Intervention

Filtering by: Intervention

Apr
24
11:00 AM11:00

Reperformance | Marina Abramovic: Cleaning the Mirror (1995)

MARINA ABRAMOVIĆ

CLEANING THE MIRROR (1995)

re-performance: 8 hours

with Martha Pasakopoulou

Location: First Floor, Workshop Space

This is the first time that this work will be re-performed since its first iteration in 1995, when it was performed only for video. In Cleaning the Mirror (1995), Abramović sits with a skeleton on her lap, next to her a bucket with soapy water. With her right hand, she vigorously brushes the different parts of the skeleton. By being cleaned, the colour of the skeleton becomes lighter, whereas the greyish dirt which once coated the bones starts to cover Abramović herself so that the boundaries between the actor and the “object” acted upon start to blur; the dead and the living start to intermingle. As for Abramović, the skeleton metaphorically represents “the last mirror we will all face”; death and temporality are the major themes addressed in this work.

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Apr
24
11:00 AM11:00

Intervention | Katerina Oikonomou: And There Was Voice

KATERINA OIKONOMOU

(1981), POROS, GREECE

And There Was Voice

 

Location: Second Floor Intervention Space

Classical music training, opera and aesthetics face deconstruction and denudation in this work by Katerina Oikonomou, who uses her voice to discover the limits of body and spirit. For eight hours, she will produce sounds — classical arias, contemporary songs, voices, screams — that reveal her inner self and the very limits of her vocal chords. Through these sounds, she will overturn and deconstruct the classical aesthetic, the decorum, beauty and stereotypes of the opera form, using her voice as a raw material for the creation of a new sound, stripped back, from scratch.

 

 

Katerina Oikonomou has a BS and MS in Food Science from the Agricultural University of Athens. Her studies are in classical singing and modern dance at the Athens Conservatory. She performs classical and modern songs, as well as arias, literature and monologues.

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Apr
22
to Apr 23

Intervention | Kira O' Reilly: I came to the sea and I was scared. My heart is broken

Kira O’Reilly, visual artist (1967),
Ireland
I came to the sea and I was scared. My heart is broken

Words of a fisherman who found the bodies of young refugees on the beaches of Greece flood this work by Kira O’Reilly, that speaks of loss, decay and despair. Words carried away by the sea to become inarticulate sounds, nonsense. The artist uses materials that spoil and decompose, such as copper that reacts with salt and water to become green — verdigris. The first version of this work was performed here in Athens last year at BIOS (as part of Love Letter to a (Post)-Europe, curated by Lisa Alexander), performed by Vassiliki Dimou, then by Kira O’Reilly at the Dublin Live Art Festival in November 2015; it now returns again to Athens.

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Apr
19
to Apr 24

Intervention | Evgenia Tsanana: Office for Public Unburdening

Evgenia Tsanana, visual artist (1964),

Thessaloniki, Greece

Office for Public Unburdening

Emotional relief in times of crisis — this is what’s on offer in this work by Evgenia Tsanana, that springs from the acknowledgment that pain is eased when shared with others. The artist will create a participatory work, an office where visitors can relieve whatever is burdening them by describing their own nightmares. These nightmares are written down in pencil on paper, then wiped out with erasers. The rubbings left behind are then saved and stored. On the final day, the artist will walk down to Piraeus and throw the rubbings into the sea, before returning to close the Museum, both literally and figuratively. Through the repetition of the nightmare documentation and transformation process over the course of six days, the Office for Public Unburdening seeks to symbolically reduce the burden of collective misery brought on by the crisis that is weighing Greece down in a joint intervention undertaken with visitors that is founded upon mutual trust.

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Apr
19
to Apr 21

Intervention | Thomas Diafas: Dance With Me

THOMAS DIAFAS, WRITER AND PERFORMER

(1987), THESSALONIKI, GREECE

DANCE WITH ME

 Location: Second Floor Intervention Space

Thomas Diafas engages visitors in a metaphorical verbal “dance” of speech, expression and creation. Sat in a chair, the artist opens each conversation with visitors using the phrase “That is inhumane”. Jumbled words, responses, emotions — all are set down on paper, to be decoded later, transmuted into a structured work, transformed into poems, texts, songs that give meaning and form to ideas and thought.

Thomas Diafas is a writer, director and performer. He uses art to aim at some kind of revolution. He has shown his work in several countries worldwide. He hopes to be fed only with poetry when he grows up. He lives and works in Athens.

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Apr
19
to Apr 24

Intervention | Yannis Adoniou + Stavros Apostolatos: Portrait Of The Unknown Man

YIANNIS ADONIOU

B. 1968, ATHENS, GR

STAVROS APOSTOLATOS

(1975), ATHENS, GR

PORTRAIT OF THE UNKNOWN MAN (2016)

 

Location: Second Floor, Intervention Space 1

 

Taking movement as their tool, Yannis Adoniou and Stavros Apostolatos flirt with the idea of disappearance. The two performers seek to dissolve their forms — taking as their mainsprings walking, standing and immobility, leaps, collapses and micro-movements — to the point where they disappear completely from view. As their forms retreat, various everyday objects remain in the space to remind us of their prior existence. While they never touch, the two bodies remain connected, in visual contact, mutually dependent, and seeking — over the course of eight hours — their own private reality beyond the abilities of the body. The work is not rehearsed; the movements are created each time out of nothing, instinctually, in the split second of each moment.

 

 

Renowned Greek artist Yannis Adoniou received his first dance education in Athens, Greece. Since 1998, he has been leading the critically acclaimed arts organisation, “KUNST-STOFF”. Adoniou works in dance, film and opera, and takes an active role as a dancer, choreographer, curator, producer and educator. He was a principal dancer with Alonzo King’s LINES Ballet, the San Francisco Opera, and a regular guest artist across the USA and Europe. In addition to his work with “KUNST-STOFF”, Adoniou has created works for companies and Universities such as the Seattle Opera, Sacramento Ballet, Sixrono Theatro, Opera Santa Barbara, University of Utah, West Bay Opera and Lines Ballet/Dominican University, among others. He has received support and acknowledgement for his work from the Isadora Duncan Awards, Irvine Foundation, Dance/USA, Goldie Awards, San Francisco Arts Commission, MANCC National Center for Choreography, NEON Organisation, and the Gerbode Foundation, among others. www.kunst-stoff.org

 

 

Stavros Apostolatos began his career in dance in Chania, Crete in 1991. He is an alumnus of the Greek Ministry of Culture’s Professional Dance Section. Over the last 20 years, he has attended several courses and seminars on classical dance, modern and contemporary techniques, release techniques, contact improvisation, improvisation and Butoh, with teachers from Greece, Europe and America such as: the KER Dance Studio with Efi Kaloutsi—Greece, Jerome Andrews—France, Jean Francois Lefort—France, Jean Yiasko—the Netherlands, Court Coegel—Germany, William Forsythe Dance Cie—Frankfurt Opera Studio, Riccardo Morrison—America, BennoVoorham—the Netherlands, Pina Bausch Dance Cie—Germany, Tanzfabrik Dance Cie—Germany, Wendy Peron—America, and Masaki Iwana—Japan, to name a few. Since 2000, he has collaborated with dance groups in Greece and abroad as a freelance dancer. As a choreographer, he has been developing his ideas for pieces since 1999. He has taught contemporary dance techniques and improvisation at several professional dance and drama schools in Athens and Germany since 2007. http://stavrosapostolatos.blogspot.com/

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Apr
17
11:00 AM11:00

Reperformance | Marina Abramovic: Art Must Be Beautiful, Artist Must Be Beautiful

MARINA ABRAMOVIĆ

ART MUST BE BEAUTIFUL, ARTIST MUST BE BEAUTIFUL (1975)

 

re-performance: 8 hours

with
Dimitris Bampilis
Dimitra Billia
Gitsa Konstadoudaki
Martha Pasakopoulou
Eliane Roumie
Vassiliki Spachou
Kalliopi Zervoulakou

 

In Art Must Be Beautiful, Artist Must Be Beautiful (1975), originally performed and documented at the Charlottenburg Art Festival, Copenhagen, Abramović sits, naked, holding a brush in one hand and a comb in the other. For just under an hour, she brushes her hair forcefully, yanking, tugging and even tearing at it, while repeating the mantra “art must be beautiful, artist must be beautiful”. For several minutes at a time, she falls silent and with a still gaze, she stares blankly into the distance before recommencing the punitive beauty routine. This is the first time that this work will be re-performed in Europe and has only been re-performed on one other occasion, in 2016 in Shanghai as part of the project “15 Rooms”.

 

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    Apr
    14
    to Apr 16

    Intervention | Christina Vasileiou: bd | n | sl

    Christina Vasileiou, dance artist

    (1978), Bucharest, Romania

    bd | n | sl

     

    Sound and the body, action and effect define this work by Christina Vasileiou. An eight-hour experiment exploring the body’s reaction to constant, relentless sound. The artist freely submits to the biddings of the aural incitation channelled into her ears. She becomes isolated within the constant flow of music and sounds that are her only stimuli in the space, without engaging in interaction of any kind — not with objects, a set, or the public. And the body reacts in the only way it knows how: with movement, with dance. It becomes a temple in motion, filled with intensity and suspension, disjunction and pain.


    Christina Vasileiou grew up in Athens. She graduated from the Greek State School of Dance in 2002, and from the Department of European and International Studies at the Panteion University in 2003. In 2006 she received an MA in Cultural Studies from Goldsmiths College, London.

    She has collaborated as a performer with “YELP danceco”, “Lathos Kinisi”, the Greek National Opera and Kostas Tsioukas in Greece, and with Trajal Harrell internationally. She has created the choreographies Treiskaidekaphobia, havetowanto, now+here = NOWHERE, “well come”, “smalltownboy” — and videos “I is always dissolving” and drea(co)m(bi)nation”. Since 2004, she has also worked as a personal trainer.

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    Apr
    12
    to Apr 17

    Intervention | Rafael Abdala + Jessica Goes

    Rafael Abdala

    (1981), Goiana, Brazil

    Jessica Goes

    (1977), Rio de Janeiro, Brazil

    Protovoulía

     

    Protovoulía is a call to action. Inviting the self” to become as many as we are. An adventure through the otherness in a multitudinal order. Rafael Abdala and Jessica Goes come together to enable a creative process through collaboration, opening spaces for others artists to join in on-site. Performers, igniters, with a desire to wander through the otherness. Art through life, in a shared momentum of images and actions. Once the project is over, Protovoulía does not come.  Traces and trails in our bodies (of everyone involved) will entice us all to seek further collaborative and multiple experiences between art and life.


    Rafael Abdala lives and works between Rio de Janeiro and Barcelona. He is a visual artist, member of Grupo EmpreZa (since 2008), and cultural producer. He works with video, photography and performance art, researching the poetics and symbolism of the body and collective processes. In 2014, he was invited to be an art teacher at the Escola de Artes Visuais do Parque Lage (Rio de Janeiro), where he gives lectures, performance workshops and short-courses as part of the programme “Dynamics of Creative Thinking”. He has participated in several exhibitions, workshops and art residencies over the course of his career. Since 2014, he has collaborated with Jessica Goes; their partnership and curiosity lead them to research into and experiment with performance art and the collective creative process. These processes, and the sum of their bodies and those of other artists with their immediate surroundings, evolved into a whole new work, which they are eager to develop with “Protovoulía” — their first performance-based project.

    Jessica Goes, also known as HILDEMADAME, is an explorer and igniter — an organiser of chaos. Half-German, half-Brazilian, she originally trained in design. She is constantly creating projects that entice her creativity and her passion for communication. Her projects bridge arts and design, cultural production and creative processes. Since 2014, she has collaborated with Rafael Abdala; their partnership and curiosity lead them to research into and experiment with performance art and the collective creative process. These processes, and the sum of their bodies and those of other artists with their immediate surroundings, evolved into a whole new work, which they are eager to develop with Protovoulía” — their first performance-based project.

     

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    Apr
    12
    to Apr 17

    Intervention | Marianna Kavallieratos: Skin

    Marianna Kavallieratos, dance artist

    (1969), Athens, Greece

    Skin

     

    Marianna Kavallieratos asks questions about the nature of appearances, masquerade and transformation in this work that concerns itself with the daily rituals that constantly change the outward aspect of our bodies. Surrounded by a pile of clothes, the artist dresses and undresses herself constantly, transforming herself over and again for eight hours, changing and reshaping herself to become a doll that tries on different characters and silent roles. She is seeking her skin”, the real thing beneath all these attempts — intentional or otherwise — to distort our own selves that lead to a loss of identity and an acceptance of appearances.


    Marianna Kavallieratos studied contemporary dance and choreography at The Place L.C.D.S. She went to SUNNY Purchase NY on an Onassis Foundation scholarship, and attended the Graham Studios in NY for three years. Since 1992, she has been a close collaborator of Robert Wilson, and has appeared in several of his productions across the world, as a dancer and performer. In 2000-2003 she danced with choreographer Arco Renz in Brussels. In 2010, she founded her own company “klokworks” and began researching her own ideas, making works presented at the Athens Festival, the Onassis Cultural Centre—Athens, and in New York at the Watermill Center. She has collaborated as a movement coach with the Greek National Theatre and several Greek theatre directors. She has taught dance at the Veaki Drama school, Empros, StudioMetsis, DANCE Cultural Center, and the Watermill Center NY. She has also given workshops at the Summer Academy of the Greek National Theatre, and the Watermill Center.

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    Apr
    12
    to Apr 17

    Intervention | Elena Antoniou: An Eight-Hour Journey

    Elena Antoniou, dance artist

    (1980), Limassol, Cyprus

    An Eight-Hour Journey

     

    In this relentless exploration of human limits, Elena Antoniou makes a journey through space that is linked conceptually to the journeys undertaken by millions of people across the globe in our day and age, who are risking their lives in the search of a new start. A route delineated by a twenty-centimetre-wide white line that runs throughout the spaces of the Benaki Museum forms the predetermined path followed by the artist for eight hours. Moments of exhaustion, failure, repetition, movement, deconstruction, silence, immobility, great pause, waiting, action and emotion provide her with the time and space she needs to experience this internal journey with no final destination.


    Elena Antoniou is a dance and performance artist. She graduated from the Greek National School of Dance and the London Contemporary Dance School — The Place, as a member of the “Edge” dance company. Scholarship recipient of Koula Pratsika Foundation in Athens and Danceweb Programme Scholarship recipient at ImpulsTanz Vienna. Since 2008, she has collaborated with the artist Polys Peslikas. They have presented their work at the Lucky Trimmer Festival in Berlin; the Michael Cacoyannis Foundation in Athens, at the Cyprus Contemporary Dance Platform, and elsewhere. Choreography Award for the performance Diary of a Mad Man” at the Cyprus Theatre Awards, and a nominee for the same award for the performance Beckettx5”. In addition to her artistic work, Elena works as movement director for the theatre. She has collaborated with acclaimed theatre directors and companies such as the Neos Kosmos Theatre, Cyprus Theatre Organisation (THOC), Solo gia treis, Vaggelis Theodoropoulos, Efi Theodorou, Maria Karsera, Ralph Koltai, Nikos Charalambous and many others.

     

     

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    Apr
    10
    11:00 AM11:00

    Reperformance | Marina Abramovic "Art Must Be Beautiful, Artist Must Be Beautiful"

    Marina Abramović

    Art Must Be Beautiful, Artist Must Be Beautiful (1975)

     

    re-performance: 8 hours

    with

    Dimitris Bampilis

    Dimitra Billia

    Gitsa Konstadoudaki

    Martha Pasakopoulou

    Eliane Roumie

    Vassiliki Spachou

    Kalliopi Zervoulakou

     

    In Art Must Be Beautiful, Artist Must Be Beautiful (1975), originally performed and documented at the Charlottenburg Art Festival, Copenhagen, Abramović sits, naked, holding a brush in one hand and a comb in the other. For just under an hour, she brushes her hair forcefully, yanking, tugging and even tearing at it, while repeating the mantra “art must be beautiful, artist must be beautiful”. For several minutes at a time, she falls silent and with a still gaze, she stares blankly into the distance before recommencing the punitive beauty routine. This is the first time that this work will be re-performed in Europe and has only been re-performed on one other occasion, in 2016 in Shanghai as part of the project “15 Rooms”.

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    Apr
    9
    to Apr 10

    Intervention | Amanda Coogan: You don’t push the river

    Amanda Coogan
    b. Ireland
    You don’t push the river (2016)

    Location: Second Floor Intervention Space

     

    For eight hours each day the Irish Artist Amanda Coogan will walk the gallery. She carries with her a few objects to distinguish this activity; 3 ladders and 25 meters of fabric.

    With the use of ladders and Coogan’s innovative costumes, the body of the artist and time, always time, Coogan proposes to explore strangeness in the ordinary. Ladders, Coogan suggests, are a means to change our position, to transport us to a completely different place. She walks, carrying this possibility; awkward, heavy and dangerous. The fabric she carries, drapes and wraps suggesting infinite allegories. Time and duration radically effect the live performance, with extensive amounts of time invite chaos, the unknown , failure, and moments of terrible beauty.

    Coogan plays with a poetic reading of the materials she employs. The meaning making for this newly commissioned work is porous, the audience is invited to 'read' the performance through their experience. 

    Irish artist Amanda Coogan is one of the most dynamic contemporary performance artists. Her recent exhibition in the Dublin's Royal Hibernian Academy was described by Artforum as 'performance art at its best'. 

    Her extraordinary work is challenging, provocative and always visually stimulating. Using gesture and context she makes allegorical and poetic works that are multi-faceted, and challenge expected contexts. Time is a key material in Coogan's live performances where she allows the unpredictable and chance of extended periods of time to flow over and drive the process of the works. Coogan was a masters student of Abramovic, 2000, and completed her PhD in 2013. In 1994/95 she was a visiting student at Athens School of Art.

     


    'I'll sing you a song from around the town', Uillinn, West Cork Arts Centre, Skibereen. March - April 2016

    Carnage Visors, Rua Red, Dublin, March - April 2016

    'As One', Benaki Museum, Athens. April 2016

    2116, Glucksman Gallery, Cork, March 2016

    'The Museum of August Destiny', Lismore Castle, Waterford, July 2016

    'Run to the Rock', Shakespeare Re-worked; British Council and Belfast Arts Festival, October 2016

    http://www.facebook.com/AMANDACOOGANARTIST

    www.amandacoogan.com


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    Apr
    5
    to Apr 9

    Intervention | Spyros Charalampopoulos: I Justify My Existence

    Spyros Charalampopoulos, visual artist

    (1985), Kalavryta, Greece

    I Justify My Existence

    Location: Second Floor Intervention Space

    Loneliness and repetition, wild nature and tranquillity thread through the work of Spyros Charalampopoulos. Physical labour struggles with nature. The environment, both as a concept and as a material, has an effect on the loneliness people feel, provoking violent actions and a need for connection. For eight hours, the artist will labour over hunks of wood, battling to sculpt them with human-made tools, to bring them down to his scale, to reshape them. The movements and sounds made may be repetitive, but the dimensions and forms of the sculptures are in constant flux.

    Spyros Charalampopoulos studied marble sculpture at the Panormos School of Fine Arts of on the Greek island of Tinos, graduating in 2006. He has won awards for his painting and sculpture work from the Ministry of the Aegean Sea and Islands, and in 2006 won first prize from the Holy Church of the Virgin Mary on Tinos. He continued his studies at the Athens School of Fine Arts until 2012, where he attended courses on plaster art and copper casting, as well as scenography. His work deals with various aspects of art, such as poetry, performances, installations and monumental sculpture, in order to examine the ways in which materials, words, objects and motions transact. He has participated in several group exhibitions and performance acts in Greece, Serbia and the USA. His work has been honoured with awards by various institutions. Many of his art works are exhibited in private collections and public spaces.

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    Apr
    5
    to Apr 8

    Intervention | Nikolaos + Yiannis Pappas

    Nikolaos

    (1986), Athens, Greece

    Yiannis Pappas

    (1978), Patmos, Greece

    Nikolaos began drawing and playing music from a young age. He studied computer science. In 2010, he took his first violin lessons with Nelly Ikonomidou, got involved in various sports (such as rugby and long-boarding), and began experimenting with other musical instruments (bass guitar, keyboard), dance, singing, the theatre, as well as the art of tattoo-making. In 2006, he first came in contact with Modern Body Suspension, an art form begun by Native Americans that leads to a mastery over and expansion of physical and mental limits; he was enchanted. Through this art, he discovered that there are no limits to human ability once the mind is free. He shares this art with the public through performances at private and public events in Greece and internationally.

    Yiannis Pappas is a visual and performance artist based in Berlin. He studied sculpture and photography at the Athens School of Fine Arts until 2008. During the last year of his studies, he attended Christiane Möbus' class at the University of the Arts in Berlin (UdK), and completed the artistic and scientific Master of Arts Space Strategies at the Academy of Arts Weißensee in Berlin with Professor Maren Strack and Professor Kathrin Wildner. He has received awards from the Academy of Athens, Greek State Scholarship Foundation (IKY), Goethe Institute Residencies, and German Academic Exchange Service (DAAD). Yiannis’ work has been exhibited in Israel, Germany, Mexico, France, Chile, Italy, India, Greece and Egypt. Religion, urbanism, nature and cultural spaces are central to his artistic themes, while the notion of intervention dominates his work.

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    Apr
    3
    10:00 AM10:00

    Reperformance | Marina Abramovic: Art Must Be Beautiful, Artist Must Be Beautiful

    Marina Abramović

    Art Must Be Beautiful, Artist Must Be Beautiful (1975)

     

    re-performance: 8 hours

    with

    Dimitris Bampilis

    Dimitra Billia

    Gitsa Konstadoudaki

    Martha Pasakopoulou

    Eliane Roumie

    Vassiliki Spachou

    Kalliopi Zervoulakou

     

    In Art Must Be Beautiful, Artist Must Be Beautiful (1975), originally performed and documented at the Charlottenburg Art Festival, Copenhagen, Abramović sits, naked, holding a brush in one hand and a comb in the other. For just under an hour, she brushes her hair forcefully, yanking, tugging and even tearing at it, while repeating the mantra “art must be beautiful, artist must be beautiful”. For several minutes at a time, she falls silent and with a still gaze, she stares blankly into the distance before recommencing the punitive beauty routine. This is the first time that this work will be re-performed in Europe and has only been re-performed on one other occasion, in 2016 in Shanghai as part of the project “15 Rooms”.

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    Apr
    1
    to Apr 2

    Intervention | Maria Herranz: Medea: Impulse & Ear

    Maria Herranz
    b. Bern, Switzerland
    based Madrid - New York

    Medea: Impulse & Ear

    In this piece, the viewer and actress will engage in a symbiotic relationship that will result in the actress' impulsive selection of a tract of text from Seneca’s Medea.  Chairs will be both secured to the floor and freely situated in such a way as to be most conducive to a natural engagement between the actress and the viewer.  As, over the course of the day, Medea’s various monologues are repeated in ever-changing scenarios, the nature of Medea’s tragedy, the actress' interpretation and the exchange between actress and viewer will likely greatly morph, as will the depth of one of Medea’s subtler plights: to be a stranger in a strange land.

     

    Maria Herranz studied acting with the Meisner teacher Maggie Flanigan in New York, and has an education in dance and a diploma from the Rambert School of Contemporary and Classical Dance in London. While in New York and Europe, she continued studying Shakespeare with Patsy Rodenburg and participated in various seminars with Karen Kohlhaas, Thomas Ostermeier, and with members of the “Labyrinth Company”: Stephen Adly Guirgis, Charles Goforth, David Deblinger, Shira-Lee Shalit, among others. It was through the “Labyrinth Company” that she wrote and directed her first one act play at the Bank Street Theater and directed “Apples” at the Cherry Lane Theater in New York. She worked as an actress with American film Director Deborah Kampmeier (director of “Hounddog", “Virgins”, and more) in “Split” and in “Early Learnings” with director and producer Chris Rodriguez (“Eat Pray Love”, “American Gangster” and more), as well as many others. As a performer, she worked with Marina Abramović for the MoMa exhibition “The Artist is Present”, the ADIDAS FIFA web video, and the Givenchy 2016 Fashion Week Show. In Europe, she worked with Jan Fabre for the Palais des Papes at the Cour d’Honneur in “Je Suis Sang” and “Histoire des Larmes”, as well as in “Crying Body” at the Théâtre de la Ville and “Tannhauser” in Teatro La Monnaie. Her own works have been shown at the Montemor-o-Novo Theatre in Portugal, Monty Theatre and Troubleyn Theatre in Belgium, and in Barcelona at the Teatro Lliura for the Festival Radicals, among others. She is currently working with director Alex Rigola in Federico Lorca’s play “The Public” that premièred at the Teatro de Abadía in Madrid and Teatro Nacional de Catalunya in Barcelona, and has an upcoming tour.
     

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    Mar
    29
    to Apr 3

    Intervention | Alexandros Michail: The eternal fire which lights them up inside and makes them glow

    Alexandros Michail

    (1980), Thessaloniki, Greece

    The eternal fire which lights them up inside and makes them glow

     

    Paraphrasing a line from Dante’s Inferno for his title, Alexandros Michail seeks meaning through a physically exhausting and spiritually demanding activity that is repetitious and, in itself, devoid of meaning. Free will, the search for root cause and for purpose, the achievement of progress — all are set against the futility of fruitless physical work. Labouring under the weight of time itself, the artist transfers tonnes of sand for eight hours using a punctured, leaking sack — an endless battle to understand an object in constant flux, his own self and, through himself, the world around him. His actions also transform the landscape around him, leaving traces of sand wherever he passes. A somatic exploration of the idea that labour and the need for meaning is the frictious point of contact between humankind and the world.

    Alexandros Michail studied Philosophy, Law and Contemporary Performance at Brunel University, and Physical Theatre at the London International School of Performing Arts (LISPA). He has collaborated with Mark Storor, Station House Opera, Penny Woodcock and Bock & Vincenzi, and his personal work, from solos to large-scale performances, have been awarded, supported, funded or commissioned by numerous institutions in Greece and abroad. His work attempts to enter into a creative discourse with the hidden dynamics of domestic and public power, and investigates the construction of the self in the context of cultural, national and gender identities. It aims to unlock the unfamiliar, unfold the tremendous oddity of the ordinary and strip objects, relationships and space off from their given meanings through a process of progressive abstraction. He is interested in testing the narrative volume of silence, the embodied anxiety of stillness, the inconvenient (sometimes violent) but also comforting impact of passing from “I” to “we”.

     

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    Mar
    29
    to Mar 31

    Intervention | Thomas Diafas: Dance With Me

    Thomas Diafas, writer and performer

    (1987), Thessaloniki, Greece

    Dance With Me

     Location: Second Floor Intervention Space

    Thomas Diafas engages visitors in a metaphorical verbal “dance” of speech, expression and creation. Sat in a chair, the artist opens each conversation with visitors using the phrase “That is inhumane”. Jumbled words, responses, emotions — all are set down on paper, to be decoded later, transmuted into a structured work, transformed into poems, texts, songs that give meaning and form to ideas and thought.

    Thomas Diafas is a writer, director and performer. He uses art to aim at some kind of revolution. He has shown his work in several countries worldwide. He hopes to be fed only with poetry when he grows up. He lives and works in Athens.

     

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    Mar
    26
    to Mar 27

    Intervention | PASHIAS: Diagrama (Training for Performance #6)

    PASHIAS

    (1988), Nicosia, Cyprus

    Diagrama (Training for performance #6) (2016)

     

    Location: Second Floor, Intervention Space 2

    Centered on the body as a vehicle for the energy, skill, aesthetic ideals and ability seen in the world of sport and physical training, PASHIAS explores here the concept of contest. With an eye on completing a specific task, the body is brought in touch with the parameters of its own self, with its material and social dimensions. The artist will create a sporting ring — an arena set apart from the civic body — where the body, alone, trains for an upcoming competition in an attempt to push beyond its physical limits, and where the act of training to achieve the greatest possible performance is, in the end, equal to the contest itself.

     

    The practice of Greek Cypriot visual artist PASHIAS is grounded in the field of performance art, installation and photography, by establishing the body as basic material for creation. PASHIAS sets up a situation or “environment” based on the relationship of a unit towards an ensemble, in a similar manner to how an individual is received or “perceived” within a social setting, as an investigation into alternative modes of communication through presence, exchange and co-existence. His work has been presented in solo and group exhibitions, as well as at international festivals in the United Kingdom, France, Spain, Italy, Germany, Russia, Norway, Finland, Estonia, Sweden, Bulgaria and Turkey. In 2013, PASHIAS co-founded the “epitelesis — Performance Art Foundation” as an international platform for the support of cultural activities, has been engaged in curating exhibitions and events on the relationship of live action to other practices, whilst working as an educator/lecturer through various academic programmes.

     

     

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    Mar
    26
    to Mar 27

    Intervention | Giannis Karounis: Orbital

    GIANNIS KAROUNIS

    B. 1971, LACONIA, GR

    ORBITAL (2016)

     

    Location: Second Floor, Intervention Space 1 

     

    A body and a ball on an orbit delineated by the constant, tortured attempts of one person to find their balance. For eight hours, Giannis Karounis will bring his body into a mutually dependent relationship with a ball — another body, another being that he will try to understand and fall in step with, on which he will balance in order to come closer to his true self and his own self-actualisation. The ball is his polar opposite, his mirror, his other self: the essential element that leads to balance through antithesis.

     

     

    Giannis Karounis is a performer, choreographer, and teacher of dance. He is also a filmmaker, and works with director Apostolos Nikolaides. He studied dance at the Jacob’s Pillow Dance School in Boston, Massachusetts (on a full scholarship), at the Greek National School for Dance in Athens, and the Kontaxaki Dance School. He has collaborated with the XVII Festival International de Danza Contemporanea (Mexico), the Hellenic Festival, the Greek National Theatre, the International Dance Festival in Seoul, Korea, and the Hellenic Dance Company. He has taught dance at Greek Dance Cultural Centre, the Greek National School for Dance, the University of Athens, and Athens School of Fine Arts. He is a founding member of “Team Progressive”, “Athens Video Dance Project” (Festival), “Arc for Dance” (Festival), “Society of Dance”, “Dancetheater.gr” (a dance web portal), and the “Saltator Physical Dance Group”. He continues to work as a performer, choreographer, and dance teacher.

     

     

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    Mar
    26
    to Mar 27

    Intervention: Serafita Grigoriadou: The Never-Ending Song

    Serafita Grigoriadou

    (1972), Thessaloniki, Greece

    The Never-Ending Song

    Location: Moving throughout Benaki Museum

    Touching upon issues of immigration and emigration, Serafita Grigoriadou presents a work that references the voice and memory — that is, the voice as a special facet of the soul that is impressed in our memory. Emigration, which has left its indelible mark on Greek history and our collective childhood memories, is transformed into a traditional song, a common motif in her work. The artist traverses the space, repeating her song over and over for eight hours each day, changing positions and levels to transport her voice and her soul’s memories throughout the Benaki Museum, with moments of intensity and silence, with whispers and melodies.

     

    Serafita Grigoriadou studied Theology at the Aristotle University of Thessaloniki, and acting at the Drama School of the National Theatre of Northern Greece and the “Embros” Drama School. She works as an actress and performer in the theatre (National Theatre of Greece, Michail Marmarinos, among others) and cinema (“Matchbox”, “Tale 52”, “DOS”, “Alpha”, among others). Her latest work is the transmedia cinematic performance “Alpha”, a crowdfunded, evolving and ongoing (2013 to date) project that blends cinema, theatre and performance.

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    Mar
    22
    to Mar 24

    Intervention | Giannis Karounis: Orbital

    Giannis Karounis

    b. 1971, Laconia, GR

    Orbital (2016)

     

    Location: Second Floor, Intervention Space 1 

     

    A body and a ball on an orbit delineated by the constant, tortured attempts of one person to find their balance. For eight hours, Giannis Karounis will bring his body into a mutually dependent relationship with a ball — another body, another being that he will try to understand and fall in step with, on which he will balance in order to come closer to his true self and his own self-actualisation. The ball is his polar opposite, his mirror, his other self: the essential element that leads to balance through antithesis.

     

    Giannis Karounis is a performer, choreographer, and teacher of dance. He is also a filmmaker, and works with director Apostolos Nikolaides. He studied dance at the Jacob’s Pillow Dance School in Boston, Massachusetts (on a full scholarship), at the Greek National School for Dance in Athens, and the Kontaxaki Dance School. He has collaborated with the XVII Festival International de Danza Contemporanea (Mexico), the Hellenic Festival, the Greek National Theatre, the International Dance Festival in Seoul, Korea, and the Hellenic Dance Company. He has taught dance at Greek Dance Cultural Centre, the Greek National School for Dance, the University of Athens, and Athens School of Fine Arts. He is a founding member of “Team Progressive”, “Athens Video Dance Project” (Festival), “Arc for Dance” (Festival), “Society of Dance”, “Dancetheater.gr” (a dance web portal), and the “Saltator Physical Dance Group”. He continues to work as a performer, choreographer, and dance teacher.

     

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    Mar
    22
    to Mar 24

    Intervention | Dimitris Chimonas: Birthday

    Dimitris Chimonas

    b. 1993, Larnaca, Cyprus

    Birthday (2016)

     

    Location: Second Floor, Intervention Space 2 

     

    An excited young boy spends all day helping his mother prepare for his birthday party. When the time comes, he falls asleep and misses his moment. This boy, now grown, sits before you and behind a cake set with many candles. He sings “happy birthday” to himself, over and again, endlessly. Compulsive repetition creates the opportunity for a new outcome. This universal song, perhaps the best known in the world, becomes a personal elegy to a lost innocence.

     

    Dimitris Chimonas’ artistic research expands on the wider spectrum of the performing arts, with bold visual extensions. He trained at the East15 Acting School in London. He has performed and/or presented work at the Cyprus Theatre Organisation (THOC), Point Centre for Contemporary Art and the Edinburgh Fringe Festival. His main works are “A Pig’s Heart in your Box” (2012), “Without Echo Vol.1 & Vol.2” (2012-2013), “Tangled” (2013), “Some Big Some Bang” (2015), “Leftovers” (2015) and “Crystal Me” (2016).

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    Mar
    22
    to Mar 24

    Intervention | Serafita Grigoriadou: The Never-Ending Song

    Serafita Grigoriadou

    (1972), Thessaloniki, Greece

    The Never-Ending Song

    Location: Moving throughout Benaki Museum

    Touching upon issues of immigration and emigration, Serafita Grigoriadou presents a work that references the voice and memory — that is, the voice as a special facet of the soul that is impressed in our memory. Emigration, which has left its indelible mark on Greek history and our collective childhood memories, is transformed into a traditional song, a common motif in her work. The artist traverses the space, repeating her song over and over for eight hours each day, changing positions and levels to transport her voice and her soul’s memories throughout the Benaki Museum, with moments of intensity and silence, with whispers and melodies.

     

    Serafita Grigoriadou studied Theology at the Aristotle University of Thessaloniki, and acting at the Drama School of the National Theatre of Northern Greece and the “Embros” Drama School. She works as an actress and performer in the theatre (National Theatre of Greece, Michail Marmarinos, among others) and cinema (“Matchbox”, “Tale 52”, “DOS”, “Alpha”, among others). Her latest work is the transmedia cinematic performance “Alpha”, a crowdfunded, evolving and ongoing (2013 to date) project that blends cinema, theatre and performance.

     

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    Mar
    20
    10:00 AM10:00

    Reperformance | Marina Abramovic "Art Must Be Beautiful, Artist Must Be Beautiful"

    Marina Abramović

    Art Must Be Beautiful, Artist Must Be Beautiful (1975)

     

    with

    Dimitris Bampilis
    Dimitra Billia
    Gitsa Konstadoudaki
    Martha Pasakopoulou
    Eliane Roumie
    Vassiliki Spachou
    Kalliopi Zervoulakou

     

    Location: First Floor, Workshop Space

     

    In Art Must Be Beautiful, Artist Must Be Beautiful (1975), originally performed and documented at the Charlottenburg Art Festival, Copenhagen, Abramović sits, naked, holding a brush in one hand and a comb in the other. For just under an hour, she brushes her hair forcefully, yanking, tugging and even tearing at it, while repeating the mantra “art must be beautiful, artist must be beautiful”. For several minutes at a time, she falls silent and with a still gaze, she stares blankly into the distance before recommencing the punitive beauty routine. This is the first time that this work will be re-performed in Europe and has only been re-performed on one other occasion, in 2016 in Shanghai as part of the project “15 Rooms”.

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    Mar
    19
    12:00 PM12:00

    Reperformance: Marina Abramovic "Cleaning the Mirror" (1995)

    Marina Abramović

    Cleaning the Mirror (1995)

     

    re-performance: 8 hours

    with Martha Pasakopoulou

     

    Location: First Floor, Workshop Space

     

    This is the first time that this work will be re-performed since its first iteration in 1995, when it was performed only for video. In Cleaning the Mirror (1995), Abramović sits with a skeleton on her lap, next to her a bucket with soapy water. With her right hand, she vigorously brushes the different parts of the skeleton. By being cleaned, the colour of the skeleton becomes lighter, whereas the greyish dirt which once coated the bones starts to cover Abramović herself so that the boundaries between the actor and the “object” acted upon start to blur; the dead and the living start to intermingle. As for Abramović, the skeleton metaphorically represents “the last mirror we will all face”; death and temporality are the major themes addressed in this work.

     

     

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    Mar
    17
    to Mar 20

    Intervention | Nikolaos: Look at the Pain in the eyes, and the Pain Passes

    Nikolaos
    b. 1986, Athens, GR
    Look at the Pain in the eyes, and the Pain Passes (2016)

     

    Location: Second Floor, Intervention Space 2

     

    This work by Nikolaos attempts to give manifest physicality to mental distress, and seeks ways to overcome it. The lack of freedom and prevailing enchainment of humankind today is only intensified by greater societal acceptance of the status quo, which brings, by extension, even greater societal constraints. The artist makes this lack of freedom literal, appearing bound, and hanging by a rope. This constriction of the body allows for the liberation of the mind, revealing a path to freedom through self-control, meditation, and a belief in the power of thought.

     

    Nikolaos began drawing and playing music from a young age. He studied computer science. In 2010, he took his first violin lessons with Nelly Ikonomidou, got involved in various sports (such as rugby and long-boarding), and began experimenting with other musical instruments (bass guitar, keyboard), dance, singing, the theatre, as well as the art of tattoo-making. He discovered that there are no limits to human ability once the mind is free. He shares this art with the public through performances at private and public events in Greece and internationally.

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    Mar
    15
    to Mar 20

    Intervention | Yannis Adoniou + Stavros Apostolatos: Portrait of the Unknown Man

    Yiannis Adoniou

    b. 1968, Athens, GR

    Stavros Apostolatos

    (1975), Athens, GR

    Portrait of the Unknown Man (2016)

     

    Location: Second Floor, Intervention Space 1

     

    Taking movement as their tool, Yannis Adoniou and Stavros Apostolatos flirt with the idea of disappearance. The two performers seek to dissolve their forms — taking as their mainsprings walking, standing and immobility, leaps, collapses and micro-movements — to the point where they disappear completely from view. As their forms retreat, various everyday objects remain in the space to remind us of their prior existence. While they never touch, the two bodies remain connected, in visual contact, mutually dependent, and seeking — over the course of eight hours — their own private reality beyond the abilities of the body. The work is not rehearsed; the movements are created each time out of nothing, instinctually, in the split second of each moment.

     

     

    Renowned Greek artist Yannis Adoniou received his first dance education in Athens, Greece. Since 1998, he has been leading the critically acclaimed arts organisation, “KUNST-STOFF”. Adoniou works in dance, film and opera, and takes an active role as a dancer, choreographer, curator, producer and educator. He was a principal dancer with Alonzo King’s LINES Ballet, the San Francisco Opera, and a regular guest artist across the USA and Europe. In addition to his work with “KUNST-STOFF”, Adoniou has created works for companies and Universities such as the Seattle Opera, Sacramento Ballet, Sixrono Theatro, Opera Santa Barbara, University of Utah, West Bay Opera and Lines Ballet/Dominican University, among others. He has received support and acknowledgement for his work from the Isadora Duncan Awards, Irvine Foundation, Dance/USA, Goldie Awards, San Francisco Arts Commission, MANCC National Center for Choreography, NEON Organisation, and the Gerbode Foundation, among others. www.kunst-stoff.org

     

    Stavros Apostolatos began his career in dance in Chania, Crete in 1991. He is an alumnus of the Greek Ministry of Culture’s Professional Dance Section. Over the last 20 years, he has attended several courses and seminars on classical dance, modern and contemporary techniques, release techniques, contact improvisation, improvisation and Butoh, with teachers from Greece, Europe and America such as: the KER Dance Studio with Efi Kaloutsi—Greece, Jerome Andrews—France, Jean Francois Lefort—France, Jean Yiasko—the Netherlands, Court Coegel—Germany, William Forsythe Dance Cie—Frankfurt Opera Studio, Riccardo Morrison—America, BennoVoorham—the Netherlands, Pina Bausch Dance Cie—Germany, Tanzfabrik Dance Cie—Germany, Wendy Peron—America, and Masaki Iwana—Japan, to name a few. Since 2000, he has collaborated with dance groups in Greece and abroad as a freelance dancer. As a choreographer, he has been developing his ideas for pieces since 1999. He has taught contemporary dance techniques and improvisation at several professional dance and drama schools in Athens and Germany since 2007. http://stavrosapostolatos.blogspot.com/

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    Mar
    15
    to Mar 16

    Intervention | Katerina Oikonomou: And There Was Voice

    Katerina Oikonomou

    (1981), Poros, Greece

    And There Was Voice

    Location: Second Floor Intervention Space

    Classical music training, opera and aesthetics face deconstruction and denudation in this work by Katerina Oikonomou, who uses her voice to discover the limits of body and spirit. For eight hours, she will produce sounds — classical arias, contemporary songs, voices, screams — that reveal her inner self and the very limits of her vocal chords. Through these sounds, she will overturn and deconstruct the classical aesthetic, the decorum, beauty and stereotypes of the opera form, using her voice as a raw material for the creation of a new sound, stripped back, from scratch.

     

    Katerina Oikonomou has a BS and MS in Food Science from the Agricultural University of Athens. Her studies are in classical singing and modern dance at the Athens Conservatory. She performs classical and modern songs, as well as arias, literature and monologues.

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