published
23 photos
photographs published in web and print media
23 photos
photographs published in web and print media
1305
11 photos
11 photos
1304
49 photos
49 photos
1303
27 photos
27 photos
warszawa na wiosnę [iii.13]
51 photos
51 photos
1302
22 photos
22 photos
1301
17 photos
17 photos
12
387 photos
387 photos
altars, tombs & stelai
42 photos
42 photos
impending presence
119 photos
119 photos
palimpsests
232 photos
n. & a. 1. n. writing-material or manuscript on which the original writing has been effaced to make room for a second writing; [...] [f. L f. Gk παλίμψηστος (πάλιν again, ψάω rub smooth)] [OED, 7th edn., 1982] hence, a surface where many layers of writing -or 'writing'- can be made out
232 photos
n. & a. 1. n. writing-material or manuscript on which the original writing has been effaced to make room for a second writing; [...] [f. L f. Gk παλίμψηστος (πάλιν again, ψάω rub smooth)] [OED, 7th edn., 1982] hence, a surface where many layers of writing -or 'writing'- can be made out
in my life
51 photos
[as in the beatles song:] a celebration of friends[hip]
51 photos
[as in the beatles song:] a celebration of friends[hip]
the new economy
191 photos
aspects of the city of athens, testifying to the current economic* -but far from only financial- crisis in greece [needless to say, even in the most serious crisis, not all images one comes across are of dereliction] i appreciate that one might question the absence of a 'grittier' documentary style here. for now, let me just express the hope that the 'aesthetic' qualities -such as they may be- of these images may still draw the viewer in, and make her ponder this series ideally should have been started in about 1982, and been divided in two 'periods': first, "the placid slumber of fakeness"; then, from, say, 2010, "reality hits". as it is, it now starts directly with the second part, though with a photograph that captures the first * the etymology of the word "economy" is "management of one's home" [thus, "ecology" = "study of home[s]/ niche[s]"]: no word-root related to money or finances is included in "οικο-νομία" - 23.iv.2013 update: 23 images from this series were published in photographer spyros staveris' photoblog, 'magic circus', that he keeps on the website of the athens weekly free press, lifo
191 photos
aspects of the city of athens, testifying to the current economic* -but far from only financial- crisis in greece [needless to say, even in the most serious crisis, not all images one comes across are of dereliction] i appreciate that one might question the absence of a 'grittier' documentary style here. for now, let me just express the hope that the 'aesthetic' qualities -such as they may be- of these images may still draw the viewer in, and make her ponder this series ideally should have been started in about 1982, and been divided in two 'periods': first, "the placid slumber of fakeness"; then, from, say, 2010, "reality hits". as it is, it now starts directly with the second part, though with a photograph that captures the first * the etymology of the word "economy" is "management of one's home" [thus, "ecology" = "study of home[s]/ niche[s]"]: no word-root related to money or finances is included in "οικο-νομία" - 23.iv.2013 update: 23 images from this series were published in photographer spyros staveris' photoblog, 'magic circus', that he keeps on the website of the athens weekly free press, lifo
hellenic festival / ελληνικό φεστιβάλ
34 photos
thanks to my parents, what was then called the "athens festival" -as opposed to the "epidaurus festival" of ancient greek drama- was a major feature of my childhood summers: from the pre-festival recitals of themelis, a blind greek pianist particularly fond of beethoven sonatas, to bejart's "bhakhti" and "heliogabalus", nureyev and fonteyn, alvin ailey's "revelations" [which we returned to on the second night!], ninagawa's "medea", the concertgebouw with sawallisch - all, of course, in the herod atticus odeon, by the side of the acropolis: even when the performances were not splendid, the cooing pigeons as it was getting dark, and then, a little later, the flitting bats, and the moon, were spectacle enough since yorgos loukos took up the united -and by then decayed almost into an expensive parade of faded stars- festivals' direction in 2006, not only did he revolutionise the planning and content, he also fished out a spectacular -but then i am a sucker for industrial spaces- sprawling, old, abandoned industrial complex [where our desks at school had been made in the 1970's!]. it isn't just that the looks of the place fit the contemporary choices of the current festival better: its open spaces also make for wonderfully relaxed interactions before and after the performances, as well as at the intervals and this "pireos 260" complex is still full of secret corners and unexpected spaces
34 photos
thanks to my parents, what was then called the "athens festival" -as opposed to the "epidaurus festival" of ancient greek drama- was a major feature of my childhood summers: from the pre-festival recitals of themelis, a blind greek pianist particularly fond of beethoven sonatas, to bejart's "bhakhti" and "heliogabalus", nureyev and fonteyn, alvin ailey's "revelations" [which we returned to on the second night!], ninagawa's "medea", the concertgebouw with sawallisch - all, of course, in the herod atticus odeon, by the side of the acropolis: even when the performances were not splendid, the cooing pigeons as it was getting dark, and then, a little later, the flitting bats, and the moon, were spectacle enough since yorgos loukos took up the united -and by then decayed almost into an expensive parade of faded stars- festivals' direction in 2006, not only did he revolutionise the planning and content, he also fished out a spectacular -but then i am a sucker for industrial spaces- sprawling, old, abandoned industrial complex [where our desks at school had been made in the 1970's!]. it isn't just that the looks of the place fit the contemporary choices of the current festival better: its open spaces also make for wonderfully relaxed interactions before and after the performances, as well as at the intervals and this "pireos 260" complex is still full of secret corners and unexpected spaces
11
995 photos
995 photos
not the 3rd athens biennale [x.11]
79 photos
the 3rd athens biennale, 'monodrome' [www.athensbiennial.org/AB/en/ENintro.htm], was for me clearly the most interesting so far - also the most curatorially coherent. the choice of main venue -the now disused 'diplareios' school [that used to train students in various crafts] located in the middle of one of the most problematic parts of athens' centre- was both inspired and defining there was a constant and incredibly fruitful dialogue between the works of art and the building itself, its history -as we know it, as it appears graffittied on its walls, or exhibited in its archives-, the buildings around it, and the views from its windows as one ascended its floors i therefore chose to concentrate on the building, its surroundings, and the views one sees as one walks along its various rooms
79 photos
the 3rd athens biennale, 'monodrome' [www.athensbiennial.org/AB/en/ENintro.htm], was for me clearly the most interesting so far - also the most curatorially coherent. the choice of main venue -the now disused 'diplareios' school [that used to train students in various crafts] located in the middle of one of the most problematic parts of athens' centre- was both inspired and defining there was a constant and incredibly fruitful dialogue between the works of art and the building itself, its history -as we know it, as it appears graffittied on its walls, or exhibited in its archives-, the buildings around it, and the views from its windows as one ascended its floors i therefore chose to concentrate on the building, its surroundings, and the views one sees as one walks along its various rooms
postpoetic L
638 photos
638 photos
[crossing] lines [to cross]
183 photos
* recommended to be viewed as a slideshow * a self-explanatory title, i think, for an ongoing sequence of images started in 2003
183 photos
* recommended to be viewed as a slideshow * a self-explanatory title, i think, for an ongoing sequence of images started in 2003
li[t/f]e from somewhere
291 photos
291 photos
something human this way comes
114 photos
114 photos
postpoetic S
103 photos
* recommended to be viewed as a slideshow * [a square sequence started in march 2010]
103 photos
* recommended to be viewed as a slideshow * [a square sequence started in march 2010]
summer
27 photos
27 photos
sleeping ground
16 photos
16 photos
χαιρετισμοί / salutations [iii/iv.11]
14 photos
14 photos
hands
77 photos
and arms expressive as faces [or even more differently secretly]
77 photos
and arms expressive as faces [or even more differently secretly]
10
698 photos
698 photos
09
114 photos
a selection of photographs from 2009 best viewed as a slideshow
114 photos
a selection of photographs from 2009 best viewed as a slideshow
08
72 photos
a selection of photographs from 2008 best viewed as a slideshow
72 photos
a selection of photographs from 2008 best viewed as a slideshow
07
68 photos
best viewed as a slideshow selected photographs from 2007
68 photos
best viewed as a slideshow selected photographs from 2007
06
139 photos
* composed to be viewed as a slideshow * a selection of photographs from 2006
139 photos
* composed to be viewed as a slideshow * a selection of photographs from 2006
05
114 photos
- composed to be viewed as a slideshow - a selection of photographs from 2005
114 photos
- composed to be viewed as a slideshow - a selection of photographs from 2005
04
60 photos
* recommended to be viewed as a slideshow * a selection of photographs from 2004
60 photos
* recommended to be viewed as a slideshow * a selection of photographs from 2004
03
55 photos
* recommended to be viewed as a slideshow * a selection of photographs from 2003
55 photos
* recommended to be viewed as a slideshow * a selection of photographs from 2003
89_02
12 photos
* recommended to be viewed as a slideshow * selected photographs from 1989 to 2002
12 photos
* recommended to be viewed as a slideshow * selected photographs from 1989 to 2002
no face portraits
59 photos
sometimes something -occasionally a lot- of a person can be conveyed in the absence of the face
59 photos
sometimes something -occasionally a lot- of a person can be conveyed in the absence of the face
friends' faces
21 photos
21 photos
stolen portraits
22 photos
22 photos
23 lights for 2011
23 photos
*** this set is designed to be viewed as a slideshow *** The “Pedion tou Areos” [Mars’ Fields] Park of Athens –one of the two largest in the city– has been during the past several years, and still is, under re-landscaping. However, parts of it have been gradually opening to the public since last September. And on Christmas eve, the low headlights on the street side of Leoforos Alexandras were on for the first time. This New Year’s eve, having spent a lovely early evening drinking tea with a seldom –until now, at least– seen friend, I returned home. Very peaceful, I decided to stay in. Washed the dishes, made only a single phone call, read the year’s –and decade’s– rather somber review in the paper. I was toying with the idea of going to bed early – but then thought I should go out and realize the idea I had on Christmas eve. I photographed –with no pretensions to ‘art’– each single headlight on the street side, using identical conditions: the lower part of the frame rests on the top of the marble ledge; each headlight is placed in the middle of the bottom edge. All photographs were taken by me standing on the pavement lane for the blind – a laudable principle, but of otherwise dubious execution. (This lane’s distance from the Park’s edge occasionally changes, to avoid different obstacles.) The headlights are presented in sequence. The Park’s re-landscaping has been a long time coming, unfortunately. Fortunately, its principal architect, Alexandros Tombazis, is a respected figure – and received the highest number of votes amongst candidates with the party that won the recent municipal elections. Those results were a great relief, and many hopes hang on them. The headlights end at the site of Athena’s statue, erected in 1952 to honour British, Australian and New Zealand soldiers who were killed on Greek soil during WWII. It now looks over a –perhaps regrettably rather too geometrical, but certainly mythologically appropriate– olive grove. The skaters, who used to love the marble pavement in front of it, will have, I hear, their specially designed area. The lights are on. There’s work to be done. *** αυτή η ομάδα είναι σχεδιασμένη ως προβολή διαφανειών *** 23 φώτα γιά το 2011 Το Πεδίον του Άρεως στην Αθήνα βρίσκεται, ως γνωστόν, υπό αναδιαμόρφωση εδώ και κάποια χρόνια. Ωστόσο, τμήματά του, σταδιακά από τον περασμένο Σεπτέμβριο, ανοίγουν στο κοινό. Και την παραμονή των Χριστουγέννων, οι χαμηλοί προβολείς στην πλευρά της Λεωφόρου Αλεξάνδρας άναψαν γιά πρώτη φορά. Αυτήν την παραμονή Πρωτοχρονιάς, έχοντας περάσει το βράδυ πίνοντας τσάι μ’ έναν φίλο με τον οποίο ωστόσο είχαμε να βρεθούμε πάνω από τέσσερα χρόνια, γύρισα σπίτι. Γαλήνιος, αποφάσισα να μην ξαναβγώ. Έπλυνα τα πιάτα, έκανα ένα μοναδικό τηλεφώνημα, διάβασα την μάλλον ζοφερή ανασκόπηση του έτους και της δεκαετίας στην εφημερίδα. Έλεγα να πέσω νωρίς – αλλ’ ύστερα σκέφτηκα να βγω γιά την ιδέα που είχα την παραμονή των Χριστουγέννων. Φωτογράφισα –χωρίς ‘καλλιτεχνικές’ αξιώσεις– καθέναν προβολέα, υπό τις ίδιες συνθήκες: η κάτω πλευρά του κάδρου γλείφει το μαρμάρινο πεζούλι, και κάθε προβολέας τοποθετείται στο κέντρο του κάτω μέρους. Έβγαλα όλες τις φωτογραφίες στέκοντας στην λωρίδα των τυφλών – αξιέπαινη ιδέα, αμφίβολη εκτέλεση. (Η απόστασή της από το πεζούλι αλλάζει κατά σημεία, γιά ν’ αποφευχθούν διάφορα εμπόδια.) Οι προβολείς παρουσιάζονται με την πραγματική τους σειρά. Η αναδιαμόρφωση του Πάρκου παρακράτησε, δυστυχώς. Ευτυχώς, ο κύριος αρχιτέκτονάς της, ο Αλέξανδρος Τομπάζης, χαίρει δικαίως σεβασμού – και έλαβε τις περισσότερες ψήφους με τον νικηφόρο συνδυασμό των τελευατίων δημοτικών εκλογών. Τα αποτελέσματα αυτά ήταν μιά μεγάλη ανακούφιση: πολλές ελπίδες στηρίζονται πάνω τους. Η σειρά των προβολέων σταματά στο άγαλμα της Αθηνάς, που ανηγέρθη το 1952, εις μνήμην των πεσόντων επί ελληνικού εδάφους κατά τον Β’ Π.Π. Βρετανών, Αυστραλών και Νεοζηλανδών στρατιωτών. Τώρα κοιτά έναν –φευ ίσως υπερβολικά συμμετρικό, αλλ’ ασφαλώς μυθολογικώς ταιριαστό– ελαιώνα. Οι σκαίητερς, που λάτρεψαν τα μάρμαρα μπροστά απ’ το άγαλμα, απ’ ό,τι ακούω, θα έχουν πιά τον δικόν τους ειδικά σχεδιασμένο χώρο. Τα φώτα άναψαν. Ώρα γιά δουλειά.
23 photos
*** this set is designed to be viewed as a slideshow *** The “Pedion tou Areos” [Mars’ Fields] Park of Athens –one of the two largest in the city– has been during the past several years, and still is, under re-landscaping. However, parts of it have been gradually opening to the public since last September. And on Christmas eve, the low headlights on the street side of Leoforos Alexandras were on for the first time. This New Year’s eve, having spent a lovely early evening drinking tea with a seldom –until now, at least– seen friend, I returned home. Very peaceful, I decided to stay in. Washed the dishes, made only a single phone call, read the year’s –and decade’s– rather somber review in the paper. I was toying with the idea of going to bed early – but then thought I should go out and realize the idea I had on Christmas eve. I photographed –with no pretensions to ‘art’– each single headlight on the street side, using identical conditions: the lower part of the frame rests on the top of the marble ledge; each headlight is placed in the middle of the bottom edge. All photographs were taken by me standing on the pavement lane for the blind – a laudable principle, but of otherwise dubious execution. (This lane’s distance from the Park’s edge occasionally changes, to avoid different obstacles.) The headlights are presented in sequence. The Park’s re-landscaping has been a long time coming, unfortunately. Fortunately, its principal architect, Alexandros Tombazis, is a respected figure – and received the highest number of votes amongst candidates with the party that won the recent municipal elections. Those results were a great relief, and many hopes hang on them. The headlights end at the site of Athena’s statue, erected in 1952 to honour British, Australian and New Zealand soldiers who were killed on Greek soil during WWII. It now looks over a –perhaps regrettably rather too geometrical, but certainly mythologically appropriate– olive grove. The skaters, who used to love the marble pavement in front of it, will have, I hear, their specially designed area. The lights are on. There’s work to be done. *** αυτή η ομάδα είναι σχεδιασμένη ως προβολή διαφανειών *** 23 φώτα γιά το 2011 Το Πεδίον του Άρεως στην Αθήνα βρίσκεται, ως γνωστόν, υπό αναδιαμόρφωση εδώ και κάποια χρόνια. Ωστόσο, τμήματά του, σταδιακά από τον περασμένο Σεπτέμβριο, ανοίγουν στο κοινό. Και την παραμονή των Χριστουγέννων, οι χαμηλοί προβολείς στην πλευρά της Λεωφόρου Αλεξάνδρας άναψαν γιά πρώτη φορά. Αυτήν την παραμονή Πρωτοχρονιάς, έχοντας περάσει το βράδυ πίνοντας τσάι μ’ έναν φίλο με τον οποίο ωστόσο είχαμε να βρεθούμε πάνω από τέσσερα χρόνια, γύρισα σπίτι. Γαλήνιος, αποφάσισα να μην ξαναβγώ. Έπλυνα τα πιάτα, έκανα ένα μοναδικό τηλεφώνημα, διάβασα την μάλλον ζοφερή ανασκόπηση του έτους και της δεκαετίας στην εφημερίδα. Έλεγα να πέσω νωρίς – αλλ’ ύστερα σκέφτηκα να βγω γιά την ιδέα που είχα την παραμονή των Χριστουγέννων. Φωτογράφισα –χωρίς ‘καλλιτεχνικές’ αξιώσεις– καθέναν προβολέα, υπό τις ίδιες συνθήκες: η κάτω πλευρά του κάδρου γλείφει το μαρμάρινο πεζούλι, και κάθε προβολέας τοποθετείται στο κέντρο του κάτω μέρους. Έβγαλα όλες τις φωτογραφίες στέκοντας στην λωρίδα των τυφλών – αξιέπαινη ιδέα, αμφίβολη εκτέλεση. (Η απόστασή της από το πεζούλι αλλάζει κατά σημεία, γιά ν’ αποφευχθούν διάφορα εμπόδια.) Οι προβολείς παρουσιάζονται με την πραγματική τους σειρά. Η αναδιαμόρφωση του Πάρκου παρακράτησε, δυστυχώς. Ευτυχώς, ο κύριος αρχιτέκτονάς της, ο Αλέξανδρος Τομπάζης, χαίρει δικαίως σεβασμού – και έλαβε τις περισσότερες ψήφους με τον νικηφόρο συνδυασμό των τελευατίων δημοτικών εκλογών. Τα αποτελέσματα αυτά ήταν μιά μεγάλη ανακούφιση: πολλές ελπίδες στηρίζονται πάνω τους. Η σειρά των προβολέων σταματά στο άγαλμα της Αθηνάς, που ανηγέρθη το 1952, εις μνήμην των πεσόντων επί ελληνικού εδάφους κατά τον Β’ Π.Π. Βρετανών, Αυστραλών και Νεοζηλανδών στρατιωτών. Τώρα κοιτά έναν –φευ ίσως υπερβολικά συμμετρικό, αλλ’ ασφαλώς μυθολογικώς ταιριαστό– ελαιώνα. Οι σκαίητερς, που λάτρεψαν τα μάρμαρα μπροστά απ’ το άγαλμα, απ’ ό,τι ακούω, θα έχουν πιά τον δικόν τους ειδικά σχεδιασμένο χώρο. Τα φώτα άναψαν. Ώρα γιά δουλειά.
pensive festive [xii.10]
8 photos
8 photos
in a cold climate [xi.10]
29 photos
29 photos
uma viagem [xi.10]
37 photos
37 photos
la dama y el centauro [vi.10]
29 photos
[las navas del marques, region of avila, country of castilla y leon, spain] "magalia" in latin means "small tents" or "huts". but after a stone with this inscription was incorporated in the 16th century fortified palace, local legend eventually decided otherwise: magalia was a nobleman's daughter, in love with a centaur. the father naturally objected, and banished her every night, after midnight, her ghost -or the centaur's- return to haunt the castle
29 photos
[las navas del marques, region of avila, country of castilla y leon, spain] "magalia" in latin means "small tents" or "huts". but after a stone with this inscription was incorporated in the 16th century fortified palace, local legend eventually decided otherwise: magalia was a nobleman's daughter, in love with a centaur. the father naturally objected, and banished her every night, after midnight, her ghost -or the centaur's- return to haunt the castle
film paris [v.10]
52 photos
52 photos
my own private schiele [iv.10]
30 photos
best viewed as a slideshow
30 photos
best viewed as a slideshow
polish spring [iii.10]
97 photos
97 photos
cross line to feel
4 photos
4 photos
george. end of summer.
13 photos
[meant to be viewed as a slideshow ] early september 2009, we were sitting next to each other on the boat deck: he listening to music, me reading. the wind made his flip-flop fly; i caught it; this got us talking. i asked him if he minded me taking some pics, he said he had none from the summer, so that would be nice. he was coming back from his summer job as a waiter on a small island. back to studying computers and living in a room at the students' hall. but his loves were music -he played in a band and wrote the lyrics-, politics -in his readings-, painting, drawing and animation. he had exams to study for, but he would probably go visit his girlfriend in the hague instead. i sent him these pics to his email. hope he got them.
13 photos
[meant to be viewed as a slideshow ] early september 2009, we were sitting next to each other on the boat deck: he listening to music, me reading. the wind made his flip-flop fly; i caught it; this got us talking. i asked him if he minded me taking some pics, he said he had none from the summer, so that would be nice. he was coming back from his summer job as a waiter on a small island. back to studying computers and living in a room at the students' hall. but his loves were music -he played in a band and wrote the lyrics-, politics -in his readings-, painting, drawing and animation. he had exams to study for, but he would probably go visit his girlfriend in the hague instead. i sent him these pics to his email. hope he got them.
halston z14
16 photos
halston's fragrance for men, "z-14", was launched in 1976, retaining the perfumer's code number top notes: bergamot, lemon, basil, cypress, gardenia / middle notes: vetiver, jasmin, patchouli, coriander, cedarwood, cinnamon, geranium / base notes: amber, leather, olibanum, benzoin, moss, musk, tonka my cousin -four years older than me- wore it; i liked it. he gave it to me as a new year present when i was 14: my first eau de toilette other kids wore it too i thought it had gone out of production. this 1st of may i learnt it hasn't [info from: www.basenotes.net]
16 photos
halston's fragrance for men, "z-14", was launched in 1976, retaining the perfumer's code number top notes: bergamot, lemon, basil, cypress, gardenia / middle notes: vetiver, jasmin, patchouli, coriander, cedarwood, cinnamon, geranium / base notes: amber, leather, olibanum, benzoin, moss, musk, tonka my cousin -four years older than me- wore it; i liked it. he gave it to me as a new year present when i was 14: my first eau de toilette other kids wore it too i thought it had gone out of production. this 1st of may i learnt it hasn't [info from: www.basenotes.net]
blind billboards
13 photos
13 photos
demise of a haberdasher's
8 photos
"Kalyviotis" is a very old chain of haberdasher's shops in Athens: buttons, lace, zippers, down to the obscurest items necessary for the fabrication or repair of clothes. During Carnival, their windows would sport even wilder stuff; in summertime, an unimaginable variety of elastic bonnets to protect ladies' hairdos from the seawater would appear; and so on. Our grandmothers depended on it, our mothers less so, but even people of my generation would occasionally be saved by it. The changing times -and the crisis- meant that some of the shops have closed. I was in there several years back, looking for a metal button for my leather jacket. They didn't exactly have the right type, nor do I wear that jacket anymore.
8 photos
"Kalyviotis" is a very old chain of haberdasher's shops in Athens: buttons, lace, zippers, down to the obscurest items necessary for the fabrication or repair of clothes. During Carnival, their windows would sport even wilder stuff; in summertime, an unimaginable variety of elastic bonnets to protect ladies' hairdos from the seawater would appear; and so on. Our grandmothers depended on it, our mothers less so, but even people of my generation would occasionally be saved by it. The changing times -and the crisis- meant that some of the shops have closed. I was in there several years back, looking for a metal button for my leather jacket. They didn't exactly have the right type, nor do I wear that jacket anymore.
plunge
8 photos
tv screen shots from diving and swimmimg competitions shot in hotels: 2006 in london; 2010 in stockholm
8 photos
tv screen shots from diving and swimmimg competitions shot in hotels: 2006 in london; 2010 in stockholm
paper plane hope
5 photos
a square set of urban desolation and a little hope on friday 12 march 2010
5 photos
a square set of urban desolation and a little hope on friday 12 march 2010
m's hands
5 photos
5 photos
μαρία κόντη _ 'η πόλις' [111127]
6 photos
όψεις από την εγκατάσταση / περφόρμανς / διασπορά αρχείου της μαρίας κόντη, 'η πόλις' κυριακή 27 νοεμβρίου 2011, 11.00 π.μ. έως 11.00 μ.μ., καρόρη 8, 5ος όροφος, μοναστηράκι, αθήνα ----------------------------------------------------- images from maria konti's installation / performance / archive dispersal, 'i polis' [the city] sunday 27 november 2011, 11:00-23:00, karori 8, 5th floor, athens, greece
6 photos
όψεις από την εγκατάσταση / περφόρμανς / διασπορά αρχείου της μαρίας κόντη, 'η πόλις' κυριακή 27 νοεμβρίου 2011, 11.00 π.μ. έως 11.00 μ.μ., καρόρη 8, 5ος όροφος, μοναστηράκι, αθήνα ----------------------------------------------------- images from maria konti's installation / performance / archive dispersal, 'i polis' [the city] sunday 27 november 2011, 11:00-23:00, karori 8, 5th floor, athens, greece
03_the installations
23 photos
* best viewed as a slideshow * the finished installations [http://blinddate12.blogspot.com/], the artists, the visitors - plus
23 photos
* best viewed as a slideshow * the finished installations [http://blinddate12.blogspot.com/], the artists, the visitors - plus
02_at work
47 photos
* best viewed as a slideshow * the six pairs of writers and visual artists preparing their installations for 'blind date #12" [http://blinddate12.blogspot.com/] in november 2006 - plus a fewpictures from other parts of the building, the view outside, and the neighbourhood
47 photos
* best viewed as a slideshow * the six pairs of writers and visual artists preparing their installations for 'blind date #12" [http://blinddate12.blogspot.com/] in november 2006 - plus a fewpictures from other parts of the building, the view outside, and the neighbourhood
01_the space
22 photos
* best viewed as a slideshow * this set contains some glimpses of the old "palco" underwear manufacture -that had closed down several years back- as well as of the petralona neighbourhood of athens where it is situated this building was used for the first "blind date #12" [http://blinddate12.blogspot.com/] in 2006 once our show was over, work would start to convert the building into 'lofts'
22 photos
* best viewed as a slideshow * this set contains some glimpses of the old "palco" underwear manufacture -that had closed down several years back- as well as of the petralona neighbourhood of athens where it is situated this building was used for the first "blind date #12" [http://blinddate12.blogspot.com/] in 2006 once our show was over, work would start to convert the building into 'lofts'
barred
8 photos
Details from the "Prosfiyika" [Refugees'] residential buildings on Leof. Alexandras, Athens, Greece - in 2005. One of the extremely rare examples of architectural Bauhaus in Athens, these eight blocks of flats had been built to house some of the 1922 Asia Minor Greek refugees, and are still partly inhabited - occasionally by those refugees' descendants. After having gone through a period when they were destined to be pulled down, they have now fortunately been definitely rescued from the bulldozers. However, what their use will eventually be, still remains unclear. Apart from my love for Bauhaus, I was particularly drawn at that stage by the planks used to bar entrances and windows [to prevent re-occupation of flats that had been condemned to be pulled down]. I also felt that, in a way, the materials used for this 'barring', and the -ironically, quite bauhasian- forms thereby created, could be considered as 'parallel' to some of my 'beach sculptures' [see the set here: www.flickr.com/photos/panayotisioannidis/sets/72157623348...].
8 photos
Details from the "Prosfiyika" [Refugees'] residential buildings on Leof. Alexandras, Athens, Greece - in 2005. One of the extremely rare examples of architectural Bauhaus in Athens, these eight blocks of flats had been built to house some of the 1922 Asia Minor Greek refugees, and are still partly inhabited - occasionally by those refugees' descendants. After having gone through a period when they were destined to be pulled down, they have now fortunately been definitely rescued from the bulldozers. However, what their use will eventually be, still remains unclear. Apart from my love for Bauhaus, I was particularly drawn at that stage by the planks used to bar entrances and windows [to prevent re-occupation of flats that had been condemned to be pulled down]. I also felt that, in a way, the materials used for this 'barring', and the -ironically, quite bauhasian- forms thereby created, could be considered as 'parallel' to some of my 'beach sculptures' [see the set here: www.flickr.com/photos/panayotisioannidis/sets/72157623348...].
angels passing
8 photos
* [even more importantly than usual] composed to be viewed as a slideshow *
8 photos
* [even more importantly than usual] composed to be viewed as a slideshow *
diptychs
5 photos
5 photos
beach mobilos
11 photos
mobilos made on the beach with material gathered on the spot - then, once complete, usually transferred indoors [double digits refer to the year]
11 photos
mobilos made on the beach with material gathered on the spot - then, once complete, usually transferred indoors [double digits refer to the year]
beach sculptures
20 photos
'sculptures' made on the beach, with materials found on the spot assembled, taken down, re-arranged, documented, abandoned in this respect, you could say these making-and-breaking games resemble land art a little; hence i ventured the rather pompous tag :-) [double digits refer to the year]
20 photos
'sculptures' made on the beach, with materials found on the spot assembled, taken down, re-arranged, documented, abandoned in this respect, you could say these making-and-breaking games resemble land art a little; hence i ventured the rather pompous tag :-) [double digits refer to the year]
summer libraries
4 photos
on my summer holiday, i like to take with me a meticulously -though also at times impulsively- selected 'library' - into which i can dip or delve at leisure the books' arrangements in the photographs are not random one might therefore say that this is my very personal -and half-humourous- take on conceptual art [hence the tag] ;-) [the double digits refer to the year]
4 photos
on my summer holiday, i like to take with me a meticulously -though also at times impulsively- selected 'library' - into which i can dip or delve at leisure the books' arrangements in the photographs are not random one might therefore say that this is my very personal -and half-humourous- take on conceptual art [hence the tag] ;-) [the double digits refer to the year]
texts
1 photos
1 photos
places i've lain in
3 photos
since 2007, a serious back problem has made it imperative for me to lie down whenever i feel my spinal cord needs to be rested. in winter, i carry a small fleece blanket in my rucksack; in summer, a cotton cloth. i would rather not alarm the people around me, so i try to find a secluded space. but this is not always feasible, and i have abolished all shame the body now comes first. it's quite an education [this series is not chronological, though the time and place are indicated, and the photographs do not always accurately document the actual spaces referred to]
3 photos
since 2007, a serious back problem has made it imperative for me to lie down whenever i feel my spinal cord needs to be rested. in winter, i carry a small fleece blanket in my rucksack; in summer, a cotton cloth. i would rather not alarm the people around me, so i try to find a secluded space. but this is not always feasible, and i have abolished all shame the body now comes first. it's quite an education [this series is not chronological, though the time and place are indicated, and the photographs do not always accurately document the actual spaces referred to]
yymmm_nn
47 photos
*** i have stopped adding composites of my galleries' contents here. please visit www.flickr.com/photos/panayotisioannidis/galleries/ to see them all *** my galleries are built intuitively and sequentially in other words, they are composed of images that i come across as i browse, find particularly striking, and feel that, next to others, they might make an interesting sequence. indeed, my 'curating' consists not only in the selection of the images, but also in their particular juxtaposition, as one moves 'down' the gallery. however, these galleries do not have a pre-decided theme - though one might be eventually deduced, should one care to do so i don't. i prefer to let each sequence create a personal impression to each viewer i would therefore be grateful to hear your own thoughts [composites are added here only after completion -18 images- of each gallery. the first two digits denoting the year are followed by the month's first three letters; a roman numeral corresponds to the sequence of creation within each month when a complete gallery is found to contain less than 18 images, this is due to the artists' own removal of their work from their own 'stream']] *** i have stopped adding composites of my galleries' contents here. please visit www.flickr.com/photos/panayotisioannidis/galleries/ to see them all ***
47 photos
*** i have stopped adding composites of my galleries' contents here. please visit www.flickr.com/photos/panayotisioannidis/galleries/ to see them all *** my galleries are built intuitively and sequentially in other words, they are composed of images that i come across as i browse, find particularly striking, and feel that, next to others, they might make an interesting sequence. indeed, my 'curating' consists not only in the selection of the images, but also in their particular juxtaposition, as one moves 'down' the gallery. however, these galleries do not have a pre-decided theme - though one might be eventually deduced, should one care to do so i don't. i prefer to let each sequence create a personal impression to each viewer i would therefore be grateful to hear your own thoughts [composites are added here only after completion -18 images- of each gallery. the first two digits denoting the year are followed by the month's first three letters; a roman numeral corresponds to the sequence of creation within each month when a complete gallery is found to contain less than 18 images, this is due to the artists' own removal of their work from their own 'stream']] *** i have stopped adding composites of my galleries' contents here. please visit www.flickr.com/photos/panayotisioannidis/galleries/ to see them all ***
closed eyes portraits
14 photos
*** i have stopped adding composites of these galleries' contents here. please visit www.flickr.com/photos/panayotisioannidis/galleries/ to see them all *** galleries of portraits with closed eyes it's been several years now that i've been thinking of starting such a series of portraits myself. maybe this gallery-making will finally goad me to it it's the inner peacefulness -or other state- that is outwardly being communicated though simultaneously 'concealed' -since the eyes, considered the face's most expressive component, are closed- that intrigues me in this form or portraiture as usual, comments from visitors and contributors alike gratefully received
14 photos
*** i have stopped adding composites of these galleries' contents here. please visit www.flickr.com/photos/panayotisioannidis/galleries/ to see them all *** galleries of portraits with closed eyes it's been several years now that i've been thinking of starting such a series of portraits myself. maybe this gallery-making will finally goad me to it it's the inner peacefulness -or other state- that is outwardly being communicated though simultaneously 'concealed' -since the eyes, considered the face's most expressive component, are closed- that intrigues me in this form or portraiture as usual, comments from visitors and contributors alike gratefully received