Friday, 3 March 2017

Fourth day in Athens




Our last day had an inspiring kick-off when we met Maria Lalou, a Greek artist/ researcher and Skafte Aymo-Boot, a Danish architect on the rooftop overlooking Athens; looking from above, observing urban landscape. The sky was grey and slowing dropping tears. Horizon revels layered clash of different architectural elements.








Together the Amsterdam based lovely duo run a transdisciplinary project called Un-finished(http://un-finished.org/[UN]_introduction.htm). It is a study on the architectural archetype of the unfinished concrete building found everywhere in the Athens cityscape, turned to a performed archive. In other words, the project aims at mapping and registering the unfinished buildings in Athens. At the moment there are approximately 200 objects as they call the buildings in the archive. The words they use when speaking about the project were very poetic and romantic: to collect buildings, concrete skeleton, anti monument, contemporary ruin parallel to ancient ruin,  contemporary archeology, owner holding a dream  and void of the city. Object of interest revolts only around concrete buildings. It’s its liquidity that becomes solid and timeless strength.





From the rooftop the fact that there is no architectural planning in Athens can be easily observed. Each building is by one person. This serves the project very well. Maria and Safte are interested in personal stories: emotional, comic, tragic behind the image of the building, trying to get behind the history of the city. Private and public are closely intertwined. Rough constructions with emotional baggage. The unfinished buildings describe the city socially and politically. Stories of the past and the future. Investigating history of unfinished ones it´s not an easy task. It´s a challenge that requires good people-relation skills, to get to the core of the building.

Concrete skeleton gets an organic quality. Ruinporn dystopia charm.

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Our second meeting of the day was a walk-and-talk style discussion with Orestis Doulos. He is a member of the Greek section of the International Marxist Tendency (IMT), also known as the Communist Tendency. It started to rain when we were standing on the hill and having a look over Athens. A political stroll.






We talked about Athens as a city, politicization of universities, the crisis and its cause and consequences, its positive and negative sides, future visions and alternative scenarios. According to Orestis there is no solution under capitalism. It’s a matter of the deep crisis of capitalism itself.  The crisis is destroying the petit bourgeois making them feel closer to working class. Social activities are getting more and more common when people are trying to fill the gap caused by government instead of putting pressure on the government. Things are getting worse day by day.  


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In the end of the day we had a cup of coffee with Christos Chryssopoulos www.chrissopoulosvivlia.blogspot.com), writer and Anastasia Douka (https://anastasiadouka.wordpress.com/), visual artist. Raindrops kept on dancing. As Christos is devoted to writing and literature theory the topics were alike: the explorative nature of a writing process and its aims, the idea of intersubjectivity and literature as a medium to open up a space for discourse.
Christos underlined the act of misreading: texts can be appropriated politically by extreme right or extreme left. It is about allowing different use. This all leads to a question if literature can be dangerous. The writing does not have to be political or economic to open up a space for discourse. It can be poetic or aesthetic as well. Another interesting thing raised up was the strategy of unfamiliarization: what is unfamiliar in familiar?



Short Video Shot in Athens

Tuesday, 28 February 2017

From my notebook

Athens, day 1

Twixt Lab
anthropology
Combination of everyday life and visual art 
Art and revolution and link between them
Activism 
We try to involve media in our projects
Discursive attitude, themes come from our own interests 
Never ending process, long term research
What is the difference between artist and anthropologist?
Place for experimentation
Funding, private funding
Contemporary art has been valued for the first time in Athens after the crises

Athens School of Fine Arts, Circuits & Currents (project space)
Initiating
Educational program
Student run project space
Splitting the responsibilities   
Things are easier on paper than in practice 
Before the crises art scene was very commercial
Supervising, power of supervising
Funding is crucial.
Share the interest, share the power!
Money talks. 
Institutions are heavy machines to operate. 

Green Park
Social, political, anarchist squat
Heart of crisis
Occupation
Local audience
Difficulty of documenting
No press releases 
Documentation in a collective way.

Athens, day 2




Walking, chatting, smelling, observing, asking (too personal questions), complaining, analyzing, listening, trusting, exploring.



Athens, day 3

Kostis Stafylakis
New form of nationalism, current forms of nationalism
Variations of patriotism
Language of multitude
Crisis of capitalism, crisis of democracy, alienated by the crisis
National and orientalist perspective, appropriation
Imaginary communities and notions
False conscience of victim and victimizing
Greece cannot be the epicentre of monovalent politics for neoliberalism.”

Athens, day 4

(Un)Finished / Maria Lalou and Skafte Aymo-Boot
Contemporary
archeology
Concrete
Anti monument
Ghost city
Skeletons of the buildings
Structures
Archiving
Bureaucracy
Modern Athens
Burden of the antiquity
Connection to the modernism
Personal stories, family matters

Christos Chrissopoulos
The Antiquity does not exist, it is an artefact.
Counter narratives
Fair trade producing and publishing
Misreadings
Dangerous literature
Bringing stories from history, contemporary interpretation.

Monday, 27 February 2017

25th of February

Kostis Stafylakis is an art theorist and artist. He graduated from the Athens School of Fine Arts. He holds an MA in Modern Art and Theory from the Department of Art History and Theory at the University of Essex and an MA in Continental Philosophy from the Department of Philosophy at the same University. He holds a Doctorate from the Department of Political Science and History, Panteion University (Athens). He has been a post-doc researcher at Aristotle University of Thessaloniki (2011-2012). He taught “Research-based art and the art field” as adjunct at the Unit of Innovation and Entrepreneurship at the Athens School of Fine Arts. He currently lectures on “Art and Visual Communication” at the Department of Architecture, University of Patras. He is the one half of KavecS artist duet (www.kavecs.com).

We met Kostis at 13:00 in a cafe to hear his perspective on the patriotism and nationalism withing the current greek art scene, heavily affected by both documenta 14 and the current political/economical situation in the country. 
He argued that many of the forms of art initiated both under documenta and against it, use tactics such as restistance (fx. resisting neoliberalism, capitalism ...), reclaiming (fx. territory for art practice) and solidarity (with the opressed), which share similarities with patriotic and nationalistic discourse. 

"Thinkers, artists, activists lamented over technocratic capitalism’s urge to destroy self-sufficiency, national community and locality. In this framework of mourning and ‘new-melancholy’, sovereignty was primarily understood as self-sovereignty. Even criticisers of the nation-state agreed that national self-sovereignty is a necessary step to a more internationalist terrain of emancipation: the struggle to ‘reclaim’ the local ‘resources’ was seen as the first priority in every possible agenda of struggles – the principal struggle, the one that fashions all others. A wide range of ideological spaces, from the greater part of the anarchist/antiauthoritarian space and the libertarian left to the new patriotic movements and anti-memorandum parliamentary parties, consented to this mantra."

from Kostis's post on the nationalisation of art and activisim:

Universal language



Konstantinos Mihos´ contact improvisation class offered moments of anonymous intimacy beyond verbal communication. My body, your body, two strangers.
Touch by touch shy gestures take shape of full body contact. Smile, laugh and sweat guide us through the process. Shame is gone. Liberation is here. After two hours I don´t know your name but I know your body. No words are needed.   
The physical discourse is initiated by random objects. Choose the spot, place the object, escort the other one. What is safe? What is not? Are you avoiding certain parts of the body? Which parts are you comfortable with? Find your personal taboos. It is possible to locate three kinds of no-zones: sexual, safety related and those addressing dirt. An analogy? From micro to macro, from individual to society?