanced, fast design bring to the future? Can an artist have an impact on the Freedom of future generations? //PURPOSE OF WORKSHOPS: / Presentation of artistic achievements and many years of design traditions of the Academy of Fine Arts in Łódź. / Exchange of artistic experiences of both universities, mutual learning of working methods, establishing relationships between Polish and Greek students. / Artistic work and interpretation of the assumed topic. Presentation of the work carried out during the workshops.

Athens School of Fine Arts (basement) Peiraios 256, 18233 Athens

ARTISTS : Anna Nikolaidi – George Chatzivasilis – Yukari Sakata – Antonis Vasilakis – Pola Zart – Artemis Orfanidou – Karolina Zlocka – Dimitrios Antoniou
Celia Rancelot – Marilia Kolibiri – Diocles Laime – Kyriakos Mitropoulos – Dimitrios Claudio Badourakis

Teacher : Maria Wiatrowska / Teacher Izabela Walczak / Professor : Małgorzata Czudak


Global Journal of Educational Studies (USA). Vol 4, No1

Topic : Teacher Education through Art: How to Teach Social Sciences through Artwork –The Student-Teachers’ Views

Vasiliki Brinia, Reni Giannimara, Paraskevi Psoni, George Stamatakis



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The present paper aims at presenting an innovative approach to educating teacher-candidates through the art. More specifically, it aims at exploring the benefits of this approach for student-teachers and for their future teaching of social science subjects. It is an experiential approach, based on a multi-level methodology, developed and implemented through the collaboration of the Teacher Education Program of Athens University of Economics and Business with the Aalto University and the Athens School of Fine Arts. After the completion of the implementation of the specific teaching method, the student-teachers have been interviewed, in order to detect their views on the effectiveness of this method, which has been introduced for the first time in the Teacher Education field in Greece. The results are positive with the interviewees reporting having achieved an in-depth and multi-perspective understanding of the matter in discussion as well as enhanced collaborative skills among other benefits

10 new curators – Trii Hub Gallery

Curated:  by Olga Latousaki

If dreams could be imprinted on canvas, they would certainly look a lot like Stamatakis’ new work. Like old photographs from a distant past, his art looks mysteriously familiar to the viewer’s eye. Deeply influenced by the romantic movement and using his representative colors, he captures undefinable memories, adopting, in a modernistic way, his own, sensitive viewpoint into the subconscious.

Documenta 14/Elective Affinities ASFA and open studios

Coordinator: Arnisa Zego

What kind of book is this ?

In August 1948, at a radio show, Mister John Hayward said that Eliot’s poem Waste Land, is not about a real girl but the sculpture of a girl, who Eliot searched in vain at a museum in Italy. If this is true, what difference does it make to us? To the story?

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around us tells a story. As an artist, you have to choose which one to tell, and then how you are going to tell it.

In this small scale wall-mounted installation, I chose to interact with both my literary and artistic inspirations. I am borrowing Goya’s palette of colours and some of his earlier painting techniques and I use the poem Waste Land by T.S Eliot to breathe life to the symbols and meaning in each of these seven works- which in reality, can only be seen as One.

The idea of Ulises Carrión, a Mexican artist who used painters’ notebooks as works of art that can stand by themselves, and my close interaction with his work during Documenta 14 in Athens -in which I was part of the education programme (team elective affinities)- has helped me to formulate better my idea of using blocks of wood which are shaped like books as my canvases. Also, a show that took place in EleftheriaTseliouGallery in Athens based on David Sampethai’sidea, had the same concept: Notebooks by artists, which can stand as their own artworks. The notebooks included paintings, scribbles, ideas and, in general, the mind of each artist in progress.

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The purpose is to explore the ways in which the medium an artists chooses to interact with might potentially confine his creativity and artistic exoression. The representative image that the audience seeks a meaning from, is not always the preferable way of the creator. The book-blocks here, are used in order to capture that fleeting moment when a story leaves the creator and becomes part of something else. It becomes, everyone’s story.

This journey, from the protected environment of the artist’s house (here the word house stands for the environment the artist creates in) to the violent presentation to the public eye, is what I am asked to answer, and I can only answer it with another question, which stands up gargantuan.

Can the security of the allowed madness an artist can go to in order to create be transferred purely to the opinionated audience, which will, most definitely, translate it to their own personal meaning? If so, what is the obligation of the artist relating to his artwork?