Haus N in Vatsaxi 6 presents “Lise”, a new exhibition by artist and musician Adam Christensen / Opening Wednesday 12 July. 7:30–9.30 pm. The artist will present a new performance at the opening event.
Curated by Panos Fourtoulakis
Developed with the support of Haus N Athen and The Danish Art Foundation
For our first exhibition at Vatsaxi 6, an off-site space by Haus N, we are honoured to present new work by Menelaos Karamaghiolis and Katerina Komianou.
Fokionos Negri street and Exarcheia square, two sites of cultural and political significance in the centre of Athens, are the contexts of the presented works. The artists explore notions of time, perception, memory and their intimate relationship to these public spaces through observing, documenting and archiving that which often goes unnoticed.
Mute is a performance choreographed by Georgia Paizi with video by Iasonas Arvanitakis, music & performance by Jeph Vanger, with dancers Lina Vergopoulou, Katerina Delakoura, Elton Petri, Augustinos Potsios. With the support of Hellenic Ministry of Culture.
Special thanks to Artworks
Haus N hosted The Queer Archive Festival powered by Onassis Stegi
All Criteria This Position Any Moment
Curated by Pierre Bal-Blanc
with Victor Burgin and Cally Spooner in reference with Yannis Tsarouchis
Friday 18th and
Saturday 19th September 2020.
At 5pm, 6pm and 7pm each day
(reservation required: info@haus-n.gr)
Performed by Efthimios Moschopoulos
Duration 45 minutes
(wearing mask and social distancing is requested)
All Criteria This Position Any Moment, 2020
A solo written by Pierre Bal-Blanc
From performative statements of Victor Burgin 1969-70
And in reference with the painting « The Forgotten Guard », 1957 by Yannis Tsarouchis
Choreographed by Cally Spooner
Performed by Efthimios Moschopoulos
Score (extract)
Victor Burgin's three conceptual works "This position...". 1969 - "Any moment..." 1970 - "All criteria..." 1970, each consisting of instructions printed on double page A4 format, must be presented in isolation from each other in a large room or connected rooms that can accommodate an audience. The presentation of the pieces returns to its original mode (transmitted by the French art agent Ghislain Mollet-Viéville following his conversation with the English artist), i.e. instructions ‘cut up’ and placed around the wall in order to ‘occupy’a room. The signed and numbered originals under glass will be shown in another adjacent room.
The activation of each piece is carried out by a nude or semi-nude model with reference to "The Forgotten Guard" dated 1957 by Yannis Tsarouchis. A painting which will be brought to the attention of the audience through documents in the antechamber of the exhibition. The dancer recruited according to the criteria of the Greek artist's painting will have undergone prior training by the curator and the choreographer to incorporate the principle of the instructions in each of Victor Burgin's works.
Victor Burgin's three statements appeal to the somatic and symbolic memory of the reader. Cally Spooner substitutes these mnemonic traces with three of her own choreographic material: "DRAG DRAG SOLO”, 2016; "Still Life, 2018";“DEAD TIME (Maggie's solo)”, 2019. The performer led by Cally Spooner will thus draw from this reservoir of gestures and attitudes when Victor Burgin's instructions command him to refer to a past or future time.
The continuum of the three pieces performed will be presented before the eyes of the public, who will also have access to the performative statements and will be able to act freely within the framework of social distancing policy related to the Covid-19 pandemic. The performer's embodiment of the pieces, which varies according to his own reading as well as to the choreographer's and curator's instructions, is only an indication of the possible form of reception of the conceptual work addressed to the audience; it in no way claims to limit its use.
The title phrase "All Criteria This Position Any Moment", 2020 that articulates the three respective works by Burgin and Spooner according to a new syntax inspired by Tsarouchis, attests to the intention to link them in the present time, space and body of both the performer and the visitor. (PBB)
Nathan Gray makes lecture-performances,
radio-plays,stories and rumours.
His works extend the sonic possibilities of the spoken word and use the voice as means to demonstrate scientific or social phenomena.
At Haus N Athen he will present "The Critical Flicker Frequency" (a talk about the way different animals perceive time) and other works. Nathan's research into the possibilities of the voice extend from artistic research to curation and he is the presenter of the radio show The Weirding Module which focuses on the voice in experimental music and contemporary art.
Art Athina video program
The Intelligence of a Careful Undressing
Film by Valinia Svoronou
Athens Art Book Fair is an artist-run initiative aiming to bring together and showcase artist publications produced in Greece as well as to create a link with publishing-based artistic practices (print, online and else) internationally.
Athens Art Book Fair was founded in 2019 by Margarita Athanasiou and Michalis Pichler.
Neighbours
Film by Evi Kalogiropoulou
The film shows a metal recycling yard / scrap site on the shores of the “Prophet Daniel stream” in Votanikos area.
The scrap yard is owned by Mr. Pappas who has been there for more than 40 years working with his family.
Set within an ancient Olive Grove that has turned into an industrial area, it is surrounded by Roma settlements and refugee camps.
This place is in the centre of Athens, from where you can see the Acropolis if you stand at the right part of the scrap yard. The film explores ideas of patriarchy, immigration as well as the concept of place and ownership of land in our current culture.
Pieces of a Witches
Broken Heart
The intelligence of a Careful Undressing
Three films by Valinia Svoronou
‘Pieces of a Witches’ Broken Heart’ and ‘The intelligence of a Careful Undressing’ are the titles of the latest moving image works of Valinia Svoronou.
Both of the films have a dominant narrative format and present different iterations of fictional love stories in fragments, through animation and collaged footage.
The films aim to explore ideas around the survival of romanticism in a contemporary world encumbered by the reality of nature being a construct.
Reading by Ioanna Gerakidi
“Feeling a little lighter than before I left” is a text on the perversity of the erotic touch, on the subversion of time and space that lovers experience, on the alterity they fearlessly welcome in this fragile state of togetherness.
The text draws on unrequited meetings, on unfulfilled lusts, desires, facts and fantasies to speak about the impossible as a means of thinking across new imaginaries and alternative ways of living, loving, longing.
Image: Bin Koh
Horse Follows Darkness
Film by Delia Gonzalez
Horse Follows Darkness is the latest 16mm film release by multimedia artist and composer Delia Gonzalez.
Featuring an all female cast of five ballet dancers, the narration unfolds in three acts, through which a heroine – whose looks emerge as a fierce, sensual and enigmatic, perhaps even self - referential aesthetic leitmotif following Gonzalez’ central character in
“In Remembrance” conquers her battles with the embodiments of the devil, shadow, seduction and fear, all styled accordingly.
Inspired by early 1970's French film, spirituality and mysticism, Horse Follows Darkness reveals the deepest workings of the heart and mind.
I don’t feel safe to tell you
Performed by Jeremy Nedd and Dylan Spencer-Davidson
Developed in collaboration with Cian McConn
Performance & music by Dylan Spencer-Davidson
Special thanks to Lauryn Youden and Hugo Wheeler
Crisis mode. list of things i want to talk to you about. backlog. a million things to digest.
you send me a heart and i basically burst into tears. woke up twice last night from nightmares about you. self-medication. i don’t have the strength to read the full text. limbic revision. non-violent communication. i feel bad dropping an emo bomb on you when you sound like you’re in a happy place. emotional freedom techniques. ataraxia.
codependency and recovery and the differences. the will to change. feed the wolf you want to grow.
Dylan Spencer-Davidson (b. 1987, Washington D.C) works with performance, music and video.
His practice is concerned with the mediation of affect, desire and embodiment in interpersonal communication. His works have been presented in contexts including Studio Voltaire, London, V&A, London, Eastside Projects, Birmingham and Ashley, Berlin. He completed a BA in Modern and Medieval Languages at the University of Cambridge and an MA in Communication Art & Design at the Royal College of Art, London.
Jeremy Nedd (b. 1985 Brooklyn, NY) Is a performer and choreographer based in Basel, Switzerland. In his work he explores different aesthetic worlds in order to deconstruct and repurpose their codified vocabulary. His work has been shown in Switzerland, France and Germany with spaces such as Kaserne Basel, ROXY Birsfelden, Tanzhaus Zürich, Arsenic, Palais de Tokyo and Münchner Kammerspiele. He is currently completing a Master in Expanded Theater at Hoch Schule der Künste Berne.
The Anastasia Method
Performance by Natasha Papadopoulou
The Anastasia Method is an all inclusive personal last resort.
It is that one hour space of limits to be flexed and borders to be expanded. If you don’t mind words and actions connecting to the core, this class is for you. Join in for an opportunity to flex in reflex, to existentially stretch and to exist in my verse. Reverse the role of viewer with some inner action, extend your possibilities, expand your inspirations and enjoy your talents. Class is limited participation.
Score (extract)
Victor Burgin's three conceptual works "This position...". 1969 - "Any moment..." 1970 - "All criteria..." 1970, each consisting of instructions printed on double page A4 format, must be presented in isolation from each other in a large room or connected rooms that can accommodate an audience. The presentation of the pieces returns to its original mode (transmitted by the French art agent Ghislain Mollet-Viéville following his conversation with the English artist), i.e. instructions ‘cut up’ and placed around the wall in order to ‘occupy’a room. The signed and numbered originals under glass will be shown in another adjacent room.
The activation of each piece is carried out by a nude or semi-nude model with reference to "The Forgotten Guard" dated 1957 by Yannis Tsarouchis. A painting which will be brought to the attention of the audience through documents in the antechamber of the exhibition. The dancer recruited according to the criteria of the Greek artist's painting will have undergone prior training by the curator and the choreographer to incorporate the principle of the instructions in each of Victor Burgin's works.
Victor Burgin's three statements appeal to the somatic and symbolic memory of the reader. Cally Spooner substitutes these mnemonic traces with three of her own choreographic material: "DRAG DRAG SOLO”, 2016; "Still Life, 2018";“DEAD TIME (Maggie's solo)”, 2019. The performer led by Cally Spooner will thus draw from this reservoir of gestures and attitudes when Victor Burgin's instructions command him to refer to a past or future time.
The continuum of the three pieces performed will be presented before the eyes of the public, who will also have access to the performative statements and will be able to act freely within the framework of social distancing policy related to the Covid-19 pandemic. The performer's embodiment of the pieces, which varies according to his own reading as well as to the choreographer's and curator's instructions, is only an indication of the possible form of reception of the conceptual work addressed to the audience; it in no way claims to limit its use.
The title phrase "All Criteria This Position Any Moment", 2020 that articulates the three respective works by Burgin and Spooner according to a new syntax inspired by Tsarouchis, attests to the intention to link them in the present time, space and body of both the performer and the visitor. (PBB)
