Tuesday, December 4, 2007

DAY 24 / 06 OCTOBER 2007 - PARALLEL STORIES PROJECT FOR EMERGENCY ROOM


A two-day educational program for children was conducted on 6th and 7th October 2007 at the National Archaeological Museum, on the initiative of artist Eleni Kotsonis. The program, titled “Parallel Stories”, centred on a presentation and discussion of the prehistoric settlements of Sesklo and Dimini in Thessaly and of Akrotiri on the island of Santorini (Thyra). The choice of subject was based on the fact that these specific settlements were destroyed by fire and a volcanic eruption respectively and allowed for parallels to be drawn between such disasters of the past and the recent fires in Greece. The program was organized and conducted in cooperation with the National Archaeological Museum and artists participating in the Emergency Room project. Artists Eleni Kotsonis and Maro Michalakakos and resident archaeologists Alexandra Christopoulos and Nayia Dalakouras welcomed a group of 40 children between the ages of 6 and 12.The program included a guided tour of rooms no.5 (The culture of the Neolithic period / Sesklo-Dimini) and no.48 (the murals of Akrotiri-Thyra) that familiarized the children with the architecture of these early settlements, as well as with the conditions that led to their destruction in the past. Tours were followed by a discussion of the notions of creation and destruction, after which the children worked together to create a model of the Sesklo acropolis, as well as to freely re-create the murals of Akrotiri. In the form of a “performance”, the above program stands as a comment on recent events in the news and has substituted, in terms of time, an “emergency” work by artists Eleni Kotsonis and Maro Michalakakos.

Saturday, September 29, 2007

DAY 23 / 29 SEPTEMBER 2007




today has been the last passage in the Emergency Room Athens /Ileana Tounta after 23 days of daily changing opinion about the emergencies in the world

more photos:
http://www.flickr.com/photos/12660741@N04/sets/72157602196633136/

artists burning to express their opinion:
Christos Apostolakis
Costas Beveratos & Ira Spagadorou
Dimitris Ioannou
Eva Michalaki
Eva Mitala
Tereza Papamichali
Erifyli Veneri
Michalis Zacharias

Costas Beveratos’ Performance artists:
Costas Beveratos
Yannis Skoulidas
Marianthi Sontaki
Giorgos Stathakis
artists' interview video:

atmospheric video: by Eleni Garoufalia

Friday, September 28, 2007

DAY 22 / 28 SEPTEMBER 2007

Mobile Emergency from Japan : Giorgos offer to exhibit work from Emergency Room artist for a penetration at Kitakyushu Biennale . Costas Beveratos , Maria Ikonomopoulou Thierry Geoffroy ,Nikos Mantzios ,and Giorgos Taxiarchopoulos sended work .
film
image from the send art work and vagabonde exhibition


more photos: http://www.flickr.com/photos/12660741@N04/sets/72157602193748787/

artists burning to express their opinion:

Christos Apostolakis
Eva Michalaki
Eva Mitala


artists' interview video:



atmospheric video: by Eleni Garoufalia

Thursday, September 27, 2007

DAY 21 / 27 SEPTEMBER 2007

more photos:
http://www.flickr.com/photos/12660741@N04/sets/72157602173145322/

artists burning to express their opinion:

Costas Beveratos
Dimitris Dokatzis
Theodore Giannakis
Marie Koelbaek Iversen
Eva Michalaki
Eva Mitala
Petros Moris
Erifyli Veneri


artists' interview video:



atmospheric video: (by Eleni Garoufalia)

Wednesday, September 26, 2007

DAY 20 / 26 SEPTEMBER 2007



artists burning to express their opinion:

Hilde Aagaard
Christos Apostolakis
Costas Beveratos
Marie Koelbaek Iversen
Eva Michalaki
Eva Mitala
Alice Palaska
Despina Stokou


artists' interview video:





atmospheric video: by Eleni Garoufalia











Tuesday, September 25, 2007

DAY 19 / 25 SEPTEMBER 2007

more photos:

http://www.flickr.com/photos/12660741@N04/sets/72157602167207303/


artists burning to express their opinion:

Costas Beveratos & Natali Karayan
Theodore Giannakis & Petros Moris
Marie Koelbaek Iversen
Maro Michalakakos
Eva Michalaki
Erifyli Veneri

artists' interview video:




atmospheric video: by Eleni Garoufalia

Sunday, September 23, 2007

DAY 18 / 23 SEPT. 2007 // MOBILE EMERGENCIES

today emergency room is closed in Athens . The artist Yorgos Taxiarchopoulos is burning to express and there fore organize a football play to debate and share opinion on how t how the EU has weakening its rules for genetically created organs intented to be used for medical purposes .
He is also calling other artist for a biennial penetration tuesday in Japan Kitakyushu Biennial
more to click on

more photos:
http://www.flickr.com/photos/emergencyrooms/sets/72157602122842866/

Saturday, September 22, 2007

DAY 17 / 22 SEPTEMBER 2007


more photos:
http://www.flickr.com/photos/12660741@N04/sets/72157602156534251/


artists burning to express their opinion:

Hilde Aagaard
Costas Beveratos
Dionisis Cristofilogiannis
Dimitris Foutris
Theodore Giannakis
Kali katsouri
Nikos Mantzios
Eva Michalaki
Eva Mitala
Petros Moris
Yiorgos Taxiarchopoulos
Erifyli Veneri


artists' interview video:



unplugged atmospheric video: by Eleni Garoufalia & Yannis Constantinidis

Friday, September 21, 2007

DAY 16 / 21 SEPTEMBER 2007

more photos:
http://www.flickr.com/photos/12660741@N04/sets/72157602108902781/

artists burning to express their opinion:

Hilde Aagaard
Costas Beveratos
Dionisis Christofilogiannis
Eva Michalaki
Eva Mitala

artists interview video:



atmospheric video: by Eleni Garoufalia


emergency dialogues' video: by Eleni Garoufalia & Yannis Constantinidis

Thursday, September 20, 2007

DAY 15 / 20 SEPTEMBER 2007

more photos:
http://www.flickr.com/photos/12660741@N04/sets/72157602095491577/



artists burning to express their opinion:

Hilde Aagaard
Christos Apostolakis
Costas Beveratos & Natali Karayan
Dionisis Christofilogiannis & Maro Michalakakos & Eva Mitala
Eva Michalaki
Petros Moris & Theodore Giannakis


artists interview video:



atmospheric video: by Eleni Garoufalia



emergency room directors'cut (dedicated to Thierry):


Wednesday, September 19, 2007

DAY 14 / 19 SEPTEMBER 2007


more photos: http://www.flickr.com/photos/12660741@N04/sets/72157602072522032/


artists burning to express their opinion:

Hilde Aagaard
Nikos Mantzios
Eva Michalaki
Pavlos Nikolakopoulos
Aliki Palaska

artists interview video:

atmospheric video: by Eleni Garoufalia

DAY 13 / 18 SEPTEMBER 2007

more photos:

http://www.flickr.com/photos/12660741@N04/sets/72157602061133476/

artists burning to express their opinion:

Dimitris Baboulis
Costas Beveratos
Katerina Christidi
Dionisis Christophilogiannis
Dimitris Dokatzis
Theodore Giannakis
Kali Katsouri
Maro Michalakakou
Eva Michalaki
Eva Mitala
Petros Moris
Erifyli Veneri
Michalis Zacharias

artists interview video:



atmospheric video: by Eleni Garoufalia

DAY 12 / 15 SEPTEMBER 2007


more photos:

http://www.flickr.com/photos/12660741@N04/sets/72157602059711484/


artists burning to express their opinion:

Dimitris Foutris
Theodore Giannakis
Eva Michalaki
Eva Mitala
Nikos Mantzios
Kosmas Nikolaou
Tereza Papamichali
Antonis Pittas
Despoina Stokou
Yiorgos Taxiarchopoulos (assisted by Natalia Papadopoulou)
Filippos Theodorides
Eva Mitala
Eva Michalaki
Peter Moris
Erifyli Veneri


artists interview video:



atmospheric video: by Eleni Garoufalia

Friday, September 14, 2007

DAY 11 / 14 SEPTEMBER 2007


more photos:
http://www.flickr.com/photos/12660741@N04/sets/72157602004523332/


artists burning to express their opinion:

Christos Apostolakis
Costas Beveratos
Dionisis Christofilogiannis – Eva Mitala
Kali Katsouri
Eva Michalaki
Kosmas Nikolaou
Yiorgos Taxiarchopoulos

artists interview video:




atmospheric video: by Eleni Garoufalia

Thursday, September 13, 2007

DAY 10 / 13 SEPTEMBER 2007

more photos:
http://www.flickr.com/photos/12660741@N04/sets/72157601995783121/

artists burning to express their opinion:
Costas Beveratos
Dionisis Christophilogiannis
Steven Day & David Pushkin
Dimitris Dokatzis
Theodore Giannakis
Sophie Hjerl
Dimitris Ioannou
Kali Katsouri
Peter Lind
Eva Michalaki
Eva Mitala in collaboration with Felipe Katotriotis
Petros Moris
Antonis Pittas
Despina Stokou
Erifuli Veneri
artists interview video:

atmospheric video: by Eleni Garoufalia

Wednesday, September 12, 2007

DAY 9 / 12 SEPTEMBER 2007


more photos:
http://www.flickr.com/photos/12660741@N04/sets/72157601985856392

artists burning to express their opinion:

Costas Beveratos
Dionisis Christophilogiannis
Sophie Hjerl
Kali Katsouri
Eleni Kotsoni
Eva Michalaki
Eva Mitala
Lia Nalbantidou
Despina Stokou
Yorgos Taxiarchopoulos
Philippos Theodoridis
ErifyliVeneri

text by Yannis Constantinidis

Weariness and Monumentalism

As the days progress we notice more and more artists who are shunning away from the daily news tabloids so that they address to their abandonment of actuality (news) as a whole or of the way in which it is presented by the media. A good example of today’s work is Sophie Hjerl’s who uses random words from titles found in the English issue of KATHIMERINI newspaper and seeks the ablative approach of the news’s image from the way it is outlined by newspaper headings, and whether this could develop into the formulation of a brand new news. In her video, Despina Stokou expresses her resentment towards the abundance of information contemporary men and women are subject to. Finally, Lia Nalbadidou remarks ironically and with sarcasm how the meaning of nationalistic pride is dispatched from the main news events; the fires in Peloponnese and the political parties’ pre-electoral campaigns. These three artists are without a doubt abiding by the regulations of Emergency Room that asks the artist to respond to specific news of the day. Therefore, it is important to note that every so often there is a need – usually about 15% of the participants- to “rebuff” the idea of news reportage, which often take on a formless heap of information, and regularly menace or deceive their readers (recipients).

An example of “weariness” incited from following the daily news that could be considered is Costa Beverato’s incentive that came to him as he was taking a stroll on one of Athens’s beaches. Today was the first time a large work was exposed in the ER room (so large that it takes up most of the space). Giorgos Taksiarxopoulos’s large work talks about a female Japanese politician who was publicly humiliated, after some of her personal photographs were published on the internet by a private “illegal” admirer. The artist’s aim is to investigate how such garble uncovered by this man, could provoke disastrous shifts in the confines that divide the public and the private (and how these shifts are always due to the private). At the same time, this work comments on how regardless of feminisms’ successful movement dating from the late 40’s, a prevailing phallocratic society continues to act atrociously to public female figures.

artists' interview video:



atmospheric video: by Eleni Garoufalia

DAY 8 / 11 SEPTEMBER 2007


more photos:
http://www.flickr.com/photos/12660741@N04/sets/72157601981058131/

artists burning to express their opinion:

Costas Beveratos
Dionisis Christofilogiannis
Theodoros Giannakis
Sophie Hjerl
Eva Michalaki
Eva Mitala
Petros Moris
Lia Nalbantidou
Tereza Papamichali
Antonis Pittas
Yiorgos Taxiarchopoulos & Nikos Mantzios
Philippos Theodorides
Erifuli Veneri
Michalis Zacharias

artists interview video:




atmospheric video: by Eleni Garoufalia

Monday, September 10, 2007

DAY 7 / 08 SEPTEMBER 2007

more photos:
http://www.flickr.com/photos/12660741@N04/sets/72157601958301480/

artists burning to express their opinion:

Christos Apostolakis
Dimitris Baboulis
Costas Beveratos
Katerina Christidi
Dionisis Christofilogiannis
Soren Dahlgaard
Dimitris Dokatzis
Dimitris Foutris
Frank Franzen
Theodore Giannakis
Maria Ikonomopoulou
Lassen Lau
Peter Lind
Kali Katsouri
Nikos Mantzios
Yiorgos Taxiarchopoulos
Eva Michalaki
Maro Michalakakou
Eva Mitala
Petros Moris
Aliki Palaska
Tereza Papamichali
Antonis Pittas
Philippos Theodorides
Dimitra Vamiali
Erifuli Veneri
Maria Zervou

atmospheric video:


very atmospheric video:

PENETRATION DAY / 09 SEPTEMBER 2007 ATHENS BIENNIAL


more photos on penetration day:

A penetration chronicle

The truth is there were certain things I did not understand, or more importantly was not able to assess, which is why I decided to email Thierry Geoffroy with the hope that his answer could help me resolve my query. I thought of listing in my mail the “areas” that remained “dark” in my mind regarding the “penetration” he organized at the pre-opening of Athens’s first Biennale. But then I decided not to do so, as I didn’t want to impose a prejudice in his answer by disrupting his frame of mind and putting him into a defensive flow of argumentation. So, I simply asked him “What would you tell a reporter you had never met before about the Biennale penetration?”
His response was:
“In my opinion, the penetration on September 8th was a huge success. It was simply beautiful. The penetration was dignified, indispensable, respectable, natural, authentic, and most of all true. It retired after 24 hours. It almost certainly played with the poetry and not the vulgarity. It’s as if it did a low bow at the Biennale, an unexpected generous offering, like a bouquet of flowers. And to clarify myself, there were many artists who participated. Our meeting point was at the exit of Kerameikos metro station. Everyone arrived on time, as if they were attending a baptism. The atmosphere was serious and serene, and something special was uniting us: group energy. We were not the individualistic 21st century artists- of a century where individualism reaches its zenith-, but a community. The artists brought in their works just like someone brings pastries and sweets to a party. All the components of a sacred ritual were there. The artists dressed up for a special occasion. They shone of honesty, passion and beauty. The passage was more than successful, it was magical. It was the act of a unified group and not that of a selfish onenist. It was a wave that brought in its own rich lot of beautiful seashells.
Friends, such as Enrico Lungi came from abroad. There were no violations or feelings of resentment, only respect. All the works were necessary. It was so beautiful and so simple that I almost wept. It was such a generous act, so communal- they dedicated time and effort, and made their works with love. The pieces were still fresh and hot. Unsifted, and unrecycled by ideas, untouched by the art retailing system.
Setting up the work went quickly and smoothly. Their every move was determined and accurate. They were considerate of their neighbor’s space- everyone seemed to discern their spatial area even though it was their first time there. Magic was in the air. An instinctual sensitivity, like a mother has for her son. Natural simplicity.
Yes! The penetration went really really well. Life is worth living!”
I then wondered why I was not aware that all of this took place. So, I decided to reread the email. When half way through I get another email from Colonel asking: “Was my text alright? Most probably it was fine, right? Come on…I am saying the truth, it was a beautiful moment!”
This urged me to read the first mail for a third time, since I felt that I was failing to grasp something of utter importance. But still, I did not get it, as I was absorbed into enjoying the witty and delightful word play (the original mail was written in French) around the sexual connotation of the word penetration. And right when I was about to read the email for the fourth time I realize the farce Colonel was setting me up to: with that email he was trying to penetrate into the “journalistic stiffness” of my initial question.
He was “pushing” me to acknowledge that the fabric does not have one good side, but that it is double sided.
Before I could laugh about his escapade (even though I was slightly angry with Colonel, who was in a way defying my right as a reporter to ask whatever it is I like), I get a third email from him, explaining to me the theoretical construction that supports the “penetration” and all his other “interventions” as a “Biennalist”:
“I believe it was a necessary act. It is very important for artists to circulate in exhibition spaces, just like the underwater currents flow in the sea. It is essential for artists to express themselves directly in the place they want to be in. Without lowering his/her head. Carrying on with dignity, pride and their works. Not like a rat in a sewer.
It is significant for the artist to be in his circle, to have access to it and to demand it. Show rooms should not be sterile and rigid, but flexible. Artists must throw passes to one another -just like rugby players - with strength, precision and dare. An artist, who has given birth to a work, should not have to wait to expose it to the public. The work must start living without delay, and provoke immediate implications. It must live. It must exist.
New mechanisms, new systems must be born. And whatever obstructs the artist’s expression must be stomped on immediately.”

After this email, I began to settle in with the idea that when an act, such as this one, is able to hold up its symbolic load it doesn’t necessarily have to encounter a real collision in order to be successful. But that day, every other email was a turnover. Just as I was about to ingest my own theory, I get an email from Maria Ikonomopoulou, who also took part in the operation, and wanted to express a few thoughts on the matter. She notes the following:
“The way we penetrated and set our works seemed excellent to me, plus it had all the elements of a collective act.
The locale proved to be ideal; it’s as if the works were tailored for this space. As for when the public entered the space, the “Emergency Room” wall exerted a higher magnitude than the “Kimberley Clark” work. This created a problem for Kimberly Clark; our works were becoming too integrated with theirs. We were also fortunate because of the fact that (by chance), the Biennale’s description of K.C.’s work was placed right after our wall. Even though the penetration went smoothly and nicely, it turned out to be a noticeable invasion. I would have personally preferred to get a response from the Biennale organizers than from the Kimberly Clark artists who welcomed us in their space. The K.C. artists were happy that we at least mentioned (in a text) their compliance to accommodate us in their Biennale space.
As I write this text today (ten days after the penetration), I believe that what I retained the most from all this, is something Maro Michalakou whispered to me: “I would normally never do this, because it’s not me. But I really like the fact that I did do it. This was a breakthrough for me.”


Χρονικό μιας διείσδυσης

Η αλήθεια είναι ότι συνέβησαν ορισμένα πράγματα που δεν τα καταλάβαινα, ή -τέλος πάντων- δεν μπορούσα να τα αξιολογήσω. Έτσι, αποφάσισα να στείλω ένα μέιλ στον Thierry Geoffroy, ελπίζοντας να βοηθηθώ από την απάντησή του. Στην αρχή θέλησα να του απαριθμήσω τα κατ’ εμέ «σκοτεινά πεδία» της διείσδυσης που είχε οργανώσει στην 1η Μπιενάλε της Αθήνας, την ημέρα των δημοσιογραφικών της εγκαινίων. Μετά όμως σκέφτηκα πως ίσως αυτό να τον προκαταλάμβανε και να τον έβαζε σε μια αμυντική ροή σκέψης. Οπότε, του έστειλα απλά την εξής ερώτηση: «Τι θα έλεγες σε ένα δημοσιογράφο που βλέπεις για πρώτη φορά, σχετικά με τη διείσδυση στην Μπιενάλε;».
Λίγο αργότερα έλαβα το ακόλουθο μήνυμα:
«Κατά τη γνώμη μου, η διείσδυση της 8ης Σεπτεμβρίου ήταν μια τεράστια επιτυχία. Ήταν απλά όμορφη. Η διείσδυση ήταν αξιοπρεπής, αναγκαία, αξιοσέβαστη, φυσιολογική, αυθεντική και κυρίως πραγματική. Μετά από 24 ώρες, αποτραβήχτηκε. Έπαιξε μάλλον με την ποίηση, παρά με την χυδαιότητα. Ήταν κάπως σαν να έκανε μια ρεβεράντζα στην Μπιενάλε, μια απρόσμενη γενναιόδωρη προσφορά, σαν ένα μπουκέτο λουλούδια, ας πούμε. Και για να εξηγηθώ, ήταν αρκετοί οι καλλιτέχνες που συμμετείχαν. Το ραντεβού μας ήταν στην έξοδο του σταθμού Κεραμεικός του μετρό. Όλοι τους έφτασαν ακριβώς στην ώρα τους σαν να έρχονταν σε βαφτίσια. Επικρατούσε μια ατμόσφαιρα σοβαρή και γαλήνια και μας ένωνε κάτι, ένα ρεύμα ομάδας –παρέας. Δεν ήμασταν πια οι ατομικιστές καλλιτέχνες του 21ο αι., – του αιώνα της διάσπασης-, αλλά μια κοινότητα. Οι καλλιτέχνες ήρθαν με τα έργα τους , σα να έφερναν γλυκά σε μια γιορτή. Υπήρχαν όλα τα σημάδια μιας ιεροτελεστίας. Οι καλλιτέχνες είχαν ντυθεί για μια εξαιρετική περίσταση. Έλαμπαν από τιμιότητα, πάθος και ομορφιά.
Η διείσδυση ήταν κάτι παραπάνω από επιτυχημένη, ήταν μαγική. Ήταν η κίνηση μιας ομάδας και όχι ένας εγωιστικός αυνανισμός, ήταν ένα κύμα που έφερνε το δικό του πλούσιο απόθεμα από θαυμαστά κογχύλια.
Φίλοι ήρθαν επίσης από μακριά, όπως ο Enrico Lunghi. Δεν υπήρξε καμιά προσβολή ή παραβίαση, μόνο σεβασμός. Τα έργα ήταν όλα αναγκαία. Ήταν τόσο όμορφο και τόσο απλό που κόντεψα να αρχίσω να κλαίω. Ήταν μια κίνηση τόσο γενναιόδωρη, τόσο συλλογική, όλα αυτά τα έργα ουσίας που έφεραν – που τα έφτιαξαν με αγάπη και τους αφιέρωσαν χρόνο. Τα έργα ήταν ακόμα φρέσκα, ζεστά. Δεν είχαν περάσει από ψιλό κόσκινο, ούτε από την ανακύκλωση (ιδεών), ούτε από κάποιο σύστημα πωλήσεων δι’ αλληλογραφίας.
Το accrochage έγινε πολύ γρήγορα, με ακρίβεια. Κάθε κίνηση ήταν ευθύβολη και εύστοχη. Επιπλέον λάμβανε υπόψη το χώρο του διπλανού –καθένας γνώριζε τη θέση του κι ας ήταν η πρώτη του φορά εκεί. Υπήρχε μια μαγεία. Μια ενστικτώδης δράση, σαν από μητέρα σε γιο. Ένα είδος φυσικής απλότητας.
Ναι! Η διείσδυση πήγε πολύ πολύ καλά. Τη ζωή αξίζει να τη ζει κανείς».
Η πρώτη μου αντίδραση ήταν να αναρωτηθώ πότε συνέβησαν όλα αυτά και δεν το πήρα είδηση. Άρχισα λοιπόν να ξαναδιαβάζω το μήνυμά του και πριν φτάσω στη μέση έλαβα ένα δεύτερο μήνυμά, με το οποίο με ρώταγε : «Ήταν εντάξει το κείμενό μου; Ίσως και να ‘ταν κάπως εντάξει, ε; Μα επιτέλους… λέω την αλήθεια, ήταν μια πολύ ωραία στιγμή!»
Αυτό με παρότρυνε να διαβάσω για τρίτη φορά το πρώτο μέιλ του επειδή αισθανόμουν πως κάτι σημαντικό μου διέφευγε. Ωστόσο, αυτή αναλώθηκε στο απολαυστικό παιχνίδι ύφους και λέξεων που κύκλωνε το σεξουαλικό υπονοούμενο της λέξης “penetration”. Ετοιμαζόμουν λοιπόν να ξεκινήσω την τέταρτη ανάγνωση, όταν πια άρχισα να αντιλαμβάνομαι τη φάρσα: με το μήνυμά του έκανε μια διείσδυση στη «δημοσιογραφική ακαμψία» της αρχικής μου ερώτησης.
Μου ζητούσε να αποδεχτώ ότι το ύφασμα δεν είχε καλή και ανάποδη, αλλά ήταν ντουμπλ φας.
Πριν προλάβω ν’ αρχίσω να γελάω με το χωρατό του (αν και για τους τύπους ήμουν λιγάκι θυμωμένος με την -μάλλον ανώδυνη- αμφισβήτησή του, «διείσδυσή» του, στο δικαίωμά μου, ως δημοσιογράφος, να ρωτάω ότι θέλω), έφτασε ένα τρίτο μέιλ στον υπολογιστή μου, με το οποίο μου παρέδιδε, κατά κάποιο τρόπο, ολόκληρο το θεωρητικό υπόβαθρο που υποστηρίζει όχι μόνο αυτήν, αλλά και όλες τις άλλες «επεμβάσεις» του ως «Biennalist»:
«Πιστεύω πως ήταν μια ουσιώδης δράση. Είναι σπουδαίο οι καλλιτέχνες να κυκλοφορούν στους χώρους μιας έκθεσης, όπως τα υπόγεια ρεύματα ρέουν μέσα στη θάλασσα. Είναι σπουδαίο για τον καλλιτέχνη που θέλει να εκφραστεί να το κάνει άμεσα κι εκεί που θέλει. Χωρίς να σκύψει το κεφάλι. Να προχωρεί με αξιοπρέπεια, περηφάνια και με τα έργα του. Να μην κυκλοφορεί σαν αρουραίος σε υπονόμους.
Είναι σημαντικό οι καλλιτέχνες να θέτουν στην κυκλοφορία το χώρο τους, να τον δανείζουν και να τον απαιτούν. Ένας εκθεσιακός χώρος δεν πρέπει να παραμένει άκαμπτος, αλλά να γίνεται ελαστικός. Πρέπει οι καλλιτέχνες να δίνουν πάσες ο ένας στον άλλο,- σαν να ήταν παίκτες του ράγκμπι-, με δύναμη, ακρίβεια και τόλμη. Ο καλλιτέχνης που γέννησε ένα έργο, το οποίο πρέπει να φτάσει στο κοινό, δεν πρέπει να περιμένει. Το έργο πρέπει ν’ αρχίσει να ζει αμέσως. Να προκαλέσει άμεσες συνέπειες. Να ζήσει. Να υπάρξει.
Πρέπει να γεννηθούν νέες πρακτικές, νέοι μηχανισμοί. Να ποδοπατηθεί οτιδήποτε είναι σε θέση να φρενάρει την καλλιτεχνική έκφραση».
Μετά κι από αυτό το μέιλ, άρχισα να συμβιβάζομαι με την ιδέα, πως όταν μια τέτοιου τύπου δράση καταφέρει να στηρίξει το συμβολικό της φορτίο, δεν είναι απαραίτητο να προκαλέσει και πραγματική σύγκρουση, για να θεωρηθεί επιτυχής.
Ήταν όμως μια μέρα που κάθε επόμενο μέιλ έφερνε μια ανατροπή. Έτσι, τη στιγμή που ήμουν έτοιμος να χάψω μόνος μου το θεώρημά μου, έφτασε το μήνυμα της Μαρίας Οικονομοπούλου, η οποία συμμετείχε στη δράση και θέλησε να μου εκφράσει κάποιες σκέψεις της γι’ αυτήν, σημειώνοντας τα εξής:
« Ο τρόπος που μπήκαμε και διαλέξαμε το μέρος για να στήσουμε τα έργα, εμένα μου φάνηκε καταπληκτικός και με όλα τα στοιχεία μιας συλλογικής δράσης.

Το σημείο αυτό αποδείχθηκε το καλύτερο που θα μπορούσαμε να βρούμε γιατί τα έργα ήταν σαν να ήταν φτιαγμένα με γνώση του χώρου. Και το κοινό, καθώς έμπαινε και έψαχνε να βρει κάποιες πληροφορίες για την αίθουσα, στεκόταν πιο πολύ στον τοίχο του emergency παρά στο έργο των Kimberley Clark. Αυτό ήταν και το πρόβλημα για τις Kimberley Clark που είδαν το έργο μας να γίνεται (too much) μέρος του δικού τους. Το ότι κατά τύχη η καρτελίτσα της Μπιενάλε με την περιγραφή του δικού τους έργου βρισκόταν μετά το δικό μας τοίχο βοήθησε πολύ σ’ αυτό. Έτσι, παρότι η penetration έγινε πολύ γλυκά και εύκολα, έγινε τελικά και αισθητή σαν μια εισβολή. Προσωπικά θα προτιμούσα να είχαμε κάποια αντίδραση στην παρέμβαση μας από τους διοργανωτές της Μπιενάλε και όχι από τις Kimberley Clark (δηλαδή τις καλλιτέχνιδες που μας φιλοξένησαν στο χώρο τους). Οι ίδιες είπαν ότι τουλάχιστον τους άρεσε το ότι υπήρχε ένα κείμενο με ευχαριστίες, για την φιλοξενία που μας παρείχαν στο χώρο τους της Μπιενάλε»
Σήμερα, που γράφω αυτό το κείμενο –δηλαδή, δέκα μέρες μετά τη δράση-, νομίζω πως από όλα αυτά έχω κυρίως συγκρατήσει κάτι που μου ψιθύρισε, στο αυτί -για τη διείσδυση- η Μάρω Μιχαλακάκου: «Δεν θα το έκανα ποτέ, γιατί αυτά δεν είναι του τύπου μου. Το ότι το έκανα όμως, μου άρεσε πολύ. Ήταν για μένα μια υπέρβαση».

Friday, September 7, 2007

DAY 6 / 07 SEPTEMBER 2007





artists burnibg to express their opinion:

Kostas Bassanos
Costas Beveratos
Dionisis Christofilogiannis & Eva Mitala
Martha Dinitropoulou in collaboration with Apostolos Karakatsanis
Dimitris Foutris
Sophie Hjerl
Maria Ikonomopoulou
Eleni Kotsoni
Lasse Lau
Peter Lind
Nikos Mantzios
Maro Michalakakou
Eva Michalaki
Kosmas Nikolaou
Aliki Palaska
Tereza Papamihali
Eftihis Patsourakis
Yorgos Taxiarchopoulos
Philippos Theodoridis
Giannis Theodoropoulos
Erifuli Veneri


artists' interview video:

Thursday, September 6, 2007

DAY 5 / 06 SEPTEMBER 2007

artworks photo:http://www.flickr.com/photos/12660741@N04/

artists burning to express their opinion:

Christos Apostolakis
Costas Beveratos
Katerina Christidi
Dionisis Christophilogiannis
Frank Franzen
Theodoros Giannakis
Sophie Hjerl
Maria Ikonomopoulou
Peter Lind
Nikos Mantzios
Eva Michalakis
Eva Mitala
Petros Moris
Kosmas Nikolaou
Eftihis Patsourakis
Philipos Theodoridis
Erifuli Veneri
Maria Zervou
work description by Katerina Nikou and Yannis Constantinidis:

Christos Apostolakis’s uses the melancholic sound of a shell and connects it to the tragic fires in Peloponnese.
Costas Beveratos compares the three basic colors (red,blue,yellow) to the three biggest parties of Greece. In his series of terrorists portraits he presents Washington who was damned as a terrorist by King George III of England.
Dionissis Christofilogiannis expresses his disappointment about the promises that the politicians give to people. He depicts a man on the top of a rock who attempts to commit suicide.
Katerina Christidi made a paper cut. She comments on the fact that in Greece every year people put in the garbage lots of clothes while others have nothing to wear. Meanwhile, a big percentage of these people prefer to buy expensive cars even though they cannot afford it.
Frank Franzen comments on Bush and the military practices in Iran .Japan, Australia, USA, Singapore and India are practicing with the navy in the Indian Ocean.
Theodoros Giannakis’s work is about the story of a 22-year-old suicide bomber in Bombay, who committed his attack on a bicycle. The episode resulted in 6 casualties. The artist recreates the young man’s log of this lethal day, by putting himself into the young man’s place. He notes on the fact that even though the young man had a certain educational background (the 22-year-old was a student at the local university) he was not enough open-minded to overcome the fanaticism of fundamentalist influence. The artist concurrently intends to explore the “romantic” side of the terrorist using a bicycle and young age’s fragility.
Sophie Hjerl made a video. She calls it “Announcement”. It is based on Pavarotti’s death. and Sophie’s version of the announcement is distinguished from that of the media’s. She attempts to project a less glorious image than the one shown by the media (ex: the memory we have of Pavarotti when he was alive).
Maria Ikonomopoulou was inspired by a news-clipping referring to the fact that a new book of prayers was introduced by the Anglican church. This book is about contemporary practical pray. Ikonomopoulou strongly believes that we should manage our own lives by believing to ourselves and not to any divine help.
Nikos Mantzios’s realistic drawing is about illegal immigration. He comments on the way countries treat the foreign immigrants. But what happens in case of an internal immigration? For example what are the conditions for the people that are homeless after the fires in Greece?
Peter Lind brought in a photo - reportage about yesterday night’s political campaign, that took place at the hotel he was staying in. At his arrival, the hotel was surrounded by heavily armed police forces. What struck him was the staging of the whole arrangement: the image of the police is veiled into a message that politicians are trying to convey, a setup that whispers “we are the important and powerful people”.
Eva Michalaki is quite skeptical about the food poisoning. Nowadays, almost everything is dangerous to eat. Who decides and who acts?
At a first glance, Eva Mitala’s installation reminds us scenes from fairy tales. In fact Eva comments on an ethical issue such as the children slavery. In third world countries children are sold for 15 euros!
Petros Moris’s ironical work is actually a cadastral manual guide for Greek authorities!
Kosmas Nikolaou burnt his favorite pair of jeans in order to feel the pain that a fire can cause. He also comments on the phrase “fire on my trouser”, a very frequent phrase in the Greek slang and daily newspapers.
Philippos Theodorides’s creates his own “Mental Neglection Institute”, thus commenting on the percentage of mentally diseased people which is quite strong but paradoxically neglected.
Maria Zervou synthesized a drawing by collecting words, images and texts from 10 newspapers. Erifuli Veneri noticed, while riffling the paper, that all the news were about bad events: executions, fires, killings etc. Veneri turns a dark grey sheet of paper to a pale grey suggesting an optimistic side of view.


artists's interview video:

Wednesday, September 5, 2007

DAY 4 / 05 SEPTEMBER 2007


artists burning to express their opinion:

Dimitris Baboulis
Costas Beveratos
Dionisis Christofilogiannis
Katerina Christidi
Dimitris Foutris
Sophie Hjerl
Maria Ikonomopoulou
Kali Katsouri
Peter Lind
Nikos Mantzios
Eva Michalaki
Maro Michalakakos
Eva Mitala
Aliki Palaska
Kosmas Nikolaou
Eftihis Patsourakis
Despoina Stokou
Philippos Theodorides
Ioannis Theodoropoulos
Erifuli Veneri


work description by Katerina Nikou:

Dimitris Baboulis – “ BE RICH” : This work describes the way one can earn money and become rich easily by betraying a fellow man who is probably considered guilty. This is a modern witch hunt.
Costas Beveratos states: First you offered to save one’s soul and offer to him eternal life. Then you suggest what one should vote. In the middle of election period, or at any, time this is serious this is serious cheating.
Dionisis Christofilogiannis – “65” : the family of Konstantinos Kostakis is happy because they found his burned body and now they can burry him! Hopefully it’s the last 65th victim of the fires. This man on fire could be anyone… also you. Christofilogiannis states: Think about… Of course maybe you think that better one human than all of Peloponnese… I really don’t know. This is the last work I do about the story of the fires in the Peloponnese. I’m shocked with this story of fires, because a death can be a salvation for the victim but also for his family. It’s unfair and so stupid to have also victims besides this ecological disaster. No more.
Katerina Christidi made a collage about a Nigerian man who died and his dead body is still unburied. This happens because of red taped problems.
Dimitris Foutris continues his series with the works made of foil. This time he has written on the foil the following phrase: Future Shocks – Dead Eyes See No Future-CO2-Water,Water, everywhere?- Think Global, Act Local. Foutris found this phrase while he was surfing through the internet. It is composed by different articles and news about Climate Actions. He has also created a compilation CD including songs that refer to the word Future.
Sophie Hjerl’s work is a comment on the fires in Greece. She presents images from a ruined Greek church and of an installation in Denmark called City on Fire.
Maria Ikonomopoulou – “BLING BLING APATHY” : The emergency news is that because factory’s working with chrome are throwing their trash into the rivers (because that’s cheap) and a big part of citizens near Athens has to buy water in order to drink and cook. Chrome is used (among others) for making car wheels shine (bling bling toys for boys). The information of poisoned water is 2 month old already. Now is getting worse because of our apathy.
Ikonomopoulou mentions: “TELLING THE TRUTH” : In a postcard exposing the greek “pure” blue water. I need to put chrome in order to tell the truth of today about the greek water.
Kali Katsouri’s drawing is a comment on who is responsible regarding the fires in Greece. She would like to remind us that human has been so selfishly alienated from nature that he no more understands its laws.
Peter Lind’s photograph reacts to the water lack around Acropolis area and comments on the management of the natural water resources.
Nikos Mantzios made a triptych drawing about the USA government, which makes continuant manipulation of political structures in Iraq in order to secure financial control.
Eva Michalaki after the latest news bombarding, she writes down the nine most frequent keywords: ..gene/embryo…popcorn/cancer…brest/feeding etc….
Maro Michalakakos made a collage of newspaper photos about the real estate in Greece and its propaganda connected to the bank system. People buy houses, which typically own. The truth is that the real owner it’s the bank.
Eva Mitala’s installation refers to the fact that, although Argentina is the first country of meat exportation, people die there because of hunger.
Aliki Palaskas’ album will be a daily diary containing various elements about the fires in Greece.
Kosmas Nikolaou reacts to the political propaganda before the elections and creates the following vacancy: …Job offering…(calling to vote)..don’t worry about your CV..the elections are coming..You love it all!
Eftihis Patsourakis keeps on adding goals to his column made of paper.
Despoina Stokou wishes to vanish her hometown. She painted in pale blue color the name of it.
Philippos Theodorides was surprised ,while riffling the newspaper, by the fact that George Orwell was spied by the secret services in UK. On his drawing quotes a phrase from the secret services records about Orwell: This man has advanced communist views…he dresses in a bohemian fashion...
Ioannis Theodoropoulos is wondering about emergency situations and what is in fact an emergency situation.
Erifuli Veneri offers us small packages containing a mixture of ingredients with arousing effects. Veneri suggest us not to be passionate with the elections and to give this kind of energy to other personal needs.

Tuesday, September 4, 2007

DAY 3 / 04 SEPTEMBER 2007



artists burning to express their opinion:
Maria Ikonomopoulou
Eva Michalaki
Dimitris Apostolakis
Costas Beveratos
Dionisis Christofilogiannis
Dimitris Dokatzis
Dimitris Foutris
Dimitris Ioannou
Eftihis Patsourakis
Kali Katsouri
Eva Mitala
Yiorgos Taxiarchopoulos
Nikos Mantzios
Erifyli Veneri
Sophie Hjerl
Frank Franzen
Aliki Palaska
artwork description by Katerina Nikou:
Maria Ikonomopoulou created a diptych work inspired by the news on channel NET. According to the news, the farmers offered cheeps and goats to the victims of Peloponnese. Maria created these images in order to emphasize on the power of gifting.
Eva Michalaki expresses visually the view of Stephen Hawking: all of us should move to another solar system and establish colonies there. Eva has also created the boarding pass which will be necessary in order to access a different solar system.
Dimitris Apostolakis comments on the decision of the Germany Government to permit the official spying of the citizens e-mails. Christos made a painting depicting this entire arabesque net which looks attractive but quite medieval in quality.
Costas Beveratos installation deals with four subjects: a) normality-abnormality b) the face of hypocrisy c) death life balances d) terrorist of the day
Dionisis Christofilogiannis’s work entitled Illusion refers to the burnt land of Peloponnese and comments on the fact that in the future the green landscape would be something that we will be dreaming of it.
Dimitris Dokatzis’s has digitally processed a photograph showing the prime minister of Greece inspecting the burnt land along with Mr Baroso. Dokatzis quotes a military commandment in order to express his ambiguity about the disposal of the funds coming from the European Union. Dimitris Foutris searched on the internet found the following phrase: It was paradise and now it is hell. He wrapped a foil several times and then he unfolded it and wrote the phrase on it. Then he put the piece in a black frame. By doing this Foutris wishes to give a monumental character to this testimony and thus making it more visible.
Dimitris Ioannou read in the latest newspapers about a Turkish citizen who complained in the European court about the teaching course of Turkish religion in schools. Although, the citizens reacted, he succeeded in abolishing the specific course from the teaching program. Ioannou’s work refers to the fact that even in a Muslim country the constitutional rights regarding the religious tolerance should be respected.
Eftihis Patsourakis by selecting goals from Greek and international newspapers intends to create an eternal column which hypothetically will always be expanding.
Kali Katsouri motivated from an article published on the “Daily Telegraph”. It was about British soldiers that were injured in Afghanistan. Her work comments on the exposition of these soldiers to dangers like death.
Eva Mitala’s painted Black Forest cake is actually a post card that she intends to send globally as a memory of Greece. The image of a black forest cake is an ironic comment about the fires in Greece. The blue and white background refers to the Greek flag.
Yiorgos Taxiarchopoulos’s work is about the blocking of the public streets by the policemen, around the police stations, during nighttime. As a result people confront problems in accessing their houses.
Nikos Mantzios’s drawings, entitled Against Architecture, comments on the way contemporary architecture must be revised and formulated in terms of urban, rural and public spaces.
Erifyli Veneri created an installation of white wreaths. Veneri was motivated by a tragic fact that she read on the newspaper. The relatives of some victims from Artemida buried wrong dead bodies! As they were in a state of panic, they recognized the dead bodies from their clothes. Finally, the unknown bodies were exhumed!
Sophie Hjerl made two black and white photographs about Bush’s recent visit to Iraq.
Frank Franzen in his black and white drawing makes an ironic comment on George Bush. He depicts Bush as an architect visiting his troop Iraq.
Aliki Palaska’s installation deals with the recent problems caused by floods in Chalkidiki. Chalkidiki area was burnt last year by a big fire.
text by Yannis Constantinidis:
(translation: Agapi Nikolakopoulou)
Fires still burning in Peloponnese

The ongoing theme for the past three days that occupies most of the artists (9 out 16 of today’s participants) is the destruction caused from the fires in Peloponnese.

Maria Ikonomopoulou reacts to the relatively recent news reports from the Mytilinian shepherds who offered goats and sheep to other shepherds who were affected by the disaster in Peloponnese. She points out to the importance in offering farm animals – that is to say, offering living beings is much more significant and vital than being offered material objects. Furthermore, her work refers to the genuine strength in the act of offering, and also the fulfillment one experiences through the act of offering. Her work exhales sensibility and serenity. A hidden message could be retrieved from the mirrored image of the sheep where the one is the vanished innocent victim and the other is its radiant replacement.

Erifuli Veneri bursts from the news about the family in Artemida, who were obliged to exhume their burnt dead relatives (because they had initially buried the wrong bodies). In her work, Veneri refers to the fact that we, the receivers of the news, have no choice but to create an impersonal perception of the victims. The viewers are condemned to be unable to conceive the individuality of the dead, while the people who experienced the fires have a profound and cruel understanding of the victims’ identity.

Aliki Palaska’s work refers to the fires in Halkidhiki which acted as a messenger of bad news in the whole issue of the Peloponesse fires.

Dionissis Christofilogiannis brings to light his disbelief that the burnt areas will indeed be brought back to life in the next 100 to 200 years, as the experts foresee. He also considers how people will deal until then, with the quandary of the tree in its natural state (not burnt) and its distorted image caused from the fires.

Eva Mitala and Dimitris Dokatzis were furious with the government. Eva’s anger focused to the state machine’s failure to communicate to the rest of the world the tragedy and the gravity of the problems created from the fires. Dimitris’s resentment comes from the prime minister’s attempt to exploit -for the benefit of his electoral campaign- his visit with mister Baroso: firstly, the image diffused by the media showing both of them inspecting the destroyed sites in the Peloponnese, and secondly Baroso’s promise to subsidize Greece’s effort for recovery of the affected areas with E.U.’s finances.
In their works, Dimitris Foutris and Eva Mihalaki refer to the people’s overall depression ensued from the event of the fires, and from the sufferers’ powerlessness to escape from the disaster.
Finally, Nikos Mantzios’s work shows an impression of a burnt church’s interior in Peloponnese. He suggests that the disaster is reflected onto architecture and he also implies that architecture is the source and the result of such catastrophes.

Who does the state serve and why.

The works of three artists are generated on account of a more general overview of the country’s tribulations, where a faceless and rigid state turns against the citizen, hence violating basic constitutional rights.

Christos Apostolakis brings up the German government’s decision to follow-up all the emails of civilians. The artist goes on to create an arabesque on which he projects the structure of the internet. In the nodular areas he places images of German medieval towers, wishing to commune that the superficial sunny-side advantages of the “society of information” hide and support repressive and conservative rituals.

Yorgos Taxiarchopoulos reveals in his work the abusive behavior of the police, who forbid circulation at specific times throughout the day around police stations. He invokes a concern about what the actual role of the police is, who instead of protecting civilians, they barricade themselves in and around the police stations -ready to attack- when they believe to be threatened.

Dimitri Ioannou’s idea comes from the story of a Turkish man who sued his country for the compulsory teaching of religious subjects in all state schools and won his case in the European Court of Justice. His works refers to the relevant apathy of Greece in the same issue; it also refers to the fact that in Greece there is perpetuity in teaching religion in schools -though nobody ever reacts. Therefore, the symbolic motto “country, religion, family”, is undoubtedly preserved and rots the fundamental constitutional freedom of religious tolerance.


International Headline News
It should be noted that since Emergency Rooms’ launching day, only non-Greek artists got insights from international news. So today as well, Frank Franzen and Sophie Hjerl speculate on Bush’s unexpected visit to Iraq. Their works show and assess the symbolic weight of the event, as well as Bush’s intentions to take political advantage from the visit; inasmuch as the general public’s view is shaped.

Kali Katsouri’s work reacts to the recent announcement of the death of soldiers in Afghanistan. It concludes that in a war, oftentimes both sides experience the same drawbacks.

Violators and Outlaws

Eftuhis Patsourakis and Costas Beveratos violated the rules of Emergency Room.
Each in their own way, but both used such brainy and convincing arguments that in the end they “secured” a “right” to the violation. Eftihis fixed his work with glue (making sure it is well stuck). It is basically a column of soccer balls which he gets from newspaper articles that show snapshots of goals in soccer matches.
His intention is to progressively enlarge his work and transform it into a “perpetual, Brancusian rotating column” of balls that have scored.
At the same time, he challenges Thierry Geoffroy to decide on whether there will be any “goals” (see: aims) in the Emergency Room.

Costas Beveratos’ “trespass” consists of two things: 1) he had presented four works instead of one (one work is suggested by the Emergency Room Rules). 2) None of his works relate to a specific daily news headline. Nevertheless, he presented unshakeable arguments to support that there are “chronic” topics constantly reappearing in news reports either directly or indirectly. Therefore, these topics meet the requirements and procedures set by the Emergency Room Rules and consequently they are fully suitable for the quest of Emergency aesthetics.
Οι φωτιές μαίνονται ακόμα στην Πελοπόννησο
Για τρίτη συνεχή μέρα το θέμα τη επικαιρότητας που απασχολεί τους περισσότερους καλλιτέχνες (βλ. τους 9 από τους 16 που συμμετείχαν σήμερα) είναι η καταστροφή της Πελοποννήσου από τις πυρκαγιές. Αντιδρώνας στην πιο πρόσφατη σχετική ειδησεογραφία σχετικά με την προσφορά αιγοπροβάτων από κτηνοτρόφους της Μυτιλίνης σε ομόλογους τους πληγέντες στην Πελοπόνησο η Μαρία Οικονομοπούλου αναφέρθηκε στη σημασία του να προσφέρει κανείς ζώα – δηλαδή κάτι έμψυχο, με το οποίο συνδέεται μοιραία περισσότερο και βαθύτερα απ’ ότι με τα υλικά αγαθά. Κατ’ επέκταση το έργο της αναφέρεται στην πραγματική δύναμη του να προσφέρεις και τη δύναμη της ενέργειας που προσλαμβάνεις όταν προσφέρεις. Συγχρόνως στο έργο της, που αποπνέει αισθαντικότητα και γαλήνη, κρύβεται και μια αναφορά στη σχέση του χαμένου αθώου θύματος (βλ. ενός καμένου προβάτου) και της ζωής που επανέρχεται μέσω της προσφοράς. Αντίστοιχα, ορμώμενη από την είδηση της οικογένειας από την Αρτέμιδα, που αναγκάστηκε να ξεθάψει τους καμμένους νεκρούς της (επειδή δεν ήταν οι σωστοί νεκροί) η Εριφύλη Βενιέρη αναφέρθηκε με το έργο της στην ομοιόμορφη εικόνα για τα θύματα της καταστροφής, που αναγκαστικά σχηματίζουμε όλοι εμείς που πληροφορούμαστε τα τεκταινόμενα από τα μίντια και στο πώς, εξ αυτής της εικόνας, εξαλείφεται από την αντίληψή μας η έννοια της μοναδικότητας του κάθε θύματος.
Ακολουθώντας μια πιο μακροσκοπική προσέγγιση του ζητήματος των πυρκαγιών στην Πελοπόννησο, η Αλίκη Παλάσκα αναφέρθηκε με το έργο της στις πυρκαγιές της Χαλκιδικής ως προάγγελο κακών ειδήσεων για την Πελοπόννησο. Ο Διονύσης Χριστοφιλογιάννης έθεσε το θέμα της δυσπιστίας του για το αν η καμμένη περιοχή θα αναπλαστεί έστω και μέσα στα επόμενα 100 ή 200 χρόνια, όπως προβλέπουν οι ειδικοί. Επίσης, αναφέρθηκε και στο ότι, όλο αυτό το διάστημα, ο κόσμος θα βιώνει το σχίσμα μεταξύ της ανάμνησης ης εικόνας του ζωντανού δέντρου και της παραμόρφωσης αυτής της εικόνας στο διάστημα που θα χρειαστεί το δάσος μέχρι να αναγεννηθεί.
Πιο θυμωμένοι με την κυβέρνηση ήταν η Εύα Μιτάλα και ο Δημήτρης Ντοκαντζής οι οποίοι με τα έργα τους αναφέρθηκαν: η μεν πρώτη, στην αδυναμία του κρατικού μηχανισμού να επικοινωνήσει στο εξωτερικό τη βαρύτητα και την τραγικότητα των προβλημάτων που προκάλεσαν οι φωτιές, ο δε δεύτερος, στην προσπάθεια του πρωθυπουργού να χρησιμοποιήσει στην προεκλογική του εκστρατεία, την επίσκεψη Μπαρόζο στα καμένα εδάφη και την αντίστοιχη υπόσχεση για ενίσχυση από την ΕΕ.
Οι Δμήτρης Φουτρής και η Εύα Μιχαλάκη αναφέρθηκαν με τα έργα τους στη ολοκληρωτική θλίψη που γεννά η κατάσταση που προκλήθηκε και την αδυναμία του κόσμου να βρει δίοδο διαφυγής από το πρόβλημα. Τέλος ο Νίκος Μάντζιος με το έργο του, που δείχνει την αποτύπωση του νάρθηκα μιας καμένης εκκλησίας στην Πελοπόννησο, αναφέρθηκε στον τρόπο με τον οποίο η πρόσφατη κατάσταση των πυρκαγιών αντανακλάται στην αρχιτεκτονική και τους τρόπους με τους οποίους η ίδια η αρχιτεκτονική γίνεται αιτία και αποτέλεσμα τέτοιων καταστροφών.
Ποιον υπηρετεί το κράτος και γιατί.
Στο γενικότερο πνεύμα της προβληματικής σχετικά με το κράτος, που απρόσωπο και άκαμπτο στρέφεται ενάντια στον πολίτη, καταστρατηγώντας θεμελιώδη συνταγματικά δικαιώματα, κινήθηκαν τα έργα τριών καλλιτεχνών. Ο Χρήστος Αποστολάκης αναφέρθηκε με το έργο του στην απόφαση της γερμανικής κυβέρνησης να παρακολουθεί τη ηλεκτρονική διακίνηση μηνυμάτων των πολιτών και δημιούργησε ένα αραβούργημα, στο οποίο μετατόπισε την έννοια του διαδικτύου. Στα κομβικά σημεία του τοποθέτησε εικόνες από μεσαιωνικούς πύργους της Γερμανίας, θέλοντας με αυτό να δείξει ότι η ευχάριστη όψη και τα αγαθά της κοινωνίας της επικοινωνίας κρύβουν και στηρίζουν αναχρονιστικές, συντηρητικές δομές.Ο Γιώργος Ταξιαρχόπουλος αναφέρεται με το έργο του στην καταχρηστική συμπεριφορά της αστυνομίας που κλείνει διόδους και οδούς γύρω από τα αστυνομικά τμήματα, απαγορεύοντας τη διέλευση στους πολίτες. Με το έργο του θέτει ένα ερώτημα σχετικά με το ρόλο της αστυνομίας, η οποία πλέον αντί να προστατεύει τους πολίτες, ταμπουρώνεται και οχυρώνεται για να είναι έτοιμη να τους αντιμετωπίσει όποτε εκείνη κρίνει ότι απειλείται.
Ο Δημήτρης Ιωάννου, με αφορμή τη δικαίωση ενός Τούρκου πολίτη από το ευρωπαϊκό δικαστήριο, που εναντιώθηκε στην υποχρεωτική διδασκαλία των θρησκευτικών στα σχολεία, αναφέρθηκε με το έργο του στην αντίστοιχη απάθεια της Ελλάδας σχετικά με το θέμα, όπου η διαιώνιση της διδασκαλίας των θρησκευτικών συντηρεί το συμβολικό τρίπτυχο «πατρίς, θρησκεία, οικογένεια» και προσβάλλει τη θεμελιώδη συνταγματική ελευθερία της ανεξιθρησκίας.
Από τη διεθνή επικαιρότητα
Ας σημειωθεί ότι από την πρώτη μέρα της εκκίνησης του emergency room, μόνο ξένοι καλλιτέχνες ασχολήθηκαν (βλ. εμπνεύστηκαν) από την διεθνή επικαιρότητα. Έτσι και σήμερα, οι Frank Franzen και Sophie Hjerl αναφέρθηκαν στο κύριο θέμα της διεθνούς ειδησεογραφίας: την ξαφνική επίσκεψη Bush, στο Ιράκ. Τα έργα τους κατέδειξαν και αποτίμησαν το συμβολικό φορτίο του γεγονότος και τις προεκτάσεις του σχετικά με το πώς θα αξιοποιηθεί πολιτικά στην Αμερική, προκειμένου να επηρεαστεί η κοινή γνώμη.
Παράλληλα η Καλή Κατσούρη, με αφορμή την πρόσφατη είδηση θανάτου στρατιωτών στο Αφγανιστάν, αναφέρθηκε με το έργο της στην πεποίθησή της ότι σε ένα πόλεμο και οι δύο αντίπαλες πλευρές καταλήγουν κάποια στιγμή να έρχονται αντιμέτωπες με τις ίδιες αδυναμίες.
Παραβάτες και ανυπότακτοι.
Ο Ευτύχης Πατσουράκης και ο Κώστας Μπεβεράτος παρέβησαν τους κανόνες του emergency room. Καθένας το έκανε με το δικό του τρόπο, που και στις δύο περιπτώσεις υπήρξε ευφυής και πειστικός, ώστε να «κατοχυρωθεί» το «δικαίωμά» τους στην παράβαση. Ο πρώτος κόλλησε το έργο του με κόλλα (ώστε να είναι δύσκολο να αποκολληθεί). Πρόκειται για μια στήλη από μπάλες ποδοσφαίρου τις οποίες κόβει από φωτογραφίες εφημερίδων που δείχνουν στιγμιότυπα από γκολ σε ποδοσφαιρικούς αγώνες της ημέρας. Προτίθεται προορδευτικά να μετατρέψει προοδευτικά το έργο του, σε μια ατέρμονη μπρανκούζια περιστρεφόμενη στήλη από «μπάλες που έβαλαν γκολ». Συγχρόνως πετάει το μπαλάκι στον Τιερύ Ζοφρουά για να αποφασίσει εκείνος αν θα έχει ή όχι γκολ (δβ goals) στο emergency room.
Η παράβαση του Κώστα Μπεβεράτου συνίσταται, αφενός στο ότι ανάρτησε 4 έργα αντί ενός και αφετέρου στο ότι δεν άπτονται όλα σε συγκεκριμένο θέμα της ειδησεογραφίας. Ωστόσο, ο ίδιος εξήγησε με ακλόνητα επιχειρήματα, ότι «χρόνια» ζητήματα της επικαιρότητας ανταποκρίνονται πλήρως στην επιταγή για αναζήτηση της αισθητικής των καταστάσεων εκτάκτου ανάγκης.
artists' interview video:

DAY 2 / 03 SEPTEMBER 2007




artists burning to express:

Costas Beveratos
Katerina Christidi
Dionysis Christofilogiannis
Dimitris Dokatzis
Sophie Hjerl
Maria Ikonomopoulou
Eleni Kotsoni
Peter Lind
Maro Michalakakos
Eva Mitala
Petros Moris
Kosmas Nikolaou
Yiorgos Taxiarchopoulos
Philippos Theodorides
Giannis Theodoropoulos


text by Yannis Constantinidis:

Costas Beveratos created a work consisted of three parts: the first part expresses his personal opinion and position regarding the game Thierry Geoffroy has modulated. The second part refers to the artist’s relationship with the projects’s participating artists. Kostas is seeking a common point of collaboration. The third part of his work is about the audience’s involvement: Kostas suggests an emergency form that the visitors have to compile in order for them to become part of his work. The artist realizes that this third part is contradictious and dangerous enough as there is the possibility the whole process to become bureaucratic. However, the aim of his work is to point out that the basic thing in projects as the ER is to reveal a common point of viewing things instead of just acting. For him, this is more powerful than any other stimuli that could motivate the artists to participate.

Katerina Christidi collected the two photos of her work while she was riffling yesterday’s newspaper. Although these two photographs were scattered all over the newspaper she was surprised by their resemblance. In the first photo, the prime minister, accompanied by local politicians, inspects on the burned area. In the second photo the leader of the opposite party does exactly the same accompanied again by the same escort. As this is not a coincidence, Christidi is impressed by the fact that the politicians identify themselves with the same campaign proposed by their image makers. Although this dramatic situation, they keep on implementing their pre-election program. It seems that their presence there was totally fake. It seems that they would prefer not to be present at all. The artist believes that the political leaders should suggest a restitution agenda instead of showing themselves off. Thus she decided to burn their faces, cut them of from the photos and put the one close to the other.

Dionisis Christofilogiannis’ diptych painting depicts a microphone connected to a dog’s mouth. The dog bites the cable in order to cut it off and to disconnect it from the microphone. The work refers to the current pre – election campaigns that are transmitted both by the television and loudspeakers, installed in central city spots. The artist expresses his anger and fatigue about all this continuant and flat pre- election bubble.
and a sensation of rage as a result of the continuant contact with the pre election fight.

Dimitris Dokatzis, uses images from the city’s everyday reality. Pictures that he himself took wondering around the city: two pre-election campaign posters and a scene from a central take away café. In these specific pictures, Dokatzis, quotes military commandments as comments. These comments are widely used in the news and in videogames and introduce doses of sarcasm and irony for current political scene. Moreover the artist presented a video to comment on the way the viewers are ruled from the empowered media. His purpose was also to draw a parallel line between terrorism and media predictions of impeding threats.

Sophie Hjerl’s work entitled “Hostages” refers to the recent incident of South Korean citizens captured as hostages. According to the artist the multitude of messages one receives thorough information channels is confusing because it contains too many contradictions˙while falsely appearing as an in depth analysis. Spectators end up by feeling like hostages themselves hold by the media. Her work is a computer print made from different layers of images focusing on representing the state of confusion and emprisonment of a spectators mind and feelings that lead him to apathy.

Maria Ikonomopoulou’s work is based on a newspaper article about a girl in Peloponnesus whose mother burned alive. The girl stated in the article that since her mother lost, she started to write down in her diary the names of all the people that she lost. The above information helped the artist to visualize the victims of this catastrophe as real persons with actual names and specific lives. She succeeded, in other words, to impersonate the ambiguous idea of “victim”. Ikonomopoulou believes that these victims have to attain a name in order to exist. Otherwise, they will be forgotten and apathy will take the place of mourning. She cut off the victims’ manes in small pieces of paper to personalize and re-approach the tragic event.


Eleni Kotsoni constructed a kind of “spontaneous” wall newspaper, where she stuck 4 letters that she also sent to archaeological services in various areas of Peloponnese that were destroyed from the fires. In these letters she recommends to offer voluntary work. She chose archaeological services because she considers them friendlier state services “it’s as if they are found outside the realm of the state machine” she declared. The basic idea of this particular work is to exchange the working time she would invest in the making of a work for Emergency Room, with a more valuable voluntary offering of work. In other words, she refers to the significant swap from the artistic involvement to the practical involvement (her voluntary offer) in an emergency case.

PeterLind is an artist from Denmark that has participated in all Emergency Rooms around the world. His work is made of two pictures he has taken the previous day, in a standard commercial flight from Copenhagen to Athens. They show a view of the aircraft’s cabin where he was traveling in. He added subtitles on these pictures that say: “yesterday me and a few others burned 50.000 l. of fuel”. His work speaks for itself, as it refers to a continuous emergency situation, where official data detects 20% of the CO2 emissions are due to the fuel consumption of airplanes

Maro Michalakou produced a work associated to Russian reporters who when they become obnoxious to the Russian government and to its secret services, they get imprisoned for an approximate two year period in “gulag” in Siberia, and are obliged to take psychotropic medication. If after their release from the “gulag”, they continue to publish irritating articles, a death sentence is issued against them. Maro’s concern is the inhumane abusive practice of death sentencing to innocent people and the subject of “death” itself. Therefore, she focuses on the phrase stated in the article: “the older KGB agents impose these means that reigned throughout the soviet period: propaganda, censorship and repression”. This article was published in the event of the murder of reporter Anna Politovskayia.

Eva Mitala’s painting refers to a term that recently has been frequently reappearing and popularized in the Greek media: “asymmetrical threats”. The term has been “introduced” by the minister of public order. Mitala’s work shows the very same minister affronting a fox represented in vivid vermilion color (the fox looking like it’s in flames or is a flame). Irony and sarcasm are targeting the government’s effort to imply that wildfires in the Peloponnese area had been a well staged act of terrorism.

Petros Moris expresses with his work the measures taken by the government, inasmuch with the dealing of the damage from the fires in Peloponnese as with the programming of the country’s future defense system in relation to such dangers. His work is a digital print that represents a fantastic defense “hyper-system”. The exaggeration in the design of the system functions as an ironic allegory. This allegory aims to show that all the governmental defense programs that where announced give birth to the danger of undermining secure rights.

Kosmas Nikolaou made an optical puzzle from ads and legends that have appeared in newspapers the previous day. His work shows the artist’s humorous outlook and refers to the flush of images and shower of information taken in by the reader from the press. It also refers on how all this abundance and intertwining in the projected information blur the importance and the meaning of the daily news. Therefore apathy becomes a repentless choice for the reader of the newspaper.

Giorgos Taxiarhopoulos was not in Greece, and showed his work through his representative. The idea arose when he was traveling from Athens to Japan, with a stopover in Heathrow airport. The title of the work is “Heathrow or Seethrough, International measure for dignity”. It refers to the fact that in international airports, the value of the dignity of an individual goes up in smoke when one goes through the cold and faceless, strict control check. Similarly, the plane disappears from the digital print (it has been removed with a blade), since it has lost its purpose as a means of transportation and has been in effect transformed into a storage space of information concerning people. Nevertheless, this information remains at the disposal of the state and can be used often times in a non-legitimate way.

Giannis Theodoropoulos made a work which represents how various news get mixed up and give different confusing meanings. He steers his attention at the fires still taking place in mount Parnon and considers it as an example of news that should provoke much fury to activate and coil up the people. Nonetheless, the headline finally loses its significance, because of confusion and diffusion which generally exist in news reports, ensuing apathy from the people.

Philippos Theodoridis’s work is evoked from an article about neo-liberalism, and how this economical system blocks the way in which mega natural catastrophes are dealt with along with other huge crisis. The article focuses on how governments are found before a turning-point that are made to support and give the upper hand to the state institutions rather than private investors. For instance, in a reverse course than the one observed up until now. His intention is to refer to the recent fires of Peloponnese and to pinpoint that the rescue of forests and of the populace could have been efficient if the government had previously reinforced the state machine rather than enhancing liberal politics.

Erufilli Veneri considered a study about cesarean operations that was published in yesterday’s paper. According to the study, more than 50% of pregnant women in Greece give birth with cesarean, whereas the respective average of the E.U. fluctuates to 15%. The article aims to view the issue of the corruption of gynecologists who almost oblige Greek women to give birth with cesarean, so as to collect an extra monetary profit to their wage since the procedure entails a fee. Her work (2 digital prints) is impregnated by anger, since she considers it outrageous that someone could make a fortune by means of another’s health. Her work functions in consulting women on being more careful and informed about these issues. The work is acerbic to those mainly responsible with this issue: doctors.

artists' interview video:


atmospheric video:

DAY 1 / 01 SEPTEMBER 2007


artist with emergency opinion about today :

Dimitris Baboulis
Sophie Herjl
Maria Ikonomopoulou
Petros Moris
Philippos Theodorides
Erifyli Veneri

photo here


text by Yannis Constantinidis:

Maybe, where punctuality is de rigeur, one should start commenting on that: all artists bringing in works for Athens Emergency room official opening day, were at the gallery by 12:10. As a matter of fact, their intentness to respect the announced schedule left enough time margin for all commenting and filming to be done on time and “penetrate” the room at exactly 12:30. All of the six artists -at the exception of Sophie Hjerl- responded to the main headline news which, in Greece, remains the same for the past 8 days: the wildfires at the Peloponnese.

Maria Ikonomopoulou’ s work was created out of a newspaper page, fromwhich she had removed –by cutting out- all the words and phrasesrefering to the Greek state. All articles related to the wildfires were slightly covered with charcoal, giving the impression of being fumed by the still burning forests. Her work was a reaction to a video broadcasted on a national TV channel (NET), showing a man from the village of Karitena, in central Peloponnese, who was grievingly declaring that fires in the surrounding area, although they have been put off the previous day, they were now starting again stronger and threatening.The man’s tragic witnessing was mainly revolving around the(rhetorical) question whether a governmental official would ever bepresent in person, at his village, for explaining him (presumably, to the rest of the residents as well), why all this disaster was allowed to happen. His statement was implying that government has been totallyabsent, abandoning the suffering area in its bad fate. Furthermore, he was imputing that the Greek state was not only unable to rescue the lands, but it had also appeared indisposed for moral and practical support to these people. Like if it was inexistent. So, “inexistence” became the title of the artist’s work. Etherealness and fineness are structural qualities that cannot escape a viewer’s attention in thiswork, which is focusing on bringing to surface strong emotions of indignation and mourning. Both these qualities link this work with a large entity of other paper-cut works that Maria Ikonomopoulou presented recently in several shows.

artists' interview video:

MEETING DAY 31 AUGUST 2007


photo from the meeting here:
http://www.flickr.com/photos/11537427@N04/sets/72157601825880819