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I am happy to be part of this upcoming exhibition BOUNDARIES – Curated by Becky Campbell.

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Curator and artist Becky Campbell and the newly established cultural spaces Artscape Athens and Snehta Residency invite you to the opening of the exhibition, Boundaries.

We are continually crossing and encountering boundaries in our daily lives, sometimes aware and sometimes oblivious. We cross over districts of a city; through doors; we shift between being awake (vertical) and asleep (horizontal); between hungry and full.

Boundaries presents the works of 32 creators: 28 artists, two writers, an actor and a musician. The two spaces (Artscape Athens and Snehta) are filled with videos, photographs, paintings, drawings, collages, sculptures, structures and installations as well as performances and interventions in the five-minutes’ walk between.

Each work explores a particular angle related to boundaries – the uncanny, the shadow, liminality, non-spaces, being segregated from a home country, the impossibility of fully comprehending the thoughts of another being, political change, geographical shifts and many others. By bringing such a variety of approaches and mediums into dialogue within and across the two hosting locations similarities and connections of these encounters become prevalent.

21-30 March 2014 Opening 20 March 8-10 pm

Artscape Athens | Moschonision 5, Plateia Amerikis, Athens 112 52

Snehta | Aghias Zonis 1, Kypseli, Athens 113 61

Monday-Friday 5-9 pm

Saturday | Sunday: 12-9 pm

Curated by Becky Campbell

Participants:

Alexandros Laios | Andrew Mason | Christos Vagiatas | Christos Papamichael | Despina Flessa | Despoina Sevasti | Dickie Webb | Dimitris Papoutsakis | Dimitris Patsaros | Elliott Burns | Elli Paxinou | Foteini Palpana | Giannis Amanatidis | Giannis Cheimonakis | Giannis Sinioroglou | Irini Bachlitzanaki | Ivan Masteropoulos | Jack Burton | Konstantinos Kotsis | Kosmas Nikolaou | Kostas Tzimoulis | Maro Fasouli | Matina Charalambi | Panos Mattheou | Panos Profitis | Pantelis Yiannakis | Rachael Cloughton | Rilène Markopoulou | Stephanie Mann | Vasilis Gerodimos | Vassilis Noulas | Zoe Hatziyannaki

The exhibition is being hosted by Artscape Athens and Snehta Residency:

Artscape Athens – An Open Cultural Landscape. Artscape Athens is located at Moschonision 5 Street, in between the borders of Kypseli and Amerikis Square. Since the beginning of 2014 it constitutes the space for cultural expression and artistic creation of the non-profit organisation, Hellenic Museum of Fairytales. Artscape Athens aims to support every act of artistic making and promote local creative ideas. The participatory aspect of its actions constitutes an ongoing motive; therefore it is open in receiving applications for projects and exhibitions from those interested in introducing their work to the broader public.

Snehta Residency is a small private organization that was formed in 2012 in Athens with the purpose to bring international artists in contact with the Athenian art scene. The artists are selected to live and work in Athens for two months in the Kypseli apartment. Snehta – (Athens in reverse) is a metaphorical name suggesting a deeper reading of the city. Snehta aims to expand artistic activity and research in the City, whilst supporting practices focusing on contemporary issues through an experimental and ingenuous approach. Snehta fosters new relationships and collaborations internally and beyond the confines of Athens, Greece.

Becky Campbell is a Scottish artist and curator living in Athens. Previously she has worked for The Fruitmarket Gallery in Edinburgh and DESTE Foundation in Athens. She is part of the team running Snehta Residency in Kypseli, Athens, as well as an organiser of independent projects. Curated projects includeVirtual Materiality for ekthesis-online.com, a at The Demarco Archive, Edinburgh and The WOT Gallery, Edinburgh. She has exhibited internationally in exhibitions including: Gaesahud, Konseptheimilid Sigmar, Reykjavik, Iceland; YELLOW, 2025 Kunst und Kultur e.V., Hamburg, Germany; Short-lived Settlements, Snehta, Athens; Come Ye Hither, Crofter’s Lodge, Loch Eport, North Uist, Scotland; three thousand seven hundred and two, JDM Foundation, Chicago, Illinois, USA.

For further information contact: Becky Campbell & Snehta Residency: becky@snehtaresidency.org Artscape Athens: info@artscapeathens.gr | τηλ. 211 1829117

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It seems like an age since last updating my blog.  For what has been a time without internet it is refreshing to come back to it.  One of the first exhibitions that I will only just miss when I fly home from Japan is Alex Dordoy: Persistencebeatsresistance at Inverleith House in Edinburgh.  For those that are around it will be on till the 23rd of March.  Here is the press release:

Alex Dordoy: Persistencebeatsresistance
Inverleith Gallery, Edinburgh
19 January – 23 March 2014
Review by Catherine Spencer

Although Alex Dordoy’s work explicitly engages with the continual development and concomitant obsolescence of digital and information technologies, his current exhibition at Inverleith House in Edinburgh’s Royal Botanical Gardens also attests to the strongly sculptural element of his practice. Across the gallery’s two floors, Dordoy has arranged a combination of plinth works and wall-reliefs, which address the legacies of minimalism and abstraction, while investigating the mutations established sculptural and painterly forms might take within the pixelated image-overload of online culture.

The plinth works, which Dordoy has christened ‘Congsumers’, consist of rectangular blocks covered with patterns and images, some of which Dordoy has lifted from a jadeite pattern found on Chinese graves, while others are reminiscent of circuit-board imagery and hastily grabbed screen-shots. Embedded at their summits, like discarded fetish objects from an abandoned civilization, Dordy has implanted found items including a defunct MacBook and Converse Hi-Top trainers. These pieces feel deliberately glitchy and overblown, infused with the self-reflexive hyper-awareness of contemporary signs and symbols – and the rapidity with which they are embraced and then cast off – that informs thousands of social media profiles and YouTube videos.

The spectre of outmoded technologies also shadows Dordoy’s ‘Dialta Cuts’, silicone casts made from old photocopiers whose rubbery epidermises hang from the walls. Through the casting process, hard materials are transmuted into yielding ones, while the negative space around the redundant machines takes haunting form. The intricacy of these pieces is very beautiful, but their bodily inferences have the same disconcerting effect as Claes Oldenburg’s soft sculptures, and the latex excrescences of Louise Bourgeois and Eva Hesse. Dordoy mobilizes this blurring between body and object to reflect on the longstanding convergence and tension between the human hand and the technologies it has invented.

In this respect, Dordoy’s exploration of computing and scanning technologies reflects another lineage within abstraction, represented by the work of pioneering computer artists like Manfred Mohr, Georg Nees, and James Faure-Walker. This is particularly apparent in ‘Folded, unfolded, sunk and scanned No. 50’ (2014), part of a series that take their star-like relief-forms from the paper folds required to make a paper plane, which Dordoy then builds up using jesmonite and fiberglass. Dordoy overlays this shape, which comes gently forward from the wall, with abstracted, fractal-like patterns through toner transfer to convey a process of deterioration and breakdown. This work, together with ‘Westerhope’ (2014) and ‘King Pitta’ (2014), which combine oil paint and watercolour with toner transfer, posit that abstraction, far from being the sole prerogative of modernist painting, can also be understood as a post-medium condition that has always accompanied computer and information technologies.

Equally, Dordoy’s installations of ridged sheets of polycarbonate, often used in the construction of greenhouses, underline minimalism’s technological and design affinities. Combined with fluorescent bulbs, these works are the coldest in the exhibition, blending perfectly with the bleached light which floods into Inverleith House during the winter, when the branches of the Botanical Gardens are bare. This isn’t to suggest, however, that Dordoy is without a sense of humour: in the downstairs gallery, looking out over the elegant park and the equally elegant Edinburgh skyline, sits a white totem-pole created from stacked busts of Karl Marx. The original bust was carved many years ago by Dordoy’s father, so that the work feels on the one hand like a personal tribute, laced with a touch of more general nostalgia for the passing of political convictions. On the other, who better than Marx to preside over an exhibition attuned to the precarious place of materiality within digital culture, whereby ‘all that is solid melts into air’?

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WORKSHOP DAY 8 – FINAL PROTOTYPE

Re-blogged from Sound Tectonics Blog

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The concept of the final prototype was developed around the matter of collective experience through auditory senses. The goal was to reinforce the user’s empathy and communication with space and inhabitants through emotional canals. Memory was considered to be the key element that could lead to stronger social bonds so as to reactivate the urban space as a place of interaction. Transforming the observer in to a listener and the act of listening in to an active agent of cross-fertilization, we pursuit a feedback that triggers one’s personal experience of collective awareness.

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Working  on  the  metropolitan  city  of  Athens as the  case  study, we  strategically  divided  the  city  in  layers  that  represented different  ambiences  according  to topography, built environment  and  voids, natural  elements  and  inhabitants. The analysis of each area was achived by documentation process recordings, to represent the relationships between site specificity and our final prototype of an artificial interactive environment.

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Through a critical engagement with technology, the Sound Tectonics team created an interactive environment that was build upon the idea of using one’s own experience as the influential agent that ‘organically’ emerges from the navigation of the user within the structure. Five boxes of different sizes were placed in different distances from each other, each representing one of the previously analyzed areas of the city. Their different volumes were reflecting the diverse perception of distances between the sound source and the position of the listener.

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As part of one system created and installed in an indoor space with the absence of light, the interactive environment used controlled light sources as an inviting component that attracts people to enter part of their body in each hollow box structure. Eager to become part of the experience, the visitors were triggering motion sensors that in their part, were turning the lights off to give their turn to reproduced and edited sounds of the city. In this system, light and darkness were reversely related to sound and silence. The chosen sounds were manipulated in order to expose some highlights of our city drift, incorporating the city’s ambient sounds. One’s own experience could affect the listening experience of the rest of the users. This state was noticeable only when all boxes were occupied, through reproduction of an ironic composition of sounds that suggested enforcement power contradicting with sounds of individual joy. A composition that aimed to highlight the political extend of a social gathering that is occasionally considered by police to be a threatening constitution, especially in the so-called, by some,  ’wastelands’ of the urban environment.

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The visitor’s experience was based on their physical presence in space, together with their acoustic experience. In this way we meant to isolate the senses, only to combine them again when they all reach the state of starting to experience a social assembly. Along these lines, laid one of the main notions of the project that is to force the user to re-evaluate his sensory perceptions and understand the social impact that these may have. This chain reaction contributes to the formation of an emotional state, based not only on memories, but on gathering empirical evidence of how we could effectively reconnect with spaces and people around us.

Project Team :

Tutors: Daniel Canogar, Javier Pena Galiano, Jon Goodbun, John Grzinich, Santiago Vilanova, Nota Tsekoura, Nastazia Spyropoulou, Anna Laskari, Tassos Kanelos

Participants: Ioli Belezini, Natalie Barton, Daphne Dimopoulou, Maria Galani, Yoranda Kassanou, Marirena Kladeftira, Konstantinos Kosmas, Dimitrios Mavrokefalos, Dickie Webb

Special thanks to: Konstantinos Souvatzoglou, Marilena Georgatzi, Nileta Kotsikou

Venue: The British Hellenic College -Athens

Raw sounds from Sound Tectonics workshop research could be found at:  sound tectonics soundcloud and at Radio Aporee  maps under the search : sound tectonics

Sample sound from sound tectonics field recordings:

A/V live performance by the collaborative project between the german duo consisting of Alva Noto (Carsten Nicolai) & Byetone (Olaf Bender) –Raster Noton’s co-founders– at the 10th anniversary of the International Festival of Digital Creativity & Electronic Music MUTEK.MX 2013 / A/VISION 3 – NOCTURNO 1 / Foto Museo Cuatro Caminos / Mexico City

October 4th 2013

Filmed & Edited by Victor Lara

diamondversion.info
mutek.mx

alcatraz

Interesting project by Photographer Ellie Pritts.  Working with the JPEG file type and preying on its inadequacies.  JPEG files lose information each time they are opened and saved so Pritts has taken this to the extreme and created these photographic works that display the degradation that happens when a JPEG image is put through this process 600 times.  Here is how the project is described on the site:

“L0SS” is an experimental photography project inspired by the interesting things that happen to JPEG files when they’re repeatedly compressed or become corrupted. Each image in the series started with a digital photograph that I took, manipulated and iterated dozens of times to create the final product. My fascination with these glitches and other visual anomalies is what fueled this project.

A great example of what happens to a JPEG when repeatedly compressed is shown here in David Elliott’s project “Generation Loss”.

I’ve also been hugely inspired by Georg Fischer’s amazing javascript experiments as well as the iPhone app Glitché.

Special thanks to JD Hartley and Tim Pritts. L0SS is a photography project by Ellie Pritts.▮

Here is a link to Project LOSS

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This is the first in a series of digital works created from my time spent on the SNEHTA art residency in Athens Greece. I proposed making audio visual works whilst there and finding a working process that would allow me to generate a series of these glitch works. These works would allow me to explore non-places and heterotopias, sites which like objects I see as represents human qualities and conditions.

The start point came from exploring sites/spaces that have lost their use in this case Ellinikon the former international airport here in Athens. The digital photographs are the backbone of the research as it is the digital data from these RAW files that I use to create the sound through Audacity. Instead of editing in Photoshop the image is edited and sampled in this sound software. The only rule is that i keep the visual details of the image. The audio samples are then layered together to create a new sound scape different from the former visual landscape. Once this is done I bring the visual samples back into the track and finally create an abstract collage moving image.  The video quality is slightly reduced due to uploading it to vimeo though as a digital collage or samples that have undergone a process of data bending the glitch feel is part of the piece.

This is the first from this series so the process will only be streamlined and understood a little more with following works.

Any feed back would be happily received, thanks Dickie

dickiewebb.com

Nicolai, carsten, 344ms, 2007, perspex tubes, gas, igniting mechanism, large crop 2

ANALOG | GROUP EXHIBITION

30 November 2013 – 1 February 2014

Berlin

Bruce Nauman, Jannis Kounellis, Max Neuhaus, Lawrence Weiner and Gilberto Zorio are among the eight artists featured in Blain|Southern’s next exhibition, ANALOG, a group show which seeks to question our experience of sound through a range of immersive installations and augmented environments.

Examining the relationship between auditory and visual perception, as well as the extent to which sound functions as an affective trigger of personal memory and emotion,ANALOG demonstrates how artists have and continue to use noise as a powerful aesthetic in itself. Some of the works, which range in date from the 1960s to the present day, invite the viewer to actively participate – generating the echo of their own voices through recording equipment, or becoming immersed in a cacophony of fragmented arias.

Among the numerous works on display, Carsten Nicolai’s 334 m/s (2007) is specifically designed to visualise the speed of sound, which is around 334 m/s. To reflect this, propane gas is set alight within two translucent tubes, which produces a sonic boom and in turn issues wild flashes of fluorescent blue light as the flame burns from one side to the other. Minimalist in form, the work consists of cylindrical tubes, gas cylinders and wires, exploring the artistic potential of chemical processes.

Cyril de Commarque will be exhibiting Migrants (2013), a work that consists of bottles containing organ-like apparatuses, attached to a vascular system that resembles the shape of a boat. The piece represents a poetic limbo, being a metaphor for the forced emigration of peoples from their native countries, and the subsequent voyages that were undertaken in a desperate struggle for survival. The work emits the sounds of anonymous overlapping vocal messages, which become obscured by their own multitude, creating a sense of confusion and disorientation. These voices are incongruous to the pulsating organs from which they emanate, depersonalising the piece to the point that it becomes a collective allegory.

In Ignacio Uriarte’sThe Beach (2012), the sound of a typewriter carriage moving from right to left is presented stereophonically. This repetitive, formulaic process of typing acquires a new dimension, as its constant patterns begin to take on the hypnotic lull of a rolling tide. The audience thus becomes focussed on the unique qualities of the sound itself, now isolated from its mode of production.

Music is the primary subject of both Lawrence Weiner’s Deutsche Angst/The Memories of Stu Irwin (1981) and Jannis Kounellis’ Untitled (1971). Weiner’s piece is a musical collaboration with experimental composer Peter Gordon, which fuses the stabs of electronic synthesisers with elements of free jazz, percussive beats and spoken word. The result is a unique avant-garde composition in which disjointed elements compete for the listener’s attention, creating a distinctive soundscape in which the human voice becomes the remote protagonist of an unsettling musical narrative.

Unlike Weiner’s work, Kounellis’ Untitled incorporates physical performance, in the segmentation of a Divertimento by Wolfgang Amadeus Mozart.  Played by students from the Leo Kestenberg Music School and Studio a’415 two days a week, the Divertimento is staged in fragmented form, with students only performing the same five minute section of the piece for a three hour duration. This structural dissolution of the Divertimento denies the listener the enjoyment and progression of the full piece, transforming rich classical melodies into an emotionally distant and unnervingly mechanical rendition. This process ties in with Kounellis’ use of fragmentation to express feelings of alienation in contemporary society.

Bruce Nauman’s Doppelgänger/UFO (1988) is comprised of a rotating steel beam to which two audio cassettes have been attached, exploring the aural phenomenon of the Doppler effect, where sound waves become distorted as the object is put into motion. Nauman urges the viewer to engage directly with dynamic sound, encouraging us to consider the everyday noises that flash past us with greater aesthetic appreciation, such as the rush of moving vehicles, or the fragments of overheard conversations that fill our ears within urban environments.

Exhibited for the first time outside of Turin is Max Neuhaus’ Three ‘Similar’ Rooms (1989), courtesy of Galleria Giorgio Persano. The large-scale installation – staged in the upper level of the gallery – comprises three seemingly identical rooms through which the viewer wanders, though each room actually contains a distinct aural experience as determined by its individual acoustics. The spaces themselves offer no indication of the origin of each sound, causing the viewer to experience these decontextualised noises in a pure, unfiltered manner.

Gilberto Zorio’s Microfoni (1968) presents a number of concrete breeze blocks on bases of ball bearings, above which microphones hang from the ceiling. Viewers are encouraged to stand upon the blocks and speak into a microphone, with their voice then echoing back through speakers in looped, distorted form. Via this abstraction of the human voice, Zorio’s work causes us to scrutinise the sound of our own speech and the ways in which we use verbal communication.

Through the exploration of these artists’ varying engagement with sound, ANALOGchallenges the audience to perceive the noises of our daily life with greater reverence, triggering both a re-assessment of our aural experience of the world and a renewed appreciation and understanding of the nature of sound as an integral aspect of our sensory existence.

http://www.blainsouthern.com/

Image:

Carsten Nicolai
334m/s
2007
Perspex tubes, gas, igniting mechanism
Room installation/dimensions variable
Image Courtesy of Galerie EIGEN + ART Leipzig/Berlin and Pace Gallery

So Catriona Gallagher and myself wrapped up our time here on the SNEHTA residency with a small exhibition titled Unsettled Certainties.  Over the two days we had some interesting conversations with people we had met and others we had not from our time here in Athens.  It was a great way to finish our two months and hopefully will see either of us or both returning sooner rather than later.  I will post some images over the coming week.  For now here is a little GIF teaser from a sign piece I made which is the start of a new series of work titled “Concept Of Since”.

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“Unsettled Certainties”

Catriona Gallagher and Dickie Webb

Opening, Friday 29th November 6:30-9pm
(Open Saturday 30th November 3-8pm. Open Sunday 1st December by appointment.)

Gallagher and Webb have both been occupied with the notion of place, comprehending what it is to be settled or grounded and equally seeking intermediate sites to challenge their knowledge. Through certain and uncertain exploration they have found different places to work within the Athenian landscape.

Gallagher has been making interventions that highlight absurdities in the preservation of heritage and trying to understand the notion of shelter when that becomes necessary.

Webb has concerned himself with liminal spaces, sites that were but are not now, since certain events occurred. He has created reflective intermedia works that question what now, post since.

“Unsettled Certainties” is a synopsis of their research and time at Snehta and points towards possible resolutions in the future.

 

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“Ακαθόριστες Βεβαιότητες”, Catriona Gallagher και Dickie Webb

Εγκαίνια Έκθεσης την Παρασκευή 29 Νοεμβρίου 3-8 μ.μ
Ανοιχτά Κυριακή 1 Δεκέμβριος, κατόπιν επικοινωνίας

Βασικό θέμα έρευνας των εικαστικών Ghallager και Webb είναι η έννοια του τόπου, ο τρόπος με τον οποιό αντιλαμβάνεται ο καθένας τις ρίζες του, και τη βάση της ζωής του, που συναρτάται με κάποιο χώρο. Η τυχαία και πολλές φορές συμπτωματική διαδικασία που οδήγησε τους καλλιτέχνες στην ανακάλυψη τέτοιων σημείων-τόπων, τους ώθησε να επικεντρωθούν καλλιτεχνικά σε διαφορετικά σημεία της Αθήνας.

Πιο συγκεκριμένα, οι παρεμβάσεις της C.Galagher, τονίζουν τους παραλογισμούς στην συντήρηση της Ελληνικής κληρονομίας και φανερώνουν την προσπάθεια της εικαστικού να κατανοήσει την έννοια του καταφύγιου όταν αυτό είναι παρόν, ή όταν αυτό μοιάζει απαραίτητο.

Ο D.Webb ερευνά χώρους περιθωρίου-ενδιάμεσους χώρους και μή τόπους. Μέρη που κάποτε κυριαρχούσε η ζωή αλλά τώρα μένουν κενά ανθρώπινης χρήσης και παρουσίας. Βρίσκει τρόπους να φέρει στην επιφάνεια το χρόνο που μεσολάβησε ανάμεσα στις δυο διαφορετικές καταστάσεις και βάσει αυτού δημιουργεί έργα που έχουν ως βασικούς άξονες δύο καίρια για τον ίδιο ερωτήματα: «Τώρα τι? Από τότε τι?»

Η επιβεβαίωση του άστατου και συμπτωματικού χαρακτήρα που διακρίνει τον τόπο και το καταφύγιο συνοψίζουν την έρευνα που έγινε μεταξύ των δύο μηνών που οι καλλιτέχνες αφιέρωσαν στη Snehta. Μέσω της ερευνητικής αυτής διαδικασίας, δίνεται η δυνατότητα σε καθένα από τους δυο καλλιτέχνες να προχωρήσει και άλλο την εργασία του στο μέλλον προς την κατεύθυνση αυτή.