A context of Creating a Floating Island by Kanellopoulou:
The human entity constantly creates new objects and structures for use, dedicated to replacing the older things, setting them obsolete. Earth functions as a huge landfill, based on capitalism and modern consumerism. Could the already existing structures and objects be occupied through a function or series of poetic acts, aiming to reclaim a new aesthetic? In the project Creating a floating island, Kanellopoulou is performing a Utopian intervention to a boat-wreck, left on the coast of Athenian Riviera. By importing soil and seeds to the deck and creating planting areas, Kanellopoulou creates a Utopian coastal micro-climate, seeking to reuse the floating wreck and relocate it from its primary and temporary situation; the artificial nature of such a boat is being changed and regenerated, turned into a vivid environmental floating structure, which will host entities of Plantae and Animalia. The new hosted species are going to be added over-water, in the body of the wreck, to its already existing ecosystem, that was created underwater during the period of its abandonment. Nature rules over the human creations, reclaiming an earthly reality for the specific space, after this poetic generative process.
Days/hours of online performance:
Opening: Friday 5/6/2020, 19.00
The long-term project διεπαφή: the on-touch project is part of the exhibition "Soul Anatomies", curated by art historian and theoretician Aggeliki Mpara, held at Hart and Gart Gallery (Athens).
<<How can memory be linked to "mental anatomies"? The "Soul Anatomies" are visually revealed through the "interface: the on-touch project", an interactive project involving modern humans. The project brings the viewer into a spiritual and at the same time physical state in which he invokes tangible memories. An important element of the 'interface' is participation, both spiritual and physical, as it brings together a collective archive that visualizes and transmits tangible memories into space.
In the makeshift workshop "Touch", one can share a tactile memory or experience and create his own work with his imprint. For this reason, the artist places in the aquariums where through the process of electrolysis of the spectrum of the spectator's fingerprint, internal processes of the brain are indicated. The copper plates are then hung in place, creating a timeless environment full of information. The artist, through recording, interacts with the viewer using the workshop as an interaction platform.
The participating viewer is in an unfamiliar and at the same time intimate space, as the artist through the dialogue transfers an extroversion mood to the workshop. At the same time, each testimony is anonymously recorded, categorized and stored in different formats, with the viewer having access to the recording material. This material is posted on a website and by scanning a QR Code or simply recording the address, one can refer to the material.>>
Time ColLapse at Arte Museo Zapadores and UP Cumandá
My videoart Time ColLapse is part of the exhibition "Otros Paisajes // Other Landscapes", a curatorial project about international video art and video-performance, continuing been circulating in different exhibition spaces around the world, is taking place in the city of Madrid, in one of the most important spaces for art of the country, the Zapadores Art Museum.
In parallel, the artworks will also be screened after 18.00 in the Urban Park Cumandá of Quito in Ecuador on November 7, 8 and 9.
2017, performance / in-situ installation in the gardens of the ASFA.
In the framework of Ma[r]king a Home, the drawing of the plan in the field (garden of the ASFA) is carried out in a scale 1: 1 and then seeds, bulbs and roots are used to form the masonry of a home. Thus, the walls of this building are made of plants, performing a unique in-situ installation. Most of the plants, which used in the installation, are edible. Moreover, all the seeds were collected and archived by the artist. Through this utopian action, the re-placement of man into an uncanny matrix/dwelling is intended; this new matrix is structured by plants in the urban environment, in order to reconsider his view towards nature.
Performance Ma[r]king a Home is part of the ASFA BBQ festivaland is participatory; the audience is invited to sow seeds with the artist in the garden of the Athens School of Fine Arts.
23/05/2017, 19.00-21.00 - Day 1: Cleaning and Drawing/Engraving
25/05/2017, 19.00-21.00 - Day 2: Drawing/Engraving, Digging and Seeding
29/05/2017, 19.00-21.00 - Day 3: Digging, Seeding and Watering
30/05/2017, 19.00-21.00 - Day 4: Installation Works
31/05/2017, 19.00-21.00 - Day 5: Installation and Watering Works
01/06/2017, 19.00-21.00 - Day 6: Installation Works
02/06/2017, 19.00-20.00 - Day 7: Speech /Presentation of performance / installation by the artist (Class of Night Nude Model) and Walk to the Installation
03/06/2017, 19.00-21.00 - Day 8: Works and Discussion in the Installation
04/06/2017, 19.00-21.00 - Day 9: finissage of the first circle
21/06/2017, 19.00-21.00 - Day 10: Watering and Solstice Gardening Gathering (participatory of audience)
Last but not least, I would like to thank all of the performers for the special moments and interactions (it was a great time to meet and have plenty time with old and new friends, under the umbrella of Dance Singularity), Athens Photo Festival and all the staff of Benaki Museum for the friendly environment.
The durational performance Curing Fragility is part of the exhibition "Performance ROOMS 2020", organized annually by Kappatos Gallery. This project is curated by art historian and theoretician Aggeliki Mpara, held at St. George Lycabettus Hotel (Athens).
<<How much exposed is contemporary privacy? The project Curing Fragility puts us in a glass world, fragile as the atmospheric Glass Menagerie of Tennessee Williams in the light of modern times and technological developments. A private environment, such as that of a bedroom, becomes public and at the same time uncanny, as it is made of transparent materials. Athina Kanellopoulou, creates an allegorical world protected from the dangers, but highly exposed because of the transparency of the bubble wrap material; while, at the same time, asking questions, including the element of testimony.>>
Aggeliki Mpara - art historian/ theoretician
Days/hours of performance:
Opening: Thursday 20/2, 19.00-22.00
Friday - Sunday 21-23/2, 19.00-22.00
St. George Lycabettus Hotel
Address: Dexamenis Square, Kleomenous 2, Kolonaki
My concept and research IVAPA is officially selected of the exhibition "Art Gallery" of Laval VR & AR 2019 21st international Exhibition and Conference on VR/AR & Immersive Techniques, in one of the most significant festivals dedicated in virtual and augmented reality.
IVAPA, the International Virtual Archive of Performance Art is an archive developed in Virtual Reality environment. Through this virtual archive, the users can navigate themselves into performance art experiences. As I mention at the concept "The purpose of this archive is to preserve, showcase/demonstrate and help the audience to immerse to each performance of it and to have a relevant sensation as being in the accurate performance".
On the exhibition the prototype will be demonstrated, which was realized with the collaboration of Nikos Mpelomatis.
at Saint Marco Square and Palazzo Ca'Zanardi Venice
My performance Fabric; Housing is part of the exhibition "Consciousness", a curatorial project of It's Liquid Group, which is going to be realized at palazzo Ca'Zanardi in Venice.
Before the exhibition's opening, I am going to have a two day solo participatory performance at Saint Marco Square (Venice).
10-11 July 2017, 14.00-19.00
Saint Marco Square
13-28 July 2017, 17.00-20.30
Curatorial concept and actions of Luca Curci and It's Liquid Group
The brand new video art The Omonoia Project is part of Athens Biennale: 5to6 Omonoia.
The artwork is on-going and it is going to be realized during the exhibition by adding parts in it.
OMONOIA is the greek word for concord (or peace).
It is one of the main conditions for people to living happily and harmonious in a place. Sometimes situations as conflicts cause the annihilation of this term; so, the habitants of a place need to go elsewhere to find the conditions of that term.
This phenomenon compels the languages and civilizations to vanish. This Project is an attempt to preserve each language as a cultural platform and a focus in the condition of the global extinction of the “Omonoia” as a state/ situation.
Direction: Poka Yio
Curator: James Simbouras/ C.A.S.A.
I want to thank my photographers Dimitris Roystanis and Fili Oliefski, cinematographer Todo Andres and my assistant Manolis Kostouros.