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Thanks to OZON online and magazine for featuring my work Concept Of Since : 24 Options, 2014 in their review of Art Athina 2014.

My work was part of the annual residents show for SNEHTA artist residency.  The group show titled: Things Are Different Now”  Included past residents who have participated in the SNEHTA artist residency.

Click here for the whole article. 

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10296174_476816305783975_1896722786469790853_o 10309337_1506298946265136_7694545771599548638_n 10339549_10154066985225316_1956882948861110285_nThis year has been going well for me in Athens with events unfolding from my time spent on the SNEHTA Artist Residency last Autumn.  This week saw the opening of Art Athina 2014.  SNEHTA used this art fair to showcase the second set of residents from their residency.

SNEHTA Press Release:

“Things are Different Now”
Snehta Resident Artists Annual Show (2013-2014)

15-18 MAY
Booth P13, Art Athina Platforms Projects, Faliro Pavilion (TaeKwon Do), 2 Moraitini Str., Faliron Delta

Participating artists:
Elliott Burns, Jack Burton, Catriona Gallagher, Boris Lafargue, Andrew Peter Mason, Dickie Webb

Organized by:
Irini Bachlitzanaki, Becky Campbell & Augustus Veinoglou for Snehta Residency, Athens

Things are Different Now brings together work by six artists who completed an artists’ residency at Snehta in
the past year and is the second annual show of residents. The works on show were either created in Athens
or shortly after the resident artists’ stay at Snehta. While they are the result of distinct artistic practices,
seen together they bring to the fore issues of location and dislocation, change and movement as well as the
experience of time and space and the way this is worked through and inscribed on an individual piece of art.

I made a new version of a work that I have continued to use as the basis of my thoughts since Athens, the work titled;

Concept of Since: 24 Options,

4 words

24 orders

Multiple meanings.

Merleau-Ponty described space, as having many meanings and it is only how it is phrased/spoken that gives it meaning.

The current Athenian landscape can be read in different ways by those who live/visit here. It has multiple meanings and like most cities and countries are hard to interpret. This work asks people to consider these short statements in relation to their current landscape, asking them to question their own experience of the here and now. Whilst some viewers will be hung up on the negative others will see opportunity in with each rendition.

Thanks for the SNEHTA team for organising this and making this a success.

Art Athina runs from 15th – 18th of May click here for the website.

Click here for SNEHTA website

 

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As one of the past artist in residents at SNEHTA I will be exhibiting at the upcoming Art-Athina.  This SNEHTA show will be co-curated by  Augustus Veinoglou, Becky Campbell and Irini Bachlitzinaki.  Six past artists have been invited to exhibit at this art fair who have spent time on the artist in residence program run by SNEHTA.  Art-Athina hosts Greek and International galleries and alongside these established galleries they also run a Parallel Programme which is what SNEHTA will be part of.  Over the next few weeks the work will be finalised and more information about this art fair will be released.  It is an exciting opportunity and I look forward to seeing what the curators and artists bring to the table create for this event.  

Launched in 1993 by the Hellenic Art Galleries Association, Art-Athina stands today as one of the longest lasting contemporary art fairs in Europe and as the largest annual visual arts event in Greece. A meeting point for international artistic creation, Art-Athina brings together significant Greek and foreign art galleries, cultural institutions, curators, collectors, art critics and art lovers.

Last year’s Art-Athina was held with great success from 16 to 19 May 2013 at Faliron Pavilion (TaeKwonDo Stadium) and was enthusiastically received by some 30,000 visitors!

Important art galleries from Greece and abroad were joined in harmony by cultural institutions, art publishers and media to present a full picture of the contemporary art scene. A number of important parallel activities reinforced the international character of the event with the participation of a large number of artists with a marked predominance of the younger generation. Concurrently, educational activities and historical retrospectives underlined the social role of Art-Athina.

For more information please follow these links:

http://www.art-athina.gr/parallel-programme/

http://www.snehtaresidency.org/

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:

different now are things 3 things are different now1

 

Whilst in Athens I started to bring together new work that form the basis for Concept Of Since and new project that I am planning on continuing when I head to Japan and on my next artist residency program.  The digital works that I have been developing tends to start thoughts and allows my mind to filter ideas that have been ongoing within my practice.  So this focus on process sometimes produces others works that can be apt and respond to my transient state or present landscape.  The Concept Of Since responds to works that I have been making since returning to art practice about 4/5 years ago.  These works have come full circle and whilst in Athens I realised that I respond to the individual and collective hang ups to events and monuments that have passed.  This reliance on an event, as a crutch to form all future decisions for me seems to hinder and these works that I produced a few years ago around the positivity of change and the potential it can contain relate to these new works that I am currently considering.

Whilst in Athens I was reflecting on my practice throughout and whilst taking notes wrote “things are different now”.  This sentence kept going round my head whilst I was mulling over new ideas and when I came to write it again I wrote “things now are different”.  I then realised that these four words could be presented in any formation and only relied on the person reading it to imply the meaning.  Having spent a lot of time in New Zealand sometimes I end my sentence on an up note.  Which sometimes makes a sentence sound more like a question whilst in the UK this is not the case and the same four words can be read completely different.  Just like how Merleau-Ponty describes space, it has many meanings and it is only how it is phrased/spoken that gives it meaning.

So the two works that formed part of the Unsettled Certainties exhibition were 2 of 24 initial works that form the start of the Concept Of Since.  These works though currently text based will start to move beyond this initial start point and manifest themselves in other mediums as I apply this concept.

A few weeks ago I was a participant on the Sound Tectonics workshops organised by Space Under Magazine in Athens.  Whilst there I was inundated with amazing input from different tutors all coming from various disciplines.  One such tutor Jon Goodbun presented us with a talk about Cybernetics, introducing us to concepts concerning complex systems and feedback loops.  This was my first real taste of these specific concepts and they struck a cord with elements with my art practice and within my work as a snowboard trainer.  Now that I have left Athens where I was on an artist residency run by SNEHTA I am now able to consolidate some of the things I experienced on Sound Tectonics and my time in Athens.  On researching more about Cybernetics its intriguing to realise the areas of science and humanities that it draws on or influences.  Obviously seeing its influence on art movements and artists is a direct concern.  One artist who seems to stand in both the cybernetics field as much as the art world is Roy Ascott.  This image of Roy giving a talk gave me more words and ideas to consider, some resonating instantly and others making me head to Google to find out more.  Just like my time on the Sound Tectonics and now following with this initial research I find myself engaged and enthused with the possibilities of what new perspectives can be learnt.

 

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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”.